In no particular order, however, here are Phil’s top five horror movies of the year!

• Hereditary

Sarah nailed it in her eulogy, but really, in my opinion, all it took was that moment to elevate this film to Top 5 territory. A fantastic, tragic film that introduced a number of scenes that will surely go down in horror movie history.

• Upgrade

Upgrade is just a fucking cool movie. Go see it.

• Ghost Stories

In an adaptation of their 2010 play of the same name, Andy Nyman and Jeremy Dyson’s Ghost Stories follows the story of professor and paranormal sceptic Phillip Goodman, as he visits a number of people claiming to have experienced supernatural events. Filled with a number of genuinely scary moments, just like its namesake, it never forgets to inject a sense of fun into the proceedings.

• A Quiet Place

Containing a tension that is racketed and racketed up to almost unbearable degrees, part of the beauty of A Quiet Place is how director-cum-star John Krasinski explores the nature of family. Filled with a number of utterly terrifying moments, some great performances from the cast and a terrific monster design (and a few forgivable plot holes here and there), A Quiet Place is a brilliant first foray into the horror genre for Krasinski.

• The Endless

The Endless eschews superficial scares for something a little more insidious across its running time; a palpable sense of unease. Directed by Spring duo Justin Benson and Aaron Moorhead, The Endless follows the story of two friends visiting a cult they belonged to. Veering into very Lovecraftian territory, Benson and Moorhead wisely keep their story grounded in its participants.

• The ‘Wish It Were Better’ Award

2018 saw the release of You Might Be the Killer, a film based off of a hilarious twitter thread in which two writers improvise a conversation between two friends in which, you guessed it, the realisation occurs that one of them might be the killer. In adapting it for the big screen, however, the joke is sadly weakened; part of the appeal of the thread was the way the information was revealed as the thread progressed. Since film is a visual medium, however, the adaptation’s hand is shown too early, so it lacks the punch of the original thread. It features some very charismatic performances by the ever-reliable Fran Kranz and Alyson Hannigan, so it’s just a shame more work wasn’t put in to align the film’s pacing to match the delivery of the original conversation.

There has been a wealth to choose from but here’s Sarah’s top 5 of the year, in no particular order.

• Hereditary

With a peerless performance from the always incredible Toni Collette and a slew of incredibly shocking and memorable set pieces, Hereditary marked Ari Aster as one to watch. A grim slow-burn that chronicles the descent into misery and darkness of a family that endures one tragedy after another, Hereditary is undoubtedly going to reach the status of future classic, and will continue to divide audiences and unite critics. A truly unforgettable and intensely affecting experience.

• Overlord

Marketed as simply a Nazi zombie flick, Overlord manages to rise above its premise and seamlessly meld genres. It’s a truly harrowing war film, an effective shocker and a gnarly body horror all in one neat package. With a tremendously capable cast, Overlord is one of the years most enjoyable horror movies, and squeezes in some humour and a surprising amount of heart to boot. A real all-rounder.

• Halloween

There seems to be very little middle ground in the criticism of Halloween; audiences either loved it or hated it. Knowing the comedy calibre behind the movie and their decision to ignore everything beyond the 1978 classic, I was initially unsure, but the obvious love for the franchise oozes from every frame. Some elements work better than others, but seeing Jamie Lee Curtis reprise her star making turn in a film about three female generations of the Strode family and the damage that second-hand trauma can inflict, Halloween remains interesting while providing some affectionate and cheeky nods to the original. John Carpenter‘s reworked score is a particular highlight!

• Upgrade

Starring Tom Hardy-alike Logan Marshall Green in a demanding role as a recently crippled grieving husband, Upgrade is a cyber-action flick from genre alum Leigh Whannell. It exists in a near future and creates a really well rounded heightened reality for its inventive story to take place in. Featuring a wonderful Hal 9000-inspired disembodied voice, some incredible action pieces and a snappy running time, Upgrade is incredibly deserving of a place amongst this years top films. As an added bonus horror fans can take extra pleasure from spotting the handful of Easter eggs littered throughout.

• Summer Of 84

Unfairly written off as a Stranger Things rip-off or as “too slow” by some audiences, Summer Of 84 is much, much more. From the team behind the enjoyable but over-hyped Turbo Kid comes a suspenseful mystery with an unexpectedly simple premise; what if your neighbour was a serial killer? Boasting a fun and believable camaraderie from its young cast, Summer Of 84 is both a fun shot of nostalgia and something much darker, going to places you might not expect.

• Turd-Scooping Wooden Spoon Award – The Open House

An astonishingly mediocre jumbled mess of a film that wastes it’s cast, gives us zero payoff and asks more questions than it answers. With a damp squib of an ending, The Open House manages to be boring, nonsensical and willfully anti-climactic.

But despite all that, we’ve had our usual steady flow of horror movies to keep us distracted from the world steadily imploding around us – so quickly brushing over our distinct lack of output this year here at Gorepress Towers, we thought we’d throw together our customary eulogy of 2016, listing our favourite five films of the year, to send it off in style. In no particular order, here goes!

• The Witch

The Witch was quite a brave bit of cinema. It’s a film stuffed to the brim with Jacobean language, is almost unbearably bleak, and burns off slower than Christmas dinner…none of which will appeal to the average horror movie-going audience. Yet despite that, it’s an incredible, beautiful film. Telling the story of a Puritan family in the 17th century shunned by their community who encounter an evil in the nearby woods, it was met with critical acclaim, and justifiably so; the acting is phenomenal, the cinematography hauntingly gorgeous and the atmosphere dripping with dread.

• Ouija: Origin of Evil

It’s been a strong year for director Mike Flanagan; as well as releasing the excellent Hush, he turned his eye to the sequel of 2014′s dismal Ouija and managed to turn it on its head. Both sitting firmly in the ‘Spooky Goings-On in the 60s and 70s’ Category, it was a bit of a tossup as to whether to include this or James Wan’s The Conjuring 2…but this one edged it out slightly due to the latter being a bit of a letdown after the success of Ed and Lorraine Warren’s first outing in The Conjuring. A remarkably spooky and surprisingly authentic film, Flanagan does a fantastic job of creating something legitimately scary out of what was a pretty rubbish film.

• 10 Cloverfield Lane

10 Cloverfield Lane is a fucking tense movie. Completely taking everyone by surprise, this followup-but-not-really to J J Abrams’ Cloverfield only bears the vaguest of similarities to its forebear. Set almost entirely within the doomsday bunker of a conspiracy theorist, it tells the story of a young woman who wakes up imprisoned with two men who insist that the world has been rendered uninhabitable by some unknown force. A small but excellent cast coupled with a very claustrophobic set make this film a real seat-clencher that steadily ramps up in tension until the final punch at the end.

• Don’t Breathe

After breaking into the house of a blind old man in order to rob him, three friends get more than they bargained in for Fede Alvarez‘s Don’t Breathe, when they realise that the man is a seasoned army veteran, and is more than capable of defending himself. Alvarez and co-screenwriter Rodo Sayagues do a fantastic job of creating a great deal of tension out of what is a moderately simple premise, and it’s bloody interesting to watch a home invasion movie from the other side.

• Green Room

We make no bones about our love of Jeremy Saulnier‘s Green Room here at Gorepress Towers; it’s a fantastic film that manages to create a legitimately scary atmosphere without resorting to cheap scares. Green Room tells the story of a rough-and-ready punk band who find themselves under attack from Neo-Nazis after they witness a murder in the remote bar they’re playing in. After a strong start with 2014′s Blue Ruin, Saulnier manages to nail it once more with this spiritual successor, and, accent aside, the casting of Professor X as the villain is a masterstroke.

And there we have it; Gorepress’ Top 5 of 2016! Think there’s anything we’ve missed? Feel free to leave it in the comments! Otherwise, we’ll see you on the other side…Happy New Year, everybody!

It is with a heavy heart, that we report that Sir Christopher Lee has passed away, at the age of 93.

We could talk about Lee’s entire life, which has been quite unique and fulfilling, but for this retrospective, we’ll look at the life he spent in front of the camera.

For the horror enthusiasts amongst us, it’s difficult to hear the name Christopher Lee and not immediately envision a sharply dressed Dracula, expressing a menacing yet charming smile, in one of his various outings for the Hammer Horror franchise. To put it bluntly, Christopher Lee IS Hammer Horror.

Lee’s first film for Hammer was The Curse of Frankenstein (1957) in which he played Frankenstein’s Monster, alongside fellow Hammer legend Peter Cushing, playing Baron Victor Von Frankenstein. This would be the first of twenty films that Lee and Cushing would star in together, and from this a long lasting friendship was born. Lee would reprise his role of Dracula for decades to come, including Dracula: Prince of Darkness (1965), Dracula Has Risen from the Grave (1968), Taste the Blood of Dracula (1969), and Scars of Dracula (1970).

Lee would go on to work with Hammer until To the Devil a Daughter (1976), which would be their last outing together.

Although Lee is seminally associated with Hammer, he also worked on several other projects still within the Horror genre. Between 1965 and 1969, he starred in several Fu Manchu films, as the titled oriental antagonist. He also played the roles of both Dr Jekyll and Mr Hyde in 1971′s iconic I, Monster.

1973 was perhaps one of the most significant years for Lee in terms of his cinematic career, with the release of the critically acclaimed The Wicker Man. Known to be Lee’s favourite role, he gave his services for free, so passionate was he to see this project come to fruition. The result of which is a cult classic, that has more than stood the test of time.

Another of Lee’s iconic roles came in the form of the charismatic assassin Francicso Scaramanga, in 1974 James Bond movie The Man with the Golden Gun. Lee made the role his own, taking what he called a West Indian thug from the novel and turning him into a suave, composed killer, or “the dark side of Bond”. This role often tops charts of not only the greatest Bond villains, but general greatest movie villains of all time polls too.

Although a prominent figure in the world of cinema for decades, it was the 2000′s where Lee truly because a global household name. In 2001 he fulfilled a lifelong dream to star in the movie adaptations of the Lord of the Rings Trilogy. A lifelong fan and scholar of Tolkien’s work, he famously read the novel at least once a year, and could quote the inscription of the ring in flawless black speech. Although initially he had desired to play Gandalf, his physical limitations meant that he was better suited to the more sedate role of Saruman. Without a doubt though, he made this role his own and to many, this was truly his magnum opus. Lee would reprise this role in the highly successful Hobbit franchise to equal acclaim.

As if pleasing one fandom wasn’t enough, Lee put is own unique mark on the Star Wars world, playing the Sith Lord Count Dooku in Attack of the Clones (2002) and Revenge of the Sith (2005). Although the quality of the prequel Star Wars trilogy will forever be the subject of debate, there’s no doubt that they were all the better for having Lee involved. Such was his impact, you cannot attend any convention these day without seeing half a dozen or more Count Dookus wandering around.

Lee was a favourite actor of cult director Tim Burton, and appeared in many of this films, including Sleepy Hollow (1999), Charlie and the Chocolate Factory (2005) and Alice in Wonderland (2010) and the two remained close friends.

As well as his cinematic career, he also had an impressive resume of voice work, including The Last Unicorn (1982), Terry Pratchett’s Soul Music and Wyrd Sisters, and once again with Tim Burton on Corpse Bride, to name but a few.

Sir Christopher Lee touched the lives of countless millions, from all walks of life. His legacy and the gifts he’s left with us will live on forever. He are just a few examples of the impact he has on others:

“He was scholar, a singer, an extraordinary raconteur and of course, a marvellous actor. There will never be another Christopher Lee. He has a unique place in the history of cinema and in the hearts of millions of fans around the world.” – Peter Jackson

“Christopher was a great British actor of the old school. A true link to cinema’s past and a real gentleman. We will miss him.” – George Lucas

“He was the last of his kind, a true legend, who I’m fortunate to have called a friend. He will continue to inspire me and I’m sure countless others for generations to come.” - Tim Burton

“An extraordinary man and life lead, Sir Christopher Lee. You were an icon, and a towering human being with stories for days. We’ll miss you.” - Elijah Wood

Sir Christopher Lee passed away peacefully on Sunday 7th June, 2015. In terms of ‘life lived’ he re-wrote the book. Rest in peace, you wonderful man, the world is a sadder place without you, but a better place because of you.

Yeah, in retrospect, it probably hasn’t been the best year. But hey. At least we all got the chance to pour ice cubes over our heads.

In the film world, it’s been business as usual; remakes, reboots and sequels are continuing to dominate the market, the Marvel machine shows no signs of slowing down, and Michael Bay once more vomits out yet another inexplicably high grossing Transformers film.

Horror-wise, it’s been a mixed bag. We’ve been pleasantly surprised by indie gems and completely and unsurprisingly let down by big-budget gritty reboots. But which films were our favourite? Well, we’ve taken a look back through the year, as has become a bit of a Gorepress tradition, and each picked out our top five horror movies…so sit back, relax, and take a look through the best countdown you’ll experience all day…

Sarah’s Top 5 Horror Movies of 2014

• Blue Ruin
• The Guest
• Housebound
• Starry Eyes
• Exists

Phil’s Top 5 Horror Movies of 2014

• The Babadook
• Willow Creek
• The Guest
• Cheap Thrills
• As Above, So Below

Joey’s Top 5 Horror Movies of 2014

• Digging Up the Marrow
• Late Phases
• Cheap Thrills
• The Guest
• Tusk

Ben’s Top 5 Horror Movies of 2014

• Willow Creek
• Cheap Thrills
• The Guest
• The Borderlands
• Under the Skin

Rich’s Top 5 Horror Movies of 2014

• Digging Up the Marrow
• The Sacrament
• Late Phases
• Lost Soul: The Doomed Journey of Richard Stanley’s Island of Dr. Moreau
• Starry Eyes

Evidently, we have some clear favourites here at Gorepress Heights; everyone seems pretty unanimous in their love for The Guest and Cheap Thrills so it’s a relief to see some original films get some well-deserved attention. Here’s hoping 2015 continues the trend…but with Insidious 3, another Paranormal Activity film, and the reboot of Poltergeist all looming in the near distance I’m not sure I’m convinced…

…happy new year, everyone!

During that time, we’ve watched a hell of a lot of films, so to celebrate our 1000th post, we thought we’d get together and each choose a film from the archives that we’d have loved the chance to review but were beaten to the punch. They’re not necessarily our favourite films, but they’re ones that warrant discussion, so here are our choices and accompanying arguements for why we chose them.

Jamie – A Lizard In A Woman’s Skin

Ah Gorepress! While my contributions have withered away into nothingness over the last few years, I have always considered it my first love. There’s been a lot of junk reviewed here since we started in 2009, back when we would clamour for every screener offered to us. This led to some amazingly scathing write-ups. Most of them at the hands of cinematic grim reaper, Boston Haverhill. For my jewel in the crown of films reviewed at Gorepress I have picked the Fulci giallo classic, A Lizard in a Woman’s Skin.

In her review, Sarah described it as “visually arresting”. She’s not wrong, Fulci – like many of his euro-horror ilk – has this wonderful eye for colour which operates as a sort of visual soundtrack to drag your unconscious to exactly where he wants it to be. Drawing you in with gentle hues and blasting you away with neons. It’s this sensibility that has forged Fulci into the horror consciousness forever, despite a large number of middling efforts clogging up his back catalogue. Lizard is visual jazz and pure giallo at work. Style over substance but with exactly the right amount of intrigue to keep you glued when the visuals do stabilise into normality.

It’s compelling Italian horror at its finest, working beautifully for genre veterans and as an entry level flick for those looking to dip their toe into the Giallo Ocean. With a fantastically stark performance by one of gialli’s finest dames, Florinda Balkan, mixed with the madness of the cinematography and the proto-Lynchian screenplay, Lizard is a pitch-perfect fever dream and a sure fire recommend.

Rich – The Lords Of Salem

Always one to divide audiences, musician-turned-director Rob Zombie‘s The Lords of Salem doesn’t help itself by being a film all about disconnect. Identical to the heyday of Italian horror, the film owes more than a little to the likes of The Beyond or Suspiria, while also channeling the experimental spirit of Ken Russell‘s 60s-70s output. A large part of Zombie’s audience was turned off by the change from the gonzo and violent tone of House of 1000 Corpses and The Devil’s Rejects to the more expressionistic and introspective approach of Lords. We empathise with a former junkie and root for the underdog to overcome the sinister forces bearing down on her, but in this nihilistic world, and those looking for a happy character redemption should keep on walking.

The terror here does not come from complicated setups and pay-offs, but from chaos in simplicity. Just like Rosemary can’t run away from her apartment in Rosemary’s Baby, Heidi is similarly trapped and worn down by supernatural and scheming elements. Eschewing the standard story beats and jump scares, The Lords of Salem breathes a fresh air into unnerving horror as it crawls deeper and deeper under your skin. Just when you think you have a handle on the plot, a sack-wearing priest or mutant baby Satan will show up to throw you off balance (to great effect, bar the extended music video of a finalé). It can be difficult to tell the difference between reality and dream, with sense playing no part in the matter, bringing the real horror of the film to the forefront; uncertainty. Coupled with the droning and repetitive soundtrack, the film feels like a bad nightmare, in the best possible way.

Sarah – The Last Will And Testament Of Rosalind Leigh

Despite having one of the most exhaustively long titles of recent horror films, The Last Will And Testament Of Rosalind Leigh is an incredible slice of fear and the first feature length effort from Rue Morgue‘s founding editor Rodrigo Gudino. Given his background, Gudino clearly knows his shit and utilises that knowledge to chilling effect.

Boasting an accomplished central turn by Aaron Poole (on whose shoulders the entire film hinges), the film is as much about crippling depression, forgiveness and loneliness as it is about making the hairs on the back of your neck stand up. Delving into the dangers of fanatical religion and the power of family, it’s steeped in intensely atmospheric sadness, and manages to be both hugely affecting and incredibly memorable on a shoestring budget. Don’t be put off by the BBFC’s decision to award it a 12 certificate in the UK, this is a deeply frightening film, and although guilty of showcasing a little too much CGI in it’s climactic moments, deserves a much wider audience. It’s a beautifully quiet, thoughtful film so watch it with the lights off and allow it under your skin, and it will simultaneously break your heart and profoundly terrify you.

Ben – Ink

What I would have given to review such a masterpiece. I don’t think there are enough positive superlatives to describe this inspiring piece of cinema. Ink is an utterly spellbinding film; practically faultless in every way. Add to that the fact that it was made on a budget of a measly $250,000, it puts films that cost tens of millions of dollars to shame. With a simplistic beauty seldom seen in films these days and a story that both moves and compels, it stands out as something that all filmmakers should aspire to achieve at least once in their careers; something truly unique.

One thing that always sticks out in my mind when watching Ink isn’t just the story, but the clear passion that went into the creation of this film. What we see before us is a piece of cinema oozing creative drive and talent; a film that, for such a small budget, is so intricately well thought out and woven together. For this reason, it’s essential viewing. Watch it, tell your friends to watch it, then get them to pay it forward. This is a film that truly should been seen by all.

Chris – House Of The Devil

In December 2010, I discovered one of the best horror films of the last 20 years or so – Ti West’s The House of the Devil. As a life-long horror fan, I fell in love with the film during the opening credits because they set the tone perfectly for an ‘80s throwback. Unlike other contemporary horror filmmakers who love the horror genre but don’t have the skills to make a critically-acclaimed film, Ti West shows his appreciation for the genre in every single frame whilst at the same time proving his mettle as a highly-gifted and knowledgeable filmmaker.

House of the Devil is, therefore, not just a really well-made horror film; it is the perfect horror film! From casting, to lighting, cinematography and editing – and the rest – everything works. With a Stephen King-esque suspenseful narrative, a genuinely thrilling atmosphere and a brilliant climax this film is a must-watch for every horror film fan out there. If you don’t like it you really should be thinking about seeing a doctor. And, if we’re honest, with A.J. Bowen starring in the movie, there’s really no possible way that anyone can dislike it!

Joey – The Borderlands

Much has been written about the arguably desperate state of modern horror. But, for me, one film that spat in the face of detractors, and which epitomises just what can be done with the genre with a little bit of creativity and a hell of a lot of guts is The Borderlands, a British found footage feature that is so much more than the sum of its parts. I doubt I could ever do it justice in a review. Even now that I’ve had some time to think it over, I’m still not exactly sure what got me about it, but suffice to say it’s wonderfully creepy, incredibly inventive, and the ending packs a considerable punch.

The Borderlands is one of those films you can’t wait to show your friends, almost as an example of how horror can be both clever and simple at the same time, while still managing to be quite scary. It could easily have been just another ropey, dull, found footage throwaway but the likable protagonists, clever shooting style and blood-curdling final moments – emerging so innocuously after what feels like ages of nothing – truly make it something special.

Matt – Feast 2 : Sloppy Seconds

If I had to pick one film from the Gorepress archives that I would have liked to review, using the time honoured method of arbitrarily plucking one from a shortlist of many, I would choose Feast 2: Sloppy Seconds. It’s by no means a perfect film, but its charms outweigh its flaws (and by charms, I’m not referring exclusively to the lovely Chainsaw Chelsea, who spends a pleasing proportion of the movie in a state of undress).

There’s gag-inducing gore, tiny luchadores, comedy infanticide, melting grannies, sassy ladies, and aliens galore. Yes, the CGI is oft terrible, and normally I would crucify a movie for that, but the low budget nature of the movie earns it a pass from me, and the film doesn’t really suffer for it, since it’s already so ridiculous that your disbelief should already be waaaay suspended! In short, if you like alien horror and films which don’t take themselves too seriously, then Feast 2 is for you. Just watch the first film first, obviously…

Phil – Paranormal Activity

It’s easy to dislike Paranormal Activity; the film that reminded everyone that ‘hey, found footage films are super easy to make!’. I needn’t remind you what the many, many results of that epiphany were. However, as an example of the found footage genre, I’d say Paranormal Activity is up there with the best. Sure, the characters aren’t exactly the most likable of people, but in terms of pure visceral reactions, few films have hit me as hard as this one has.

Because found footage films tend to avoid following the structure that standard horror movies stick to, they become a lot more unpredictable; and this is what made the film so appealing to me. As nighttime falls on the unlucky couple, all we see is a single static shot of them from the foot of their bed. That just goes on. And on. And on. And the longer it goes on, the more the tension was racked up…and the more I found myself scanning the screen frantically, itching for something to happen. And it’s been a while since a horror film has got me that invested.

Boston gets the last word…

Like the awkward sort that he is, head writer Boston Haverhill refused to choose just one film, so I’ll leave you with his thoughts about his, and our, past transgressions on Gorepress over the years.

Wow… a thousand posts on Gorepress! That’s a lot of damn words, all about horror. I’m proud of the hard work and free time the team members (old and new) have ploughed into this beast, and I hope it continues for years to come. Gorepress lives! It’s motherfucking ALIVE.

We’ve bled all over Google too – just type in “Monster Ark” or “Pursuit of a Legend” and you’ll find us on the front page, in all our wordy glory – so there’s no avoiding us.

We’re here to stay. Like really nice herpes.

Now, the gang discussed having a “1000 posts” article that looks at those reviews which we thought were labelled too favourably or too harshly by other reviewers. I imagine I’m going to get multi-dicked from a number of angles on some of my reviews, but the fact is this – movies are subjective. In fact, everything is subjective. Even cheese.

I have trawled through the gazillion Gorepress pages, looking for reviews I vehemently disagree with in some way, but – for the most part – I agree with the reviewer’s assessment.

Yeah, I thought Green Inferno was a puerile bag of horse cack and The Lords of Salem made me want to bite my own face off… but reading the reviewers thoughts and REASONS for liking it, I found it hard to disagree with them. Even the Godzilla review. Even that.

I will say I probably reviewed Doghouse too favourably (9 skulls?! What the hell, Haverhill?!) and probably shouldn’t have told people to avoid The Cavern like “you avoid AIDS in the face”, but I believe in everyone’s right to their opinion. Even if their opinion is to call a film “celluloid defecation” full of “mind-bending turdery”. Yeah, I didn’t like The Cavern much…

Here’s to a thousand posts on Gorepress… and to a thousand more!

In response to this I thought I’d take the bull by the horns and try to rectify this situation; fearlessly, I’ve trawled the lengths and depths of the internet and have come up with a list of the creepiest, most effective short horror movies out there. Here are five of my favourites…

Suckablood

Dir. Jake Cuddihy & Ben Tillett

Length: 6:47

In an attempt to ease you gently in, I’ve picked a comparatively restrained example to start this all off; but fear not: by no means does this reflect on its quality. Seeming to take its cue directly from the Brothers Grimm, it tells the story of a young girl whose stepmother, after having given up trying to beat the thumb-sucking habit out of her daughter, summons the demonic Suckablood to get rid of it – not to mention the girl herself – for good. Part of the Bloody Cuts anthology (more of this to come in a later article…), Cuddihy and Tillett‘s dark fairytale is one to remember, featuring gorgeous cinematography, an excellently penned poem and some killer prosthetics.

Lights Out

Dir. David Sandberg

Length: 2:42

Having sent the internet into a bit of a frenzy at the end of last year, Lights Out is a masterpiece of subtlety. Clocking in at just two and a half minutes, Sandberg demonstrates how quickly and dramatically tension can be ramped up to unbearable levels. The narrative couldn’t be simpler. A woman spots a sinister silhouette lurking in the shadows of her apartment that steadily gets closer and closer to her as she gets into bed. Lights Out taps effectively into that primal fear we all experience; that of the dark, and what could be hiding in it.

The Facts in the Case of Mister Hollow

Dir. Rodrigo Gudiño & Vincent Marcone

Length: 6:08

This one’s a bit of a wildcard when set alongside the other choices. More experimental in nature, The Facts in the Case of Mister Hollow attempts to tell a story via a single seemingly innocuous photo; the camera panning and shifting and exploring the two-dimensional frame in three dimensions, gradually revealing and picking up on details that slowly explain the narrative. I’ve certainly never seen a film utilise such a creative storytelling device before, and for that reason alone it deserves a mention. Add to that a haunting soundtrack, some arresting visuals and a narrative that requires you to stop and think, and you’ve got a film that’s well worth a watch.

Still Life

Dir. Jon Knautz

Length: 9:03

After an over-tired, over-caffeinated, pill-popping driver finds himself stranded in a town full of fully clothed mannequins due to an accident, he starts getting freaked out when he realises the mannequins seem to be moving around by themselves out of eyeshot. It’s a trope we’ve seen before (the most famous example in recent memory being the Weeping Angels from Doctor Who) but Jack Brooks: Monster Slayer director Jon Knautz handles it expertly, utilising the soundtrack in such a way to make you question what you’re seeing.

Click

Dir. William Prince

Length: 14:26

After a gang of kids break into an abandoned warehouse, they stumble across a bare room featuring nothing but an ominous light switch set on the wall. Closing the door behind them, they decide to play a game, daring each other to try and last as long as possible in the dark as they can. Prince has crafted a wonderfully tense film in Click, and the young actors are surprisingly engaging considering how despicable the characters they play are. It’s a simple concept, but therein lies its genius. It’s amazing how intimidating a light switch can look in the right hands.

So there we have it! Five of my favourite short horror films on the interwebs. Keep your eyes peeled for later installments; but in the meantime, are there any you’d like to see mentioned? Drop me a comment down below and I’ll take a look!

When it comes to horror, the idea of doing so is somewhat more of a challenge, as even the shorts that were showcased over last year’s Frightfest weekend were, for the most part, dull and forgettable, even before the credits rolled.

It’s refreshing, then, to stumble upon something that is as shockingly well-made and stylistically interesting as Andy Stewart’s stark, disturbing and very memorable short Split, the second installment in his body horror themed, sort-of trilogy, which makes a significant case for the format in general, and particularly for its use in modern horror.

Split follows in the footsteps of the very well-received Dysmorphia, which itself was shot over just two days, for a meager budget of £160, and which went on to pick up numerous awards on the festival circuit – even being championed by genre darlings Jen and Sylvia Soska, after it was featured before their own American Mary as part of Frightfest Presents in Glasgow.

Described by the Soskas as the “best short film” they’d ever seen, Dysmorphia introduced the body horror theme that Split picks up, and indeed exceeds, in gruesome, gooey glory. Starring American actor Austin Hayden, as the poor fellow who, quite literally, splits before our eyes, opposite Sawney’s Shian Denovan, the film’s modest budget isn’t even momentarily obvious in the remarkably slick finished product.

The premise is simple, yet ultimately terrifying, as Hayden’s unnamed protagonist lies in bed, depressed over his recent split from Denovan’s character, whom, we learn through cleverly inter-spliced flashback sequences, he wronged and ultimately lost during a blazing row. As he awakens to the harsh light of another day alone, he is violently ill, and notices a sore on his chest (which he pops to wonderfully gooey effect), the first of many.

Over the course of the film, more and more oozing, hideous wounds pop up, as the protagonist loses his hair, coughs up blood and, in one particularly gruesome shot, even finds he can pull his skin back to reveal the veins underneath. Though Hayden’s central performance is undeniably great, it’s Grant Mason’s incredible special effects that are the real star of the film.

Boasting a CV stuffed with work on Sleepy Hollow, Bride Of Chucky and The Wolfman, to name but a few, Mason’s disgustingly realistic creations are worth watching the film for alone – every boil, every oozing sore, every drop of blood and pus is perfectly realised, to the point that it almost seems wrong when we don’t get to see each and every one popped and splattered across the screen.

Though there is scarcely little dialogue throughout, the writing and direction, both from Stewart are equally strong, the camera kept claustrophobically close at certain moments, before hanging back to reveal bloodied bed sheets at others. Only one setting is used – a messy apartment – and it is the moments spent in bed, and in the white-tiled bathroom that are the most stark and frightening, as deep reds are contrasted against shocking, pure whites.

The melancholic score drifts in and out depending on the moment at hand, complementing the sadness of the disintegration of the central character. There are many ways to read the film, and it will depend on the viewer how the story is taken, but as a metaphor for the disintegration of a relationship and all of the bad feelings that come with the end of such a strong bond, during which one is incredibly open and vulnerable, it is very strong indeed.

Stewart shows real flair as both a writer and director, while comparisons to last year’s Thanatomorphose seem too obvious, even offensive. Though the body horror theme runs through both, Split manages not to be over the top with its ever-present gore, instead showing certain things, but not everything, leaving the imagination to fill in the blanks. It’s to Stewart’s credit that he allows the story to speak for itself, neglecting to show too much at times when perhaps a higher budget would allow him to do so – or even a feature length film.

Not for the faint hearted (or the weak stomached), Split is a remarkably effective, incredibly shocking, poignant, and disturbing film, making a case for modern body horror, and genre shorts, while showcasing some brilliantly splattery, impressively practical special effects and a heartbreakingly realistic central performance in which the smallest gestures communicate the biggest regrets and sadness.

The final part in the trilogy, Ink, is currently being funded via Indiegogo and promises to ramp the carnage up a further notch – if that’s even possible.

As usual, the remakes and franchise cash-cows appeared to dominate but surprisingly, some were actually pretty great. For every bland retelling of Carrie, there was a bloodied up Evil Dead waiting to surprise us, and as we predicted at the tail end of last year, Maniac was universally loved at GP heights, despite fears to the contrary.

As has become customary we’re here to provide you with our lists of the Top 5 horror movies of 2013, along with the winner (loser?) of the now infamous Gorepress’ Turd Scooping Wooden Spoon Award for most brain-scratchingly bad movie of the year. Get your party blowers at the ready, don your finery and sit back for a rundown of what’s been great and what’s been not-so great in our World to see in 2014.

Boston’s Top 5 Horror Movies of 2013

• You’re Next
• Curse Of Chucky
• Maniac
• Would You Rather
• No-One Lives

Sarah’s Top 5 Horror Movies of 2013

• Cheap Thrills
• You’re Next
• Maniac
• We Are What We Are
• The Last Will & Testament Of Rosalind Leigh

Ben’s Top 5 Horror Movies of 2013

• Evil Dead
• We Are What We Are
• Killer Toon
• Bad Milo
• The Conjuring

Justifiably, You’re Next, Evil Dead and Maniac were the films that seemed to unite our writers and this safely marks a new precedent for remakes in the future. While the remakes in question might not outdo their inspiration, they certainly came from an angle of originality and fresh perspective. Honourable mentions definitely go to Mama, V/H/S/2 and Willow Creek who all just narrowly missed inclusion on our lists.

Worst Movie of 2012

Sadly, our list would not be complete without awarding one lucky film with Mr Haverhill’s Turd Scooping Wooden Spoon Award. While we fully acknowledge that getting a film made at all is no mean feat and should be applauded, we also acknowledge that putting a film out into the public consciousness makes you susceptible to criticism and some films are just so bad that we feel it’s our duty to warn the audience at large. ‘A’ for effort, ‘F-’ for the piss-takingly awful results, so to speak. So, without further ado, the film we most hated in 2013 was…..no, surprisingly not the missed opportunity, historical-inaccuracy-fest that was Frankenstein’s Army, but rather female driven horror Black Rock.

Written and directed by husband and wife team Mark Duplass and Katie Aselton, Black Rock was a stark warning for filmmakers who wanted to wade outside their comfort zone with seemingly zero knowledge of the genre they wanted to conquer. Black Rock made us scream at our screens like nothing else this year and featured characters that made the worst decisions on film since the first time an actor muttered the immortal line “let’s split up”. It set the women’s movement back to approximately 1962 and gave our reviewers collective migraines that made them wish they could rewind time and make a better decision themselves. Here’s hoping the otherwise talented Duplass-Aseltons stick to making funny, and not polluting the survival horror sub-genre again.

On a slightly more positive note, 2014 sees the continuation of the bloated Paranormal Activity franchise with the action shifting to new locations. It also marks the releases of the much anticipated Devil’s Due, Banshee Chapter, All Cheerleaders Die and Patrick. While we’re kind of hoping that the PA franchise finds itself a nice hole to crawl into, perhaps alongside Saw in the “Movie Series That Outstayed Their Welcome” graveyard, just off of “2005 Wants Its Found Footage Gimmick Back” Highway, our hopes are high for the mixture of original and remake fare that are on our radar so far. Let’s all raise a glass to 2013 and look forward to the future of horror. Here’s to 2014!

Way more exciting than the presidential election, we think you’ll agree, is the fact that our little website turned the grand old age of four this month. What started as a modest outfit of just three horror loving pals, has turned into much more than we could ever have imagined. Gorepress is a family and a community, and we want you to feel like part of it. So, with that in mind, some of our more prolific members concocted lists of their favourite films that were released during the time Gorepress has been active.

Without further ado, celebrate our fourth birthday with us by revisiting some of our favourite moments from the last four years!

Sarah’s Top 4

• Cabin in the Woods
• Detention
• Stake Land
• American Mary

Jamie’s Top 4

• Birdemic
• Lovely Molly
• Antichrist
• Manborg

Boston’s Top 4

• Cabin in the Woods
• Drag Me To Hell
• Stake Land
• Thirst

Phil’s Top 4

• Cabin in the Woods
• Drag Me To Hell
• Tucker And Dale Vs. Evil
• Evil Dead

Ben’s Top 4

• Cabin in the Woods
• Detention
• Troll Hunter
• I Spit On Your Grave

Joey’s Top 4

• Scream 4
• Lords Of Salem
• Frozen
• Maniac

Rich’s Top 4

• V/H/S/2
• Lords Of Salem
• Tucker And Dale Vs. Evil
• Absentia

Obviously, no list feature would be complete without the now infamous Gorepress’ Turd Scooping Wooden Spoon Award! Believe it or not, we couldn’t seem to agree on which film was deserving of such a prestigious title but here are some of the suggestions; Shark Night 3D, Night Of The Living Dead 3D : Reanimation and The Bunnyman Massacre. It’s safe to say that the Gorepressians are averse to 3D as well as shit films.

If you strongly agree/disagree with any of our lists, why not add your own in the comments? We’d love to hear your own Top 4′s! For now though, let’s all raise a proverbial glass to a wonderful four years. Massive sloppy kisses and uncomfortably long hugs from everyone at Gorepress for supporting us all this time!

Zalgo. The Rake. Slenderman. To the uninitiated, these names may just sound like a crappy version of the Avengers, but to the initiated they, along with countless other characters, movies and images, all have a particular significance. They have one thing in common…they are all examples of creepypasta.

“But Phil,” I hear you cry. “what is creepypasta?”

Well, fictional reader, that’s a very interesting question. To try and define exactly what counts as ‘creepypasta’, it’s worth looking at the etymology of the word itself. It evolved from the internet-coined word ‘copypasta’, which refers to any form of media that is propagated around the internet through repeated copying and pasting (hence the quasi-homophone, ‘copypasta’). So, extending this definition and applying it to creepypasta, we see it refers to anything that demonstrates some form of virality with a vaguely creepy twist. As such, it’s a rather broad term, and is getting broader by the minute.

So why is it so popular? That is a question that has got me thinking for a while now, so I figured I’d use the opportunity to set my ramblings in digital stone. And I’ll again emphasise; this isn’t any form of study on the subject by any stretch at all – just the opinions of a lone horror reviewer. So be warned: from hereon in, expect overgeneralisations aplenty.

Now, ask any horror fan why they’re so devoted to the genre and, in amongst the inevitable myriad of answers you’ll get, I’m willing to bet one will crop up time and time again: it’s all about chasing that high, that first time you watched a horror movie that terrified the living shit out of you. Every time. However, sadly, this is inherently self-defeating. Inevitably, the more horror movies you watch, the more you understand the language of horror movies; you begin to notice the way they’re structured, the way shots are framed, the way music is used…which means, consequently, the scares become predictable, and just lose their edge. Broadly speaking, it’s all about context; the less you know, the more potential there is. Think, say, of Jeepers Creepers. It’s a pretty solid film up until the Creeper appears, and you realise it’s just a dude with a dodgy rubber costume. It’s a cliché, but your own imagination is truly the most powerful weapon in the horror genre’s arsenal.

Which brings us neatly onto the concept of creepypasta. Due to the nature of the internet and the way information is filtered and disseminated, a lot of the examples of creepypasta exist in a vacuum and thus are devoid of context, regardless of their origins. Whether it’s a particularly creepy photo, or a video clip filled with bizarre and unnerving imagery, they all seem to provide just enough information to pique your imagination without giving too much away; they exist on the threshold between the known and the unknown. Consequently, your imagination yearns to make sense of whatever it has seen and thus it strives to extract meaning from the media in question.

I’ll tell you a story from personal experience: during my frequent travels through the internet, I stumbled across a rather unnerving photo. It portrayed a man in hospital; a man, however, with unnaturally long limbs and an abnormally broad chest. In this photo, the man was fastened to the wall, his limbs and body held aloft and upright by a harness that dangled from the ceiling. Now whilst the logical side of my brain scoffed at the image, there was also a part of it that somehow wanted to be convinced that it was real. There was just something about it – whether it was the slightly blurred look of a photo that has been taken whilst in motion, whether it was the casual way in which the nurse in shot seemed to be going about her daily business, whether it was the slightly off-colour tone of a photo taken during the advent of the camera – that made me want to believe there was some reality to it.

After months and months of knowing of the photo, I had the idea of using Google’s reverse image search to try and track down its origin (of course, other search engines are available). Lo and behold, my search proved successful: I discovered the image was actually a screengrab of an early Lars von Trier TV show called Riget, the show that inspired Kingdom Hospital.

And just like that, the image had lost its proverbial sheen. Knowing the origin of the photo somehow took away the intrigue. This may sound obvious, but this, along with a few similar examples, leads me to believe that this is a lot of the dark charm of creepypasta, and one of the reasons this type of image is borne into virality so often: the distinct (and sometimes deliberate) lack of context.

Another real-world example: as some of you may know, fellow Gorepress reviewer and resident madwoman Mrs. Louise McGettrick makes her living creating plush toys complete with fake human teeth. About a year ago she stumbled across an image of one of her Fugglers on the internet, captioned with a rather unfamiliar backstory. This story told the tale of a woman driven into insanity over the death of her child; a woman who then proceeded to extract the teeth from her dead kid and attach them onto a plush toy. It would seem that this particular image had gone through the process described above; devoid of context, some internet user had taken it upon themselves to ascribe meaning to the image of the Fuggler, and thus this fictional backstory was born.

So as we can see, context plays a massive part in determining the effectiveness of horror, whether it’s the context of the medium internally, or the context of media externally. Generally speaking, the less we know about it, the more our imaginations work, and the more our imaginations work the creepier we find it. (Hell, I had to write this article in short bursts over a few days just because I kept freaking myself out whenever I did any research. And I haven’t been scared by a horror movie for ten years.) But what else is there?

Now we’re all familiar with the concept of the urban legend; even if you didn’t necessarily experience the situation firsthand, it inevitably conjures up images of a group of kids sitting around a campfire in the middle of a forest as darkness closes in around them.

Whilst the concept of the urban legend has fallen a little into ridicule now that we’re all considerably older, I think the psychology behind what made urban legends popular plays a very important part in the propagation of creepypasta.

Regardless of what the details may be, urban legends revel in their supposed truth; they all start off practically in the same way: “Thirty years ago, deep within these very woods…”. It harks back to the point I made earlier about the importance of context (or lack thereof): some of the most popular examples of creepypasta are just enough founded in reality to be believable, ESPECIALLY so if they’re based off of popular media…or at least, seem to be. Candle Cove is one that jumps out here; written in the form of a message board forum, it seems to show a discussion between a group of adults about shows they used to watch when they were children. Before I go any further I recommend going to read the original text now because it’s genuinely creepy.

Read it yet? Terrifying, isn’t it? Anyway, for those of you who decided not to venture outside of the warm cosiness of Gorepress, I’ll summarise: the thread progresses as the adults reminisce about a show called Candle Cove. They discuss the characters and plots, entering the wistful mists of nostalgia…but things take a slightly sinister turn as one of them remembers a Candle Cove-induced nightmare that transpires to actually be an episode of the show. The thread ends with one of them mentioning that he had gone to visit his mum with the intention of talking to her about Candle Cove and after expressing surprise that he remembered it, she proceeds to tell him that every time he watched the show all he did was to tune the TV to static and sit there, staring, for half an hour…

Now Candle Cove is undeniably, indisputably, incontrovertibly 100% fiction (sorry…). It was a work of fiction inspired by, of all things, an article from The Onion. But what makes it so sinister, apart from the rather unexpected twist, is how it pertains to exist in our own reality. The basic concept itself on its own is clearly fictional; creepy kids watching static has practically been a horror trope ever since Poltergeist. But due to the content’s format and method of delivery, it lulls you into a false sense of security – the idea of fiction being told through message board threads is rather unusual, so it’s very easy to be tricked into thinking that it is real.

What makes Candle Cove so interesting, however, is that it has captured the imagination of hundreds of people across the world; so much so, that in an example of life imitating art, large amounts of derivative works can be found on the internet supposedly of Candle Cove itself. Hell, even tvtropes.org has its own section on it. It is, for all intents and purposes, becoming a real show…consequently making that threshold between fact and fiction just a little bit blurrier, and making the urban legend just that bit more believable.

Similar things can be said of the myriad of supposed ‘lost episodes’ of popular TV shows. Whether it’s the ‘Squidward’s Suicide’ episode of Spongebob Squarepants, the ‘Dead Bart’ episode of The Simpsons or the Disney-inspired suicidemouse.avi, there are many creepypastas that take advantage of the popularity of specific shows for their fame. All of them have a very urban legend-inspired backstory, often using the ‘found footage’ trope of an intrepid researcher piecing together the story bit by bit. However, they exist almost as the dark side of fan culture; whereas the concept of the meme reuses and recycles a specific trope for humorous effect, some creepypasta distort a trope in order to creep people out. I think the psychological concept of cognitive dissonance plays an important part here; if you notice, all three creepypasta listed at the start of this paragraphs are (practically) kids’ cartoon shows. It doesn’t even stop there; Lavender Town Syndrome (Pokemon), Ben Drowned (The Legend of Zelda: Majora’s Mask) and Polybius (arcade games), all take advantage of the sanctity of things we enjoyed as children before subverting them. Thus, we are left with a cognitive dissonance, as our brains try to resolve the conflict between the happy familiarity of the media and the unnerving creepiness we feel about the subversion…which naturally makes us feel uncomfortable.

Overarching all of these points, however – not to mention conveniently tying all the arguments of this article together – is the main thing that I believe is the cause of the popularity of creepypasta. And that, my friend, is, quite simply, you. Yes, you. You, my friend, are the main cause of the popularity of creepypasta. Okay, maybe I’m not referring to you specifically, but ultimately anyone who considers themselves both a fan of horror as well as a Person of The Internet is the main cause of the popularity of creepypasta. It may sound stupid – not to mention a little pretentious – true, but it’s one thing to get creeped out by a photo or a video, but if it was just left there then creepypasta wouldn’t exist. Ultimately, we live in a social-media-driven digital world in which we share everything that piques our interest, whether it’s a grassroots attempt to crowdsource the film adaptation of a much-loved television show, a campaign to overthrow a tyrannical African military leader, or a gif of a cat trying to stand in a very small box. Consequently, if we find a particular video on YouTube that sends shivers up our spines then you’re sure as hell we’re gonna share it. But it doesn’t even stop there. Memes mutate; it’s in their very nature to do so (or rather, it’s in our very nature to make them mutate). Hence, what started off as a casual discussion online between a handful of horror fans who decided to make their own monster has since spawned a YouTube series, countless forms of fan art and two videogames…and thus, the Slenderman mythos was born.

…come on, you didn’t think I’d finish this article without discussing ol’ Slendy, did you?

I suppose, just in case you’ve been living under a particularly scare-free rock for the past four years, I’d better recap the story of Slenderman’s inception. On the SomethingAwful forums, a challenge was issued to photoshop new supernatural entities into photos. The winning entry was Slenderman; an unnaturally tall, faceless, suit-clad being with a penchant for kidnapping children. Now this just took the world by storm; what started out simply as a small contest between a handful of people captured the imaginations of thousands of internet-users globally and consequently the meme mutated from a single photo to a webseries with over 300,000 subscribers, a game that has been downloaded over 2 million times…and there are even films in the works. But none of that would have happened if it weren’t for our desire to share and adapt things that seize our imaginations.

Now, dear reader, if you’re anything like me if you are discovering these creepypasta for the first time you’ll probably be going through a rather severe case of the willies right now, so lucky for you I’ve decided to be merciful and end on two rather humorous takes on the subject – that incidentally, still utilise the concept of the urban legend – in all their grammar-nazi-inducing glory:

“man & girl go out to drive under moonlight. they stop at on at a side of road. he turn to his girl and say:

“baby i love you very much”
“what is it honey?”
“our car is broken down. i think the engine is broken. ill walk and get some more fuel.”
“ok. ill stay here and look after our stereo. there have been news report of steres being stolen”
“good idea. keep the doors locked no matter what. i love you sweaty”

so the guy left to get full for the car. after two hours the girl say “where is my baby, he was supposed to be back by now”. then the girl here a scratching sound and voice say “LET ME IN”

the girl doesnt do it and then after a while she goes to sleep. the next morning she wakes up and finds her boyfriend still not there. she gets out to check and man door hand hook car door”

And of course…

“So ur with ur honey and yur making out wen the phone rigns. U anser it n the voice is “wut r u doing wit my daughter?” U tell ur girl n she say “my dad is ded”. THEN WHO WAS PHONE?”

Classic.

Speaking personally, the impact Ray Harryhausen had on me permeates several parts of my life, and gave birth to my lifelong fascination with monsters. One of my first memories is sitting on my grandfather’s knee, being allowed to stay up late to watch Clash of the Titans, at 5 years old. I was terrified, but my Grandpa was with me and helped quell that fear. Fear quickly turned to fascination that has stayed with me to this day. This bore fruit, when at age 24 I completed my Masters thesis ‘From Beowulf, to Buffy, and Beyond: The Evolution of the Medieval Monster.’ A solid year of researching monsters from all ages and cultures, comparing their depiction in the past and how they’d evolved in modern time often brought me around to one name: Ray Harryhausen. This shows the true influence of the man in modern cinematic society. To call him the godfather of his field just doesn’t seem to do him justice. I even dug up my thesis and gave it a read through in the wake of Harryhausen’s passing, and found him referenced in the text no fewer than 18 times. My academic life’s work has always surrounded monsters, the ‘other’, and their impact on society and entertainment, and Ray Harryhausen has been with me every step of the way. For that, I am truly thankful.

Born in 1920, growing up in Los Angeles, California, Harryhausen’s first experience with the monsters that would shape his life and career was seeing 1933 creature feature King Kong. After the creative itch hit, he spent his early years experimenting with stop motion model animation inspired by Willis O’Brien, the model animator on King Kong. We have a lot to thank Willis for, because without him urging Harryhausen (following an arranged meeting) to progress his work and hone his skills as a graphic artist, we may never have seen the wondrous works of the subsequent decades.

In 1947 Harryhausen was employed as an assistant animator on Mighty Joe Young alongside Willis O’Brien. Harryhausen took on the main bulk of animation duties, and their combined efforts netted O’Brien the Academy Award for Best Special Effects. This was surely a sign of things to come.

Harryhausen’s first feature film solo effort was the now famous The Beast from 20,000 Fathoms in which a ferocious Godzilla-type mister wreaks havoc, killing untold amounts of people. This film was released in 1953, and was considered the peak of stop motion animation and visual effects. You can just imagine the effect it would have had to those viewing it. As such, it’s no surprise that it was a major international box office hit for Harryhausen and Warner Brothers.

The 50s also birthed the term ‘Dynamation’, a marketing term for Harryhausen’s unique methods of experimenting with colour stock to overcome the problems in color-balance-shift, and his unique style of having model animated characters interact with the live action world.

This unique, iconic, and frankly brilliant style resulted in what is often considered his masterpiece; 1963′s Jason and The Argonauts. There are few people I have encountered in my lifetime who haven’t seen this film, or at least part of it. It’s the film with ‘that scene’ in it; the iconic skeleton fight scene. This was the pinnacle of stop motion to live action interaction, and I personally think it’s stood the test of time. This scene, where seven stop motion skeletal warriors take on three actors has never been surpassed by a single individual, and it’s unsurprising, considering the, more than, four months it took to complete. Add to that such other iconic scenes such as the hydra battle, and it’s easy to see why Harryhausen and his work has touched so many people over the years and remains just as iconic as its first showing way back in the 60s.

Harryhausen revised the Sinbad character from earlier years to create The Golden Voyage of Sinbad (1973) and later, Sinbad and the eye of the Tiger (1977). Both films were great box office successes the latter really showing Harryhausen’s popularity, considering 1977 saw the release of a little known film called Star Wars.

1981 saw the release of the Greek epic Clash of the Titans. This is a film that is truly close to my heart, as it was the film that as I say, birthed my love of everything monster related. In terms of monsters, Clash of the Titans had it all. Pegasus, the monstrous Kraken, giant scorpions, and perhaps most famously of all, an incredible depiction of Medusa. Having studied these monsters as a classics student, I regularly go back to this film and marvel at just how right he got it. Not only did the film showcase his talent, the Harryhausen name even carried enough weight to get legendary actor Laurence Olivier on board, playing Zeus no less. This film always has been a personal favourite of mine for several reasons. It ignited my love of monsters, effectively changing my life, it brings back some truly nostalgic personal memories, and Harry Hamlin‘s acting (don’t get me started) aside, it’s a bloody brilliant film.

Clash of the Titans was Harryhausen’s final film, as post release he and long time producer and friend Charles H. Schneer retired from active film making. Following this retirement, Harryhausen focused on his trilogy of books, Film Fantasy Scrapbook, An Animated Life and The Art of Ray Harryhausen.

In his later life, Harryhausen remained close friends with Ray Bradbury until his death in 2012, and Charles H. Sneer who passed away in 2009.

In 1986 he created The Ray and Diana Harryhausen Foundation, a charity that not only works to preserve Harryhausen’s vast collection, but also promotes the art of stop-motion animation.

In the wake of his death, the real influence he had on the entertainment world became truly apparent with the tributes paid to him.

Some are as follows:

“I think all of us who are practitioners in the arts of science fiction and fantasy movies now all feel that we’re standing on the shoulders of a giant. If not for Ray’s contribution to the collective dreamscape, we wouldn’t be who we are.”

-James Cameron

“Ray has been a great inspiration to us all in special visual industry. The art of his earlier films, which most of us grew up on, inspired us so much.” “Without Ray Harryhausen, there would likely have been no Star Wars”

George Lucas.

“He is one of the true greats, if not the true great of stop motion animation. The unique craftsman has been my mentor and inspiration since my earliest childhood memories.

“The Lord of the Ringsis my ‘Ray Harryhausen movie’. Without his life-long love of his wondrous images and storytelling it would never have been made – not by me at least”

Peter Jackson

“Ray, your inspiration goes with us forever.”

Steven Spielberg

“He is one of the true greats, if not the true great of stop motion animation. The unique craftsman has been my mentor and inspiration since my earliest childhood memories.”

Nick Park

The pedigree of those paying tribute speaks for itself, and says more about the man than I ever could.

Ray Harryhausen died on 7th May 2013 at the age of 92 years old. The world of cinema will forever be changed by him, for the better. Without him, there would be no Star Wars, there would be no Aardman Animation. It’s only when you look back, you realise how much this great man brought to the world. He has left behind a legacy that may never be equalled. He changed the world, my world, in a way words cannot do justice. So I come full circle, eagerly awaiting this summer’s big creature feature Pacific Rim, knowing full well that without the life and works of Ray Harryhausen, it wouldn’t have been made.

You will always be an inspiration. I salute you, and I thank you.

Metro Last Light
Platform: PC, PS3, Xbox 360
Release: 17 May 2013

This game’s predecessor Metro 2033 was an underrated hero of the horror market, labelled a cult classic because of its sorely low impact when first introduced in 2010. Based on a post-apocalyptic science-fiction novel, it chewed on the very notion of survival horror, asking players to survive in the wake of a nuclear holocaust. Metro: Last Light takes place in the same ruins of obliterated Moscow, where a population of survivors take solace underground in the metro. With flavours of Fallout 3 and Dead Space, this is one series to get acquainted with.

The Last of Us
Platform: PS3 exclusive
Release: 14 June 2013

For PS3 parents, this promising trip into post-apocolyptic America has been earmarked on the calendar for a long time. From the hands of Naughty Dog who brought us the beautiful Uncharted series, this sees them take hold of that character blend they do so well and let it lead us down the path to Halloween Town in what promises to be a compelling horror venture. This is a game of survival with a rich storyline that is just as much about the decisions you make as it is about fighting to stay alive. So no, this is not the place to come for scares, that’s for sure. This is for those of you who have time to invest in a story. Try the demo on May 31st and see what you think.

Amnesia: A Machine For Pigs
Platform: PC, Mac
Release: Autumn 2013

For those of you who read Phil’s fantastic review or played the demon yourself, the ground breaking Amnesia: The Dark Descent no doubt left a lingering impression on your nerve-endings. We loved it here at Gorepress HQ and leapt for sadistic joy when the sequel was announced. Amnesia: A Machine for Pigs is set for release in Autumn with brand new characters and locations, whilst still in keeping with their genius premise of placing you on the knife-edge of constant anticipation. But their new baby has sprouted into a monster of a creation that Frictional Games were originally due to release last Halloween. Can we forgive them for the wait? We’ll see when the new brat hits the shelves.

Outlast
Platform: PC
Release: Summer 2013

What lurks behind the secretive walls of Mount Massive Asylum? Journalist Miles Upshur wants to find out. With only a camera at his disposal, all this game asks of you is survival: and it’s a tall order. Imagine if you were unarmed in Condemned; that will give you an idea of what this experience will feel like. Brutish patients chase you through endless broken rooms and corridors, force you into cramped hiding places and leave you to watch them sniff you out in the dark. All sounds very promising, but I am holding my tongue until its release date. The question hanging over its head for me is whether Outlast can really scare, or simply knows how to make you jump, which is all I’ve seen it do in the trailers so far.

State of Decay
Platform: Xbox 360
Release: June 2013

An open world zombie survival game sounds like sweet, sweet music to mine ears. In this flesh-eating sandbox you will find yourself with the tools and the freedom to answer one of life’s important questions: How would you survive a zombie apocalypse? Now’s your chance to find out. Will you fight for supplies, raid police stations for weapons or build a stronghold with fellow survivors? State of Decay reacts in real-time with consequences to your actions so there is genuine pressure to choose wisely. Released on Xbox Live Arcade next month (we hope) add this to your ‘must-have’ list.

Routine
Platform: PC
Release: Autumn 2013

If you want to put your gaming prowess to the test, this interesting morsel could be right up your alley. Routine is a gauntlet of sci-fi horror set on an abandoned moon base. Using only one life, you must try to get as far as you can to discover what happened to the crew, with the very real threat of death looming over you. You’re corpse is dragged right back to the beginning of the game, should you die, and you have to start all over again. Tedium is sure to rear its ugly head with this one, but If you think you’re up to it keep an eye on the Lunar Software website (http://www.lunar-software.com ) for updates on the now postponed release date.

Among The Sleep
Platform: PC, Mac
Release: Late 2013

Re-imagining the archetypes of the horror videogame is a tough gig. But Krillbite Studios have decided to try their hand at it by putting the player in the shoes of a two-year-old. Among The Sleep taps into that natural vulnerability we have all experienced as children and takes us back there, experiencing the horror that shadows and noises in an empty house can bring. As you crawl with hands in front of you, or totter up to large, imposing furniture, there are threats that an adult simply wouldn’t access. The idea is clever, its enough to get people talking, and I really hope they pull it off. But you will have to wait patiently for the release date as creators are still holding down part-time jobs in the background to fund this project. Expect it later this year.

The Evil Within
Platform: Xbox 360, PS3, PC and next gen consoles
Release: 2014

“I want users to get so scared that their hands are in a cold sweat on the controller,” that, my friends, is straight from the mouth of Resident Evil creator Shinji Mikami. He is talking about his newest venture, The Evil Within, a groundbreaking project that vows to return to what survival horror always should have been. Considering Mikami left the RE franchise because of the action-packed direction it was taking, he is a man of his word.

The Evil Within begins at the scene of a mass murder, and Detective Sebastian Castellanos is called in to investigate. But one by one, he witnesses the brutal deaths of the policemen around him and loses consciousness. He wakes to find the modern world has morphed into a dark, twisted pseudo-reality, pitting Castellanos against his worst fears. What began as a simple manhunt reveals itself as a much more enthralling search for evil itself. So – are we excited? You bet your ass. And for those of you with any doubt about how good this game is sure to be, let Mikami reassure you: “I’ve found my focus and once again I’m striving for pure survivial horror.” Have you heard anything sweeter?

We held a small, private party and had a blast, but we had an urge to take it to the public and share the fun. That’s exactly what we did this year. With a helping hand provided by The Lady Luck bar in Canterbury, we were given the opportunity to host an entire day. From 3pm to 8pm we screened Gorepress favourites Troll 2, Stake Land and The Thing, all of which went down brilliantly.

With seven of the local Gorepress crew present, we then held our own slant on the Horror Movie Quiz, compered a little drunkenly by Rosetta and I. Despite jovial accusations that we’d made it a little too difficult, the general consensus was that we’d created an enjoyable quiz, with all of the available tables booked and an admirable turnout.

Winning our quiz with a grand total of 26/40 were a local team of filmmakers. The quiz was rounded out by a picture round on Horror TV Shows as well as spot prizes and Best Team Name and Best Costume announcements.

The whole experience was tiring, stressful and so, so much fun. If we play our cards right, hopefully we’ll be able to host another next year, as well as other events in the future. Viva la Gorepress!

Twenty years ago, in 1992, a film was released that had a slightly different slant on the horror idiom. The cute blonde school girl was not the victim. As the website-breaking title suggests, she turned out, once she had accepted her ‘calling’, to kick serious vampire arse.

The film wasn’t great (although I still cite it as having the best hammed up, protracted death scene of all time). But it was the true beginning of ‘Buffy’.

Joss Whedon, like many of us, was a little tired of the heroines being there simply as eye candy and / or victims. So he set about creating a character that was cute and girly, but kicked serious arse; and in 1992, she cart-wheeled and flipped into our consciousness. But Kristy Swanson was not to wear the crown.

Five years later, in 1997, Buffy the Vampire Slayer hit the small screen, and took it by storm. This time Sarah Michelle Gellar took the lead role. Supported by Alyson Hannigan and Nicholas Brendon, they (and Mr Whedon) created a tale that captured our imaginations for seven seasons on TV (and one more in comic book form), plus gave rise to the spin-off Angel.

Buffy ended its TV run in 2003. But it is still considered a seminal work in the TV horror industry. Why is this? Yes, the writing was superb: a beautiful balance of humour and fear. Well crafted characters that we fell in love with. And excellent performances that really brought it all together. We cared about what happened in the lives of Willow (Hannigan), Xander (Brendon), Angel (David Boreanz), Spike (James Marsters) and many others that came and went.

But the one thing that brought it all together was the story. Not the weekly goings-on that kept us entertained, but the growth of the girl, ripped from her teenage years to become the defender of the world. How she grew, developed, adapted and dealt with the pressures and horrors that she was forced to live with. We watched her live, grow, die (twice), sing (badly) and save the world on a semi-regular basis. She loved and lost. She pissed off her friends, and fixed it. She screwed up royally and pulled it back. She was human. She was the chosen one and kicked serious butt, but she felt real.

But the greatest thing about the tale, and one that is now often overlooked? She was a she.

Before Buffy there were heroines. But they almost always were portrayed in a ‘look, it’s a girl!’ kind-of-way. If you wanted character development, your star was a guy. Otherwise it was all about kicking butt (I refer you to Milla Jovovitch in the Resident Evil films). Oh yes, there are female leads in many shows of the age. But they generally turn to a bloke to do the heavy lifting. Buffy was the first show to treat her as a hero and a person, and has spawned many attempts to create the same balance. But none have achieved it quite as well as Mr Whedon.

Of course, with any form of media that carries a message, there is always a risk that the message can come across too heavy-handedly; more often than not consequently doing more harm than good. Just think of The Happening. This is where Whedon’s particular knack of writing such engaging characters comes to the fore – despite the show’s original intention to subvert the formulaic damsel-in-distress archetype, Whedon manages to tread the fine line dividing subtlety and pantomime. Sure, Buffy might be pretty kick-ass, but at the same time she retains a level of vulnerability that still allows the audience to engage with her as a person.

Which rather neatly brings us to the significance of this article; Women in Horror Recognition Month. There has been a lot of writing done on feminism in Buffy the Vampire Slayer, both in favour and in opposition. The former camp cite, amongst others, the strong female protagonist and the appearance of a lesbian as a main character; the latter, Buffy’s penchant for figure-revealing clothing and desire for patriarchal affirmation. Now at the risk of putting a lot of people off, I’m not going to get into too much detail regarding the feminism debate in this article (not to mention the fact that I’m not all knowledgeable enough to be able to); primarily, Women in Horror Recognition Month is about acknowledging and promoting equality between genders, and in that sense, Buffy deserves a mention. Specifics and nit-picking aside, Buffy the Vampire Slayer features (and indeed, has almost become synonymous with) a strong, almost indomitable female lead, and – to me, at least – that is more than enough to count. Sure, Xander may be rather misogynistic, for example, but no-one wants a show in which all the characters are paragons of All That Is Good and Right. That’s not how drama works. Don’t forget that Xander’s misogyny lies in a deep-rooted insecurity; one could argue that despite all his immaturity (and the fact that he never actually receives any retribution for this misogyny), he’s never looked at as anything more than the clown of the group; never really amounting to anything of power.

Anyway, I’m being sidetracked; one of the things that sets Buffy apart from other similar mass-media heroines of television is that, in the confines of the show at least, she never is portrayed as overtly sexualised – certainly not in the same way that Lucy Lawless’ Xena was, for example. I think this is the key factor that makes Buffy the Vampire Slayer so important. It goes without saying that Xena et al are strong, powerful women, but their appearances were clearly designed with a male gaze in mind. Buffy, however, never succumbs to this; sure, she dresses fashionably, but that’s entirely keeping within her character as a high-school teenager. She manages to kick all sorts of demonic arse without sacrificing her femininity; and I think this is very important. She, as a character, takes on a more traditionally ‘masculine’ role whilst still embracing what makes her a woman, and this is a key factor when addressing Buffy as a feminist role model; indeed, remove her too much from the high school paradigm and the (chiefly teenage and young adult) audience won’t be able to connect to her nearly as well.

A lot of ‘Buffy-as-anti-feminist’ advocates argue the fact that Sarah Michelle Gellar is just too gosh-darn good looking to make a good feminist role model; by casting an attractive actress as Buffy, she as a character would always be subjected to the ‘lecherous male gaze’, thus rendering any feminist leanings as self-sabotaging. However, I think it’s naive to argue this without looking at the opposite sex: tell the truth – how many of you had a crush on David Boreanaz? Or Seth Green? Or – hell – even James Marsters? Casting an attractive actress as Buffy shouldn’t reflect upon Buffy as a feminist role model, because it’s just the way marketing in the world of television works. What’s important is how the character is portrayed, and it’s this dichotomy between bubblegum teenager and vampire slayer that, in my opinion, makes Buffy such a good character, and consequently makes the show so popular.

Preserving this accessibility allows for all sorts of parallels to be drawn between Sunnydale’s hellish goings-on and day-to-day high school occurrences: “In the world of Buffy the problems that teenagers face become literal monsters. A mother can take over her daughter’s life; a strict stepfather-to-be is really a heartless machine; a young lesbian fears that her nature is demonic; a girl who has sex with even the nicest-seeming guy may discover that he afterwards becomes a monster.” This is perhaps one of the reasons that made Buffy the Vampire Slayer such a popular show; its multitextural nature allowed for it to be seen as a modern-day fable whilst still providing a very engaging narrative. This is particularly true of the early episodes, where it very much followed a ‘monster of the week’ structure – the chop and change nature of these episodes allowed for a different social situation (and consequently a different moral) to be addressed each week. Whilst some of these fables may come across as somewhat heavy-handed (I’m looking at you, Beer Bad), I think their relatability played an important role in building the initial fanbase of Buffy.

As the seasons progressed, however, this composition gradually gave way to a more serial-oriented narrative, with epic overarching story arcs, and as such this very X-Files-y ‘monster of the week’ style of narrative was largely lost. However, the seeds of adoration had already been sown and the popularity of Buffy rocketed. It was at this point that the characters started to get more interesting; the serialisation of the show allowed for more character development than before…and with that character development came internal conflict and, consequently, drama. And the latter seasons had drama in spadeloads, especially as the show began to get increasingly darker and began dealing with more and more serious situations: abusive relationships, loss of family members (who could forget), musical theatre…the list goes on. However, despite the bleak storylines that had been woven, Buffy never really lost that very Whedonesque sense of humour that made it so popular in the heady days of season one. Say what you want about the man, but Whedon sure knows how to write characters you fall in love with.

What I always found interesting about Buffy is how well it managed to put its own spin on well-known stories, whether they be novels, movies, short stories, folklore…to explore and explain all the pop-culture intertextuality referenced in all seven seasons would require its own separate article – nay, its own separate website – but regardless of the specific references, what’s important is the familiarity that comes hand-in-hand with it. Because Buffy thrives in 90’s postmodernism – all nods and knowing winks – it manages to both subvert and embrace mainstream horror culture, half-pastiche, half-satire; telling a new story whilst all the while treading a somewhat familiar ground.

You just need to take a look at the opening credits to see this duality in action. Each episode, without fail, the credits open, wolves a-howling and gothic imagery a-gothicking (backed by a four-note melody played on a church organ), before letting loose with a blast of punk music echoing the tune established by the organ. By embracing the schlockiness of classic horror tropes before hammering them bang up to date, we instantly got a sense of Buffy’s postmodern intertextuality.

In some respects it can be argued that this is rather an unoriginal method of storytelling, but as with any self-aware media, it’s not necessarily the content that matters, rather how the content is used…which, of course, harks back to Whedon’s original intention; indeed, his inspiration for Buffy as a character was, in fact, horror pop-culture and the way femininity was represented within it. By embracing Buffy’s origins as a character sat within a wider context, she becomes a vessel through which a message is conveyed. The world of Buffy needs these familiar tropes; remove the references and you remove the show’s capacity to comment on their progenitors.

For brevity’s sake I’m going to wind up this article for now, but don’t get me wrong: Buffy the Vampire Slayer was an epic, eight-season, six year-spanning show. I’ve barely touched the surface of the sheer depth of discussion that can be had on Buffy and the various characters within. But actually? That’s largely beside the point. As a character, Buffy may be flawed. She may be weak. She may be vulnerable. But these moments pale into comparison when you look at all the times she just totally kicked ass. Regardless of whether it can be argued that Buffy is a feminist show or not, no-one can deny the fact that it’s become synonymous with an exceptionally strong female lead. And you know what? That’s enough for me.

Here we are at the fag end of Women in Horror Recognition Month, Gorepress’ lovely Sarah (can I say that without coming across as creepy please?) asked me to contribute a guest blog to the site on the topic and I have been completely blocked for several weeks. “We don’t like to tell people what to write” Sarah said breezily (okay, typed into FaceBook), which was very kind and generous, but really Sarah TELL ME WHAT TO DO!!! For a while I contemplated writing about pregnancy horror, but you would be surprised how many pregnancy horror films are actually all about men (thank you Sir. Ridley). Also writing about Xtro in this context seemed to be rather off message.

So, I decided to take a break from wracking my limited brains trying to the think of a subject to write about and watch the latest episode of The Walking Dead and BOOM! There it was.

When you have been a movie fan for as long as I have, and particularly a horror movie fan, several things strike you. Firstly how difficult it is to get through the night without having to pee at four in the morning, secondly, your knees creak, but more importantly you begin to notice certain names that have been constants in the films that you love for years. Of course we all have our favourite directors, actors, possibly writers. But few pay a lot of attention to producer credits except perhaps in the macho world of blockbuster action flicks, were the name Bruckheimer is more recognisable then the directors of his movies (M. Bay excepted). However, for almost as long as I can remember being a genre fan, a name has been cropping up with regularity. Some times on great films, sometimes on less great films, but almost always on Science Fiction or Horror films (and lately TV shows). And that is producer Gale Anne Hurd.

Like many producers Hurd came from an academic background in something vaguely financial (don’t let me down here Wikipedia) studying Economics in the late seventies before getting a job as an assistant to the legendary Roger Corman (seriously, is there anyone in American genre films who didn’t work for Corman back in the day?) Hurd grafted at New Line Pictures, working her way up to production positions. Eventually she earned a co-producer credit on something called Smokey Bites The Dust (1981). I’ve never seen it, but I have a pretty clear idea of what it’s about.

Now details are sketchy (read: I couldn’t find much from five minutes with Google) but it seems likely that it was during her time at New Line that Hurd will have met another young buck grafting his way through Corman’s ranks, one James Cameron. When Hurd formed her own production company Pacific Western Productions her first film with full producer and co-writer credit was a low-budget, hyper violent, Sci-fi shocker called The Terminator (1984) – you may have heard of it.

I first saw The Terminator when I was 14 on a school exchange trip to France. The French kid I was staying with, frustrated at our complete inability to communicate in two languages, dragged me to a French cinema. France laughs in the face of British classification (and elderberries) and had deemed The Terminator (a UK 18 certificate film at the time) suitable for children. And so I sat in the dark, watching Arn-holdt dubbed into French and came out knowing how to say “fuck you asshole” in French ”Vas te faire encule trou du cul.” I dunno if that’s right now, as I’ve forgotten how to say it, but that’s what Google translate just gave me.

Just how good The Terminator is as a story, and how visually that story is told, is shown by the fact that despite not being able to understand anyone in the film. I only got one story beat wrong. I thought Kyle Reese and John Connor were the same guy. Oops. Think about that for a minute, yeah, I’ve always been a little sick in the head.

Hurd’s next film was again with Cameron (also her future ex-husband) and not only was it their second hit in a row, but it was also one of the greatest sequels ever made, 1986’s Aliens. I saw this on opening night in a cinema in Aberdeen, and to this day I have never seen an audience react like it. Screaming, whimpering, popcorn flying everywhere, it was total bedlam.

Hurd would work with Cameron one more time 1989’s flawed but hugely ambitious The Abyss.

Hurd has 45 production credits on IMDb, and I have no intention of going through them all but here are the greatest hits, plus a bonus disc of B-sides and rarities:

Tremors (1990), Hurd exec produced what is I think the finest creature feature of the nineties. Directed by Ron Underwood (City Slickers), Tremors is a about the residents of a desert trailer park coming under attack by “goddamn underground monsters”. It is hugely entertaining, has a hilarious script, and fantastic idiot buddy heroes played by Fred Ward and Kevin Bacon. Through a stroke of terrible bad luck the film was released in the US just after a major earthquake in California and died a death. It is now regarded rightly as a cult classic.

Cast A Deadly Spell (1991) it is a shame that you have probably never heard of this fantastic TV movie directed by Martin Campbell (Goldeneye, Casino Royale). Set in an alternate reality 40s LA, the wonderful Fred Ward stars as Detective Harry Phillip Lovecraft in a tale of dames, crime and magic. It’s really, really good and I urge you to seek it out.

The Waterdance (1992) a rare non genre film for Hurd. This sensitive and moving story of coping with sudden disability by Neil Jimenez (the writer of the essential River’s Edge) is a lost gem.

Raising Cain (1992), when your first marriage was to James Cameron, would your second be to Brian De Palma? No matter, Hurd produced this, a film that is beyond demented even by the less than subtle standards of De Palma. A crazed, twisted psycho-thriller in which John Lithgow delivers one of the most bonkers performances of all time.

The Relic (1997), a fun monster flick with a really cool creature.

Armageddon (1998), it’s big, it’s stupid, and I really like it and I don’t care what you think.

Punisher: War Zone (2008) produced by Hurd, directed by Lexi Alexander and loosely adapted from the Punisher Max comics by gifted Irish nut job Garth Ennis, this may be the most violent film ever made by women. It isn’t very good, but it is profanely OTT.

The Walking Dead (2010 onwards), male show runners have controversially come and gone but Hurd has been constant from the start of this ambitious attempt to bring a serious hardcore zombie series to US TV. TWD has had its ups and downs, the first series was too short and had a weak ending, the second too long and had a great ending, the third series has hit the sweet spot dead on so far.

There are a load of films I haven’t mentioned, including among the misses, two Hulk’s, Aeon Flux and Virus.

Like many good producers Gale Anne Hurd prefers to remain in the background, but her impressive career is a testament to hard work, persistence and great taste in projects.

So Gale Anne Hurd… producer, woman, Gooner (not necessarily in that order). We salute you.

The first thing that’s worth mentioning is that V/H/S has been rather unpopular with some female and male reviewers alike, for its representation of gender stereotypes and supposed perpetuation of misogyny. This is the point at which I’d like to step in and play devils advocate and write something in defense of the movie to redress the balance.

Back in August last year I reviewed V/H/S after seeing it at FrightFest in London. I awarded it a pretty high 8 skulls, you can read the review here. Hindsight is a wonderful thing and while I might agree now that 8 out of 10 seems a tad generous and that it doesn’t necessarily hold up tremendously well to repeated viewings, my opinion hasn’t changed that much. I stand by my previous assertion that V/H/S is one of the best of the recent deluge of found footage movies and stands up as a brilliantly entertaining popcorn film.

Sadly, due to its somewhat questionable portrayal of both male and female characters, over time it’s started to garner some negative attention and therein lies the crux of this article. Why? Let’s start by detailing some of the characters, segment by segment. Warning : The following will contain spoilers so if you haven’t seen the film, don’t read on.

Tape 56 : Populated by truly obnoxious, frat boy-type petty criminals. Each character is more vile than the last and represents the worst kind of thoughtless misogynist; a completely negative view of males.

Amateur Night : A story revolving around three drunken idiots/potential rapists and the women they pick up from a bar which turn out to be a ‘whore’ stereotype and a demon/succubus respectively. All but one of the men are represented in a remorseless state of douchebaggery and the women are portrayed equally negatively, with only the misunderstood succubus character escaping being shown completely negatively.

Second Honeymoon : A simple story in which the husband is a cuckolded moron and all women are evil and murderous. No-one comes out looking good.

Tuesday The 17th : A teen-populated tale of a supernatural killer that offs the horny male characters and the bitchy female characters without distinguishing between them. Everyone is unlikeable.

The Sick Thing That Happened To Emily When She Was Younger : This segment is entirely made up of Skype conversations between a boyfriend, a girlfriend and some other-worldly children that are along for the ride. The girl is shown to be a naive dolt, while the male is inifinitely more sinister but does appear to show some remorse.

10/31/98 : A story of a group of friends who attend a Halloween party that turns out to actually be the site of a cult ritual/sacrifice. While they’re the usual, somewhat obnoxious group of clowns that we’ve come to expect from found footage, they also appear to be more chivalrous than the average. Arguably the most likable characters in the whole thing.

So, with all that in mind, what exactly is the problem that most people seem to have with V/H/S? Surely, based on that information, the things we should concern ourselves with most are why a Skype conversation is even on a VHS tape in the first place, why Americans still put the month first when writing dates and the fact that, oh my god, we live in an age where a camera in a pair of glasses is a totally plausible thing. Hello, the future!

The sticking point that many, and I hate to generalise but mostly female reviewers, can’t seem to get past is the seemingly unending display of misogny throughout. I think it’s safe to say, reading through my breakdown above, that the female characters in this movie come off just as poorly as the male characters in almost every segment. That’s barely even in question; almost everyone is an inexcusable ignoramus. And that’s the main reason that I don’t understand the backlash. This isn’t the first time a horror movie has been populated almost exclusively by characters that we all love to hate and it definitely won’t be the last. I think what I’m trying to say is that my argument boils down to one thing; just because a movie contains misogynistic characters doesn’t mean it has a misogynist agenda and, because I’m not biased, the same is also true of misandry.

I consider myself to be a feminist, and yet still I defend a movie that contains more misogynistic characters than a whole series of Entourage (which I loved, for the record). I can explain my actions thusly; it’s entertainment. Flippant, I know, but hear me out. Can you really imagine a young, impressionable male watching V/H/S and thinking to themselves “that looks like fun, I think I’ll treat women like disposable fuckholes from now on”, or a young girl watching it and thinking “when I grow up I’m going to get married, then kill my husband on a road trip before legging it with my lesbian lover and living a life of sapphic bliss on the run”? Let’s be realistic here, no, no you don’t. Almost all of V/H/S contains some form of supernatural element which goes some way to separating the stories contained within from the reality that we know. People won’t watch it and expect to be given oral sex by a succubus on their way home from a night out anymore than they’ll assume it’s ok to perpetuate behaviours seen on screen. Know why? Because, in the UK at least, V/H/S was released as an 18 certificate; the highest rating possible before an outright ban. That means that if the people in charge of distributing copies of the film are doing their job properly, no-one impressionable enough to be affected by it should be able to see it anyway. Those of us old enough to watch it are, hopefully, free thinking adults who will be able to seamlessly differentiate between fictional entertainment and real life, without ever confusing the two.

In my mind, and I’m aware that this will go down like a fart in a lift with some people and almost definitely lose me some friends in the horror community, with the knowledge that almost every character is an unrepentant arsehole at some point, or in some small way, why focus on the males? That, to me, almost says more about about the reviewers agenda than the film they are writing about.

So, with that in mind, as both a female horror fan and a fan of V/H/S, I still maintain that most of the bluff and blunder that some reviewers have been writing is, while well argued, mostly untrue and almost certainly unnecessary. All feminists want is equality, right? Well, V/H/S is a perfect example, every character is either morally bankrupt, innately and/or supernaturally evil or mentally deficient. There’s your equality right there. No one gender is portrayed to be any worse than the other, so does that make it anti-human being? Well, no, of course not. To sum up, I’ll repeat myself; V/H/S is the perfect popcorn flick. It’s a flawed film and it’s arguably a throwaway piece of cinema but it’s bloody entertaining. Does it deserve to be called misogynistic? No, I don’t think it does and to do so probably lends the film more weight than it deserves. What’s great though, is that it’s evoked any kind of debate at all, and isn’t that a big part of what being a true film fan is all about?

In honor of this year’s annual Women in Horror month celebration, there are going to be countless articles published about the errors in the ways the horror genre has represented women over the years. While the injustices of female filmmakers are greatly apparent and consistently topical, the idea of sexism and degrading roles of women in the horror genre are perhaps the most talked about subjects. It is no secret that the gender bias within the horror genre is prevalent and it is infrequent for a female character to be anything other than a ‘stock character’. I may be disappointing my feminist allies everywhere, because I’m about to play devil’s advocate in a huge way.

The “Damsel In Distress” archetype is arguably the first character type for women in popular culture. It has without a doubt been cited as the biggest example of differential treatment of genders in literature, film, and works of art. “Damsels in Distress” are often scoffed at as perpetuating the stereotype that women are the weaker of the sexes and are rendered useless without the assistance of a man. The Damsel in Distress is the grandmother of other incredibly offensive female archetypes like the “princess in the castle,” “missing white woman syndrome,” “Daphne Blakes,” and most recently, “Bella Swans.” Despite their seemingly offensive and stereotypical portrayal of women in cinema, they may be quite possibly the most important stock character to happen to horror films.

Before I continue any further, let it be known that I firmly believe that women can be strong and independent members of society capable of taking care of themselves and making their own decisions. I do not believe women are prizes to be won. My ability to analyze a potentially counterproductive aspect of film criticism does not change my feminist viewpoints.

From the earliest examples of horror films, “Damsels in Distress” (or women in peril) were the only roles that actresses would play. From the beautiful Dea in The Man Who Laughs, to the kidnapped Madeline Parker in White Zombie, these women were often the sole conflict of horror films. Although these women were written as nothing more than beautiful prized possessions, it was their existence that propelled the story further than just introductory statements. Film theorist, Budd Boetticher, stated “what counts is what the heroine provokes, or rather what she represents. She is the one, or rather the love or fear she inspires in the hero, or else the concern he feels for her, who makes him act the way he does. In herself the woman has not the slightest importance.” To put it simply, without the simplistic nature of the “Damsel in Distress,” there would be no story. These female characters are absolutely vital to the storytelling.

Here’s the thing. Here is the thing that no one ever cares to admit: we care more about the well being of women than we do men. Don’t believe me? As Major West said in 28 Days Later… “Because women mean a future.” When there is a disaster or a terrible event occurring, people scream “women and children first” or violent criminals are more willing to spare them. This concept has absolutely nothing to do with the idea of women and children being weaker than adult males, this has everything to do with the fact that without women, there is no existence. Men cannot bare children, therefore, they cannot continue on the species. Women are the most important attribute to survival and therefore, are the most valuable creatures to mankind.

When we look at it historically, the reason that “Damsels in Distress” were popular are due to the fact that up until the last forty or so years, there wasn’t any insight to the female psyche. Women were seen as inferior beings and the “Damsel in Distress” is merely a product of its time. Yes, the “damsel in distress” still makes its appearance into films today, but the impact this character type made on horror far surpasses its offensive nature.

Without the “damsel in distress,” we wouldn’t have a character to be offended and angry towards. That may sound silly, but it’s true. If we weren’t so intensely offended by this archetype, we wouldn’t have rebelled and tried so hard to disprove it. Strangely enough, horror movies showcase some of the greatest female protagonists in film history regardless of genre. The rebellion against the damsel in distress introduced entirely new archetypes into the horror genre. Badass women like Alice in Resident Evil or the ladies in The Descent, intellectual anti-heroes like May, women who learned to use their gender against men like Ginger in Ginger Snaps, victims turned champions like Jennifer in I Spit On Your Grave, and brutal killers like Asami in Audition. All of these women (whether for the ‘good’ or ‘evil’) are the complete and utter opposite of a damsel in distress. While many of them do follow stereotypically sexist ideals (they’re all conventionally attractive and they’re ‘crazy bitches’) these women would not exist if it weren’t for the “damsel in distress.” In an attempt to create characters so opposite of the damsels audiences had become accustomed to, it forced storytellers and filmmakers to think outside the box and come up with different ways to explore the female character.

Witness: The Final Girl. The slasher film has arguably the biggest fanbase and brought more iconic characters to the horror world than any other subgenre. Although a bit formulaic at times, they all contain the all mighty Final Girl. Final girls are the virginal, usually brunette, woman who remains as the sole survivor of the slasher film for exemplifying intellect, morals, and strength. The Final Girl is the polar opposite of the damsel in distress and showcases one of the most radical ways to view female characters in the horror genre. Although it is nearly impossible for a filmmaker to write a totally non-offensive female character, the final girl is the closest thing we’re going to get. Hell, even Sidney survived in SCREAM after throwing her virginity to her mother’s killer. Female characters are evolving with every film, and it all goes back to the damsel in distress. Whether you choose to agree with me or not, damsels in distress were inadvertently the most important thing to happen to female characters in horror movies and potentially, all forms of cinema.

First off the bat is a list of my own personal Top 5 Bad Girls. Women can, and have, tackled every possible role in cinema but more often than not they’re present for eye candy purposes or to fulfill a sterotype that’s as old as cinema itself. That’s why I wanted to take a moment to appreciate the women on the other side of that coin; the murderesses, the maniacs and the kickass anti-heroines.

5. Carrie – Carrie White
While not a ‘Bad Girl’ per se, Carrie White provided a fairly pivotal moment for women in horror and brought about her own brand of rage-induced psychokinetic slaughter. She started out as the dowdy, put-upon girl from the bizarrely religious background before blossoming, then crashing and burning on the way to her inevitably nasty and heart-breakingly tragic demise. Although heightened circumstances, which of us can’t associate with feelings of being bullied or not fitting in? Carrie was a character that many women could empathise, or at least sympathise with at some point in their lives, and that’s in some part down to the writing, but in larger part down to Sissy Spacek’s innocently naive, subtly emotional and endearingly awkward central performance. Men and women alike can revel in the bloody revenge she reaks on her tormenters in that High School gym, and she’ll, quite rightly, forever have earnt a place in the annals of horror history and in many viewers hearts because of it.

4. Return Of the Living Dead – Trash
Watching ROTLD was an unforgettable moment of my youth and one that has stayed with me throughout the repeated viewings in the many years since. With zombies, horror, comedy, slime, a rad punk soundtrack and an imaginative slant on an already well trodden path that spawned four sequels, what’s not to love? There are so many memorable characters in the first ROTLD that it quickly becomes impossible to count them on one hand, but one sticks out in my memory. I think it was the first time I had seen Linnea Quigley in anything, and to my mind, it’s her best role. If not best, then it’s certainly my favourite. With a shock of bright red hair, kooky makeup and leg warmers that just won’t quit, I’d put good money on there scarcely being a man alive who didn’t give the screen their full attention when she started dancing buck naked on top of that grave, prosthetic crotch or not.

3. May – May
Again, I might be tenuously stretching the ‘Bad Girl’ tag a little here, but May sure was one mixed up gal. A strict upbringing and a lazy eye left poor May without friends. Well, without friends except for one very creepy porcelain doll, permanently housed in an austere glass case. She spends her days working at a veterinary surgery and her nights sewing her own clothes and talking to her ‘friend’. One day she sees, and falls in love with, Jeremy Sisto’s student filmmaker and, when their brief romance turns sour, turns to stalking, and later murder, to fill her time. With her theory of “if you can’t find a friend, make one” becoming more and more literal, she indulges in her own Frankenstein’s Monster-esque fantasy and detatches further from a world that’s snubbed her for her uniqueness. Played pitch perfectly by frequent Lucky McKee collaborator Angela Bettis, May is a seriously twisted fairytale that reaches its tragicomic conclusion, never lets up in its innate absurdity, and centres on the most lovably demented female character of 90′s horror.

2. The Loved Ones – Lola Stone
An Aussie take on the gorenography trend, The Loved Ones was released in the UK to little fanfare, sadly. Being both compelling and character driven, it’s head and shoulders above the rest of its kind. When Lola Stone asks troubled, lank-haired Brent to the high school dance, only to be nonchalontly turned down, she decided to enlist her equally unhinged Daddy to drug and kidnap him where he becomes the guest of honour at her own, private prom. Memorable for its interesting colour palette, accomplished performances and that song, The Loved Ones deserves a much wider audience than it received, and Lola Stone deserves a prominent place amongst horror cinema’s baddest ladies.

1. The Devils Rejects – Baby Firefly
The follow up to Rob Zombie’s grindhouse opus House of 1000 Corpses was a better film in almost every way, not least because Baby Firefly and her certfiably crazy family took their murderous tendencies on the road. With her skimpy vest and tight jeans, she’s a perfect example of an empowered female who serves as both sexualised sterotype and remorseless murderess, all at the same time, arguably providing an even more terrifying combination. Her apparent girlish innocence is evident in her childish demands for ice cream and bouncy demanour but with a weapon in her hand she’s a force to be reckoned with. Pair that with genre veterans Sid Haig and Bill Moseley putting in brilliantly realised performances and the best instance of Free Bird on film ever, and you’ve got a winning combination of road movie, psycho thriller and white knuckle horror, with a trememdously unsettling female lead.

2012 was the final full year of human civilisation, join me as we take a trip through some of its high points and low points.

Okay, the world doesn’t really end in February. Well, I have no idea if it will or not. It could. It probably won’t. Either way, 2012 was another year of multiplexes being lit up by big budget comic book adaptations. It might not have been the best year for originality though, with eight of the ten highest grossing movies across the globe being based on popular comic or book properties. The other two were sequels to animated animal flicks. In fact, only two of Box Office Mojo‘s top 20 money makers were based on original ideas. Great job, general public. Another nail in the coffin of originality in the pictures? Very possibly.

That’s not to say some of these films weren’t great. The major tussle for box office dominance was perpetrated by two titans of geek; Marvel’s Avengers Assemble and The Dark Knight Rises. The geeks have inherited the media, it seems. Well done, geeks.

2012 was a banner year at Gorepress Heights. We celebrated making a profit on the website (enough to pay for two more years of hosting, no less!), the Gorecast came back with a vengeance, and we galvanised our team with new writers and fresh voices in addition to the old favourites.

Over in the world of horror, it’s been a mixed bag. Yet another Paranormal Activity graced the silver screens, and generally people were quite surprised how good it was. I’m not convinced, but that’s not going to stop the Powers That Be from crouching down and squirting another one out on a yearly basis. The Woman in Black united horror and mainstream audiences, while also starring Harry Potter and harking back to a time when horror was altogether spookier. There are a million more, I’ll get to them in time. First, the lists!

Boston’s Top 5 Horror Movies of 2012

• American Mary
• Cabin in the Woods
• The Seasoning House
• The Aggression Scale
• The Devil’s Business

Sarah’s Top 5 Horror Movies of 2012

• Cabin in the Woods
• Detention
• Excision
• V/H/S
• Stitches

Phil’s Top 5 Horror Movies of 2012

• Cabin in the Woods
• V/H/S
• Excision
• Detention
• Cockneys vs Zombies

Jamie’s Top 5 Horror Movies of 2012

• The Tall Man
• Detention
• Lovely Molly
• Cabin in the Woods
• [REC³]: Genesis

I think it’s pretty clear that Cabin in the Woods is this year’s unifying horror flick, with Detention coming in a close second. Does this mean that we at Gorepress prefer our horror with a wry smile, a pinch of self deprecating and a whole heap of self-awareness? I think it might mean that. It could just mean those were the best films. I’m sure philosophers of the future will ponder that very question. Maybe one will fight the other. We can only hope.

Other notable horror titles that hit screens both big and small in 2012 include:

Paranorman – Wonderfully realised love letter to classic zombie horror mixed in with Amblin-esque sensibilities.

Some Guy Who Kills People – Quirky horror japes with rounded performances.

Grave Encounters 2 – A sequel to the found footager that goes deeper, darker, and dumber.

The Raid – Indonesia actioner with a video game feel.

Storage 24 – Brit-horror with with bags of edge and grue.

Dark Shadows – A film in which Johnny Depp plays a spooky misfit. Also starring Helena Bonham Carter. Guess the director.

Abraham Lincoln: Vampire Hunter – The president kills vampires. Or at least hunts them. I’m not sure, I haven’t seen it.

Prometheus – Ridley Scott’s return to sci-fi and the Alien franchise. It was all a bit bloated and shit, wasn’t it?

Sinister – An effective chiller with some good jump scares, marred by a convoluted, lackluster ending. (Sarah wrote this. Thanks!)

Attack of the Werewolves – Furry horror comedy with a heavy Landis influence.

Worst Movie of 2012

“Jamie, what about the worst films of the year?!”, I hear you cry. Don’t worry, I’ve not forgotten. Mr. Haverhill’s coveted Turd-Scooping Wooden Spoon will be given to one lucky movie. There was much discussion around Gorepress Heights as to which film could clutch this lofty honour to its cinematic bosom. The Innkeepers was one suggestion, Strippers vs Werewolves was another. The Thompsons got some serious discussion, as did Chernobyl Diaries. Ultimately, because it’s my fingers whacking this whole business together, it’s my decision. Not one I took lightly, I assure you. There is a long tradition of the spoon going to aquatic killers, and this year could very well have gone the same way with the gnashing fatigue of Piranha 3DD.

The winner of the Gorepress Worst Movie 2012 goes to The Dinosaur Project. The prize is primarily for its unabashed shitness in the face of such a brilliant idea. Found footage, lost dinosaur world in Central America, exploding helicopters. It could have done it all. But it didn’t. It sucked. Hard.

The Future

What does 2013 hold for us gore lovers and horror addicts? An increase in originality? More of the same? Let’s take a look.

Leftovers from last year:
John Dies at the End is due out here in March
Knights of Badassdom sits in a vault somewhere and might never get released. I’m gutted.
World War Z gets its release in June.

Potential awesomeness:
Three Nights of Halloween
The Green Inferno
Cabin Fever: Patient Zero – I might be the only person stoked about this, but stoked I am.
ABCs of Death
I, Frankenstein
Heart Land
John Carpenter’s Darkchylde
The Conjuring
Silent Night of the Living Dead
Mama

Sequels:
Paranormal Activity 5 (obviously)
Hatchet III
The Return of the Killer Klowns from Outer Space in 3D
The Last Exorcism Part II
Scary Movie 5
Insidious 2
Curse of Chucky
S-VHS
Jeepers Creepers 3: Cathedral
The Human Centipede 3: Final Sequence

Remakes:
Maniac
Carrie
Patrick
Evil Dead
Suspiria
Leprechaun: Origins
Texas Chainsaw 3D

2013 looks to be a messy year, with one of those remakes already getting bad reviews from the critics – I’m not going to name names, but let’s just say it is the one that couldn’t be bothered to use the whole title. On the opposite side of the coin, a different remake is getting buckets of great press, and it was the one I was most horrified about when it was announced. Kudos, Maniac. You done good.

The future is unwritten, and we can only hope that new and exciting flicks make their way out in addition to some of the more yawn-inducing titles above. A Leprechaun prequel?! Really?! Is that where we are now?

Um, happy new year. I guess.

“Candyman, Candyman, Candyman, Candyman………Candyman.”

As far as modern book-to-film adaptations go, Clive Barker has been pretty damn prolific over the years. If it were a race, he’d be holding his own admirably and keeping a steady pace, beaten only by heavyweights Lovecraft and King, with Ketchum and Koontz bringing up the rear. It’s no fluke that so many of his novels and short stories have been adapted; Barker simply knows horror and can write antagonists that lesser authors can only dream of.

Several of his adaptations have spawned an array of sequels and Hellraisers ‘Pinhead‘ and his cenobite cohorts are arguably some of the most recognisable faces of the genre, iconic to even a casual observer of film. Even Nightbreed; one of his least successful adaptations, and a criminally overlooked gem, has been given the attention it so deserves of late as the quest continues to create the most complete cut of the film, which is testament to how much adoration his work receives, the world over, and deservedly so.

Now a full two decades old, Candyman remains one of his most successful and profitable movies and thrust Tony Todd, as the titular Candyman, into the Robert Englund-esque ranks of genre royalty. Although it reeks of the 90′s, mostly due to the stylistic choices in clothing and decor, Candyman has a classic, timeless quality to it and that’s down to the story at its terrifying centre. Taken from his Books Of Blood, Candyman is one of Barkers finest forays into book-to-film adaptations

Helen, an attractive graduate student writing a thesis on urban legends decides to investigate a local legend which just so happens to be the catalyst for a terrifying journey into her own psyche and what might or might not be real. She soon learns of a wronged man with a hook for a hand who, when his name is said five times into a mirror, appears from nowhere to take the life of the person that summoned him. A non-believer, Helen foolishly decides to do the exact thing said to summon the monstrous legend and delving deeper and deeper into the story begins to have dire consequences on the people in Helen’s life and on her own sanity.

Candyman’s strength lies not only in the strong source material, but in its ability to play on a supremely primal fear in all of us. In the same way that home invasion and haunting horror movies have been so successful in recent years, Candyman plays on the fear of feeling unsafe in your own home; the one place that’s supposed to be impenetrable by all the outside threats usually associated with the genre. It’s highly unlikely that an inbred, cannibalistic hill tribe, a masked slasher out for revenge or a terminally ill serial killer, hellbent on torturing you for your past indiscretions would bother the average person going about their business in their own suburban home. Candyman, on the other hand, depends only on those idiotic or arrogant enough to repeat his name five times and therein lies the films simplistic genius. What’s scarier than not being safe from your attacker anywhere, least of all your own home; your safe haven?

Helen is our every[wo]man. A heroine with whom we can all relate. She encompasses or experiences all the familiar Barker tropes; rejection, prejudice, betrayal, trauma and fear of the unknown, all wrapped up with a neat little supernatural bow. Virginia Madsen lights up each of her scenes; managing to be cocky, naive and innocently beautiful all at the same time. As the principle character a lot was asked of her, including but not limited to, being covered from head to toe in blood, having to act whilst covered in live bees and veering between showing the required amount of restraint as the very ‘proper’ student, to the frightened-for-her-life victim, to the calm and accepting antagonist by the end frames. Reportedly hypnotised for some of her scenes, whether true or not, it certainly adds a layer of magic to the performance. It’s difficult to imagine that the role almost went to a then unknown Sandra Bullock who, while she’s become a mostly terrific actress in her own right, almost certainly wouldn’t have been right in this role. Even more disconcerting is the knowledge that Eddie Murphy was considered for the titular role that eventually went to Todd.

Tony Todd, as the legend come to life, has a tremendous cinematic presence. It’s sad, now, that he’s almost become a parody of the promise he once showed, simply making appearances on the back of his role here and the praise that went with it. He’s a hugely charismatic actor and, along with Barker and Rose, created a monster of almost Biblical proportions, all bass voice and quietly threatening demeanor.

As with a lot of Clive Barkers stories, Candyman is chock full of ambiguity and shades of grey. Is the Candyman truly bad or just a victim of circumstance, forever trapped in a cycle of vengeance due to his treatment whilst alive? Is our doe eyed protagonist Helen really as undeserving of her fate as she makes out? Is everything really playing out as we see, or is she insanely delusional? Is Helen doomed to repeat the Candyman’s curse for all eternity, proving her existence to non-believers and exacting bloody revenge against those who’ve wronged her? It asks a lot of questions of the viewer and provides only as many answers as absolutely necessary, as with all intelligent films, and in my opinion, is all the better for it. This is not a film that spoon feeds the viewer, like so much modern horror.

Bernard Rose’s direction, while not breathtakingly original, serves the material exceptionally well. Candyman is not a story that needs elaborate shots and inventive technique, the dialogue and visuals are all we need. He has a keen eye for the macabre and has created a wealth of memorable set pieces, from the blood soaked toilet stall, to the depressing, graffiti-laden Cabrini Green tower blocks, to the unintentional bonfire/funeral pyre during the final third, they’re all hauntingly memorable.

This is a film that is devoid of CGI and owes all its effects to the skill of the team working on it. For the most part it thoroughly shames any film reliant on computer effects that’s come in the two decades since. The Candyman’s hook is a triumph of design too. Simple but disgustingly visceral; it’s a truly frightening creation.

With a majestically gothic Phillip Glass score giving proceedings a beautifully moody and deeply foreboding atmosphere, all organs and choral voices, Candyman trundles along at a near perfect pace, ramping up the tension with each frame. It’s epic, visionary filmmaking at its finest and an often overlooked classic.

Candyman is a surprisingly poetic film. It’s hauntingly mesmerising and at its core is a tragedy of almost Shakespearian proportions. As is his specialty, Barker created a very human monster in the Candyman, and succeeds in not only pulling the viewers emotions in several directions in quick succession, but demanding our attention and making us question our own morals, values and core beliefs, whilst simultaneously scaring the living crap out of us. This is cerebral filmmaking at its peak and more than deserves a place in the annals of horror greatness.

This weekend I was lucky enough to go to the 5^th annual Eurogamer Expo down in London to test out an entire buffet of upcoming videogame titles. I only got a demo-sized taste of them, but they left me with a lot to ponder. So if you’re wondering what to look out for this season, here’s my hit list of horror.

Doom 3 BFG Edition

Release Date: October 16th 2012

Platform: Playstation 3, Xbox 360, PC

Get ready to hide under the desk; the Doom gang have re-released Doom 3. The revamped BFG edition (points for anyone who can guess the reference) offers an updated version of the original game, including expansions and a copy of Doom 1 and 2 slapped on for good measure. I tested the 3D version at the expo, which was a gimmick most of you wont buy and frankly a big hazy mess. But shoving that aside, this game is looking good in its new skin. The changes they have made to gameplay were all subtle and effective decisions. Gone are the days of having to choose between your flashlight and your gun because the engine couldn’t handle two mechanics at once, now they synch seamlessly on screen. Other subtle strokes of genius include checkpoints and an increased movement speed, making it a joy to play because these minor fixtures leave the nostalgia untouched. The bottom line is that for old fans and curious newbies alike, Doom 3 is simply unmissable. So use this as an excuse to get in touch with an old friend every horror fan should know.

DmC: Devil May Cry

Release Date: January 15^th 2013

Platform: Playstation 3, Xbox 360, PC

I, among many others, had preconceptions about this game. But as soon as I got my hands on it, I felt like I was slipping back into the driver’s seat of a car that had just had its MOT; not necessarily a good thing. Where were the surprises? Gameplay was disappointingly familiar, weapons did nothing new, and the level design was lifted from DMC4. So if the new-look hero Dante is the only thing they have changed about this game, I found myself asking why should I pay £40 just for some new dialogue?

Resident Evil 6

Release Date: October 2^nd 2012

Platform: Playstation 3, Xbox 360, PC

I’ll give you my first, gut-feeling impression of this and it sounds quite strange: Time Crisis. Yep, you heard me, Time Crisis. From the minute I was put into play I just had the horrible feeling that I was on rails. The famously dodgy camera work of this series has just gone too far and moves like an over-excited child to literally jerk you in the direction of where you need to go. You and your co-op partner are in the thick of a zombie horde (standard) but you don’t get to explore it. You get pushed around and yanked away from the action into a quick-time event every few minutes and are left wondering where all that promise from RE4 has gone? This is certainly not the game I was expecting, Capcom, and I’m a super fan of this bloody franchise. Hopefully the full game will offer more on the plate, but for a lot of fans the demo has swerved them away from the blind hope that this series has still got it.

(Look out for the full review coming soon to Gorepress)

ZombiU

Release Date: November 30^th 2012

Platform: Wii U

Put a sock in it Mario fans, looks like horror just found a new console to play with.

Here is a first person survival horror game, but it’s on the sodding Wii-U. Might as well call it a write off, hey? Wrong. This game was the surprise highlight of the expo for me. Its sexy, its smart and from the moment you start wielding the intuitive touchpad controller, you want to play and play some more. Now that is something I never thought I would say about a Wii game.

ZombiU epitomises survival. Your character is replaced when they die so there is no getting attached; they simply can’t help you. It’s just you and your touchpad controller against bleak, zombie infested London. Use it as a scanner to search a room, clutch it as your life saving map and as you wander the dark city and all of her houses, there is no pausing to switch weapons or pull an attaché case out of your arse either (you listening Leon. S. Kennedy?). If you’re out of ammo and a zombie is inches from your face, tough. There’s no pausing. You just need to scramble on the touchpad to rifle through your inventory in real-time because that zombie is coming straight at you. It’s realistic, and that for me is where real scares are born.

After queuing for miles and getting just a snippet of a taste of this game, I was told my time was up and slumped off truly upset that I couldn’t play anymore. Deep breath before I say this, but I want a Wii-U and this game now please. After which I would probably be happy hawking off the console online, but this game wants my attention so what can I do?

Easter Egg: For those of you who didn’t get to attend the expo, an exclusive collection of developer session talks were recorded live and are available to watch online here: http://www.youtube.com/user/Eurogamer. There is an exclusive presentation from DmC developer Ninja Theory, as well as an invaluable lecture from Chet Faliszek, co-writer of Half-life 2 and Portal on how to get a career in the games industry. Much Love.

We arrived in Leicester Square on Thursday and picked our tickets up straight away before meeting up with Boston and going for pre-FF drinks at the Captains Cabin; something I’m assured has become a bit of a tradition amongst the regulars. We’d been sat down for no more than a minute before someone at the next table had sniffed out fellow horror nerds and started talking to us. That’s how friendly everyone is.

We then checked into our hotel, which looked suspiciously like the one from Basket Case, only with fewer prostitutes and absolutely no mutant siamese twins in baskets, and got a good nights sleep before a full day of movies on Friday.

Arriving at the Empire Cinema promptly on Friday morning proudly wearing our Gorepress t-shirts, we queued for a few minutes and then went straight into Screen 1 for, perhaps my most hotly anticipated movie of the fest, the Cabal cut of Nightbreed. I think I can confidently speak for both myself and Matt when I say that Nightbreed is one of our favourite movies of all time and we weren’t disappointed. After rumours that the cut left a little to be desired, we were pleased to see that, although the footage was of inevitably poor quality, it certainly added to the over-arcing storyline and was much closer to being the film Clive Barker had always intended it to be. Afterwards there was a Q & A with some of the original cast members as well as the chaps responsible for bringing the cut to life.

After a short break we came straight back for the Total Film Icon interview with Dario Argento. I cannot fully express how excited I was to be breathing the same air as such a tremendously talented director (yes, he’s made some turkeys recently but no-one can deny the genius of his pre-1985 efforts). I’ve become quite the giallo fan in recent years and although the interview got off to a slightly rocky start and was marred a little by the language barrier, Argento came across as a rather humble man with a wicked sense of humour. A true highlight of the day.

Next up was a Chilean film called Hidden In The Woods that I knew nothing about and went into completely blindly. It polarised everyone in the audience straight away, with the majority outright hating it. In terms of nonsensical exploitation I found it reasonably enjoyable, despite the atrocious subtitles which appeared to get progressively worse throughout and became a bit distracting at times. The director Patricio Valladera was available for questions afterwards, along with his translator and the whole thing was surprisingly entertaining. We learnt that he’d essentially conned the Chilean government out of money to make the movie by telling them it was a ‘social drama’. Ballsy, if nothing else. He did enrage the feminist within me when the only words he could find to describe one of his leading ladies were “other one, big tits” and again, the language barrier proved a little problematic.

After another break came [REC] 3 which was a vastly different offering to the previous two. Played completely for laughs, it had a very different feel but I thoroughly enjoyed it and despite not being quite the same sort of achievement was definitely very enjoyable. The audience were cheering and whooping in all the appropriate places too, and it’s hard not to get caught up in that sort of enthusiasm. It was lovely to be surrounded by such likeminded individuals.

After the movie, Paco Plaza and his wife/leading lady, the gorgeous Leticia Dolera took to the stage to answer some questions, at which point we bailed, in desperate need of a caffeine injection and some food!

Last up was Irish horror comedy Stitches, introduced by its director Conor McMahon and star Ross Noble. This was perhaps the most entertaining part of the day. I’d never been a big fan of Ross Noble but his sarcastic schtick and hilarious Bane impersonation won me over and McMahon anchored the intro by being both shy and modest. At this point of the day, I think I was so tired that I may have been in the wrong mood to enjoy Stitches fully but it was still a funny, inventively gory and sick little gem and I’m looking forward to catching it again on its proper release.

I started off the day feeling incredibly nervous but I soon realised that there was absolutely no need to be. On the whole, the audience was a great crowd and despite one or two unavoidable hiccups and a couple of the movies running a little late, FrightFest seems like an impeccably organised affair. If, like me, you’ve ever toyed with the idea and found an excuse, just go for it. I was ridiculously sad to have to leave and found myself feeling insanely jealous of everyone who got to stay and enjoy 3 more whole days of films, guests and general awesomeness! Next year cannot come soon enough. Viva la FrightFest!

Don’t be. Just because you’ll be spending hours and hours sitting in the dark having your nerves jangled and ears raped doesn’t mean there isn’t a social aspect to Frightfest.

Frightfest has a vibrant community online and in-person.

Firstly check out the Frightfest forums over on the official Frightfest website HERE. Even if you’re not going to Frightfest these forums are a great place to chat horror, get recommendations and talk to like-minded horrorites.

It’ll also ease off any nerves about the people attending Frightfest. From the forum you can tell they’re all awesome people and absolutely LOVE horror films.

DO TALK TO STRANGERS

“But what about Frightfest itself? I can’t just wander up to strangers and talk about films… can I?”

God yes! That’s what Frightfest is all about! Just because Frighfest films teach us that talking to strangers will result in our horrible and untimely deaths, it doesn’t mean the cinema foyer is full of nutters wanting to disembowel you!

I remember having heated ‘discussions’ about Martyrs and Inbred over the past few years, with people’s opinions massively divided!

Everyone is approachable (unless they’re total nobbers. There’s always a few) and the festival organizers are always happy to chat, although might have to run off to sort out any emergencies / fight crime!

I’ve only done Frightfest (the full weekend pass) once before, but I now get that sparkle of recognition from other Frightfesters and that uncertain half-nod which says ‘I think I know you, but I’m worried you’re actually just a mental person’.

Just approach people. Chat films. Gain friends. Make babies. Erm…

The ‘talent’ even hangs around before and after their films, with writers, directors, actors, producers, special effects people and endless other “film people” ready and willing to chat the horror. It’s their passion too, so go talk to them!

Regulars include Jake West, Christopher Smith, James Moran, Neil Marshall and Axelle Carolyn, amongst others. Last year Simon Pegg (of Star Trek fame) turned up, alongside Jonathan Ross and his flame-haired wife / uber-scriptwriter Jane Goldman. It’s an eclectic mix of film makers, fans, icons and crazy people. Just dive in.

THE CABIN OF DOCTOR FRIGHTFEST

Those wanting to get their social on early can attend the ‘pre-Frightfest drinks’ which kick off at 3pm on Thursday 23rd. Where?!

The Captains Cabin

4 to 7 Norris Street

Piccadilly

London

SW1Y 4RJ

Map HERE

It’s a Taylor Walker pub, so you gotta try their vegetarian fish and chips. Man, that stuff is AWESOME.

I know at least seven people who’ll be at this little shindig, so I hope they’ve got a lot of bar staff on… and a lot of drink deals. Four pints for a quid? Awesome!

The Frightfest rulers (or organizers. Whatever) have warned us not to get too hammered, which is probably a good idea, otherwise you might spend The Seasoning House blowing chunks on your neighbours. Which is bad.

Drink in moderation, overdose on horror – that’s the Frightfest way.

OPENING NIGHT

Thursday is also OPENING NIGHT and a peculiar tradition has snuck into Frightfest land over the past few years, and that’s for everyone to ‘dress up’.

By ‘dress up’ we don’t mean whack on a hockey mask and grab the nearest machete, we mean actually dress up ‘nicely’: in dresses, suits, ties, actual shoes and maybe something called ‘cufflinks’. Hey, why not wear a hat? I dare you.

I’ll personally be wearing something less casual than my usual faded T-shirt and ripped jeans. I might even polish my shoes. Or at least lick them until they’re a bit shiny.

This dressing up thang is not compulsory, but you should probably be aware it’s actually happening in case you think you’ve fallen into a different dimension.

GOREPRESS FRIDAY

Gorepress will be out in force on Friday, all boldly wearing our Gorepress T-shirts and hoping any directors I’ve pissed off aren’t there. With knives. I hear the director of The Bunnyman Massacre is flying across the pond specifically to punch me in the face.

Incidentally, the T-shirts are available to buy (you know you want one) from HERE, so you could turn up at Frightfest and pretend to be one of us. I’m the fat one with the face.

Come say hello!

THE PHOENIX ARTIST CLUB

Those lucky enough to have full Frightfest festival passes also have exclusive access to the Phoenix Artist Club, which is nestled gently below the Phoenix Theatre on Charing Cross Road. It’s a bitch to find if you’ve never been there, but just ask someone who knows and they’ll direct you there.

Map HERE

This is the place where the majority of festers end up until the god-awful early hours of the morning, normally finding themselves having a verbal duel with someone who swears blindly Dead Cert was a fantastic metaphor on 1950’s crime dramas. There will also be drink deals available for all Frightfest ticket holders.

It’s a place of drinks, laughter and the occasional outburst of anger followed by weeping and then shame. Like any good funeral. Just remember the next film is at 10am, so being piss-blind drunk at 2am isn’t a great idea…

On MONDAY 27^TH AUGUST the Phoenix Artist Club will be open ALL NIGHT. That’s more of a threat than a piece of information. I apologise in advance for anything I do, say or sing.

WHY THIS ARTICLE?

I think there’s a huge amount of focus on the FILMS at Frightfest, but unlike a lot of other festivals there’s a real community at Frightfest and wanted to highlight it. Frightfest is a place overflowing with like-minded horror film fanatics and (without sounding trite) friends-in-the-making. Don’t just turn up and watch films.

Come along and meet people. Frightfest isn’t just about celebrating horror, it’s about celebrating the people who love it.

See you tomorrow!

Unless you’re not going. See you next year?

It’s about discovery.

Or at least, it should be. Those non-pass holders going for the safe options of sequels, zombie-flicks and big name horrors should also consider going a ‘little wild’ this year and randomly plucking some films out of the air.

Gorepress has decided to give a (slightly) in-depth look at Frightfest 2012 for anyone who still looking to get tickets for the weekend, but also for those lucky bastards with festival passes, who might not know what to watch quite yet (or when to have dinner instead of growing more arse-blisters).

We look at the short film showcase, the quiz, the ‘other screens’ and finally pull apart what’s on; not by judging them or making suggestions at what to see, but by looking at what is truly exclusive and unmissable and what is coming out on DVD two days later…

THE SHORT FILM SHOWCASE

Short films. They get a bad name. Some people think they can’t evoke the same feelings as 90 minutes of feature film, but that’s just bollocks.

The Frightfest Short Film Showcase is genuinely superb. From the subtle and beautiful to the bat-shit mental and horrifically violent, these short films will deliver buckets of blood, character and provide an insight into the horror writers / directors / filmmakers of the future.

Anyone who saw last year’s Short Film Showcase will remember (fondly) the mad insanity of Banana Motherfucker and Brutal Relax alongside the bittersweet likes of The Last Post.

Attack of the Killer Bananas

This year sees short films from Spain, Canada, France and the UK, which include titles like The Halloween Kid, Metal Creepers and My Brother’s Keeper (or how not to survive the apocalypse).

To rip the words right out of Frightfest’s bloodied maw – “Maniacs, monsters, demons, creepy kids, apocalyptic visions, phobias, heavy metal meltdown and snails… Welcome to this year’s wild and eclectic mix of cutting edge short films from the global arena of the fantasy and horror genre.”

90 minutes of superb entertainment, which you might not ever be allowed to see again. I still want a copy of Brutal Relax from last year. What an exceptional short film.

Short films? Easily dismissed? Not here. They’re essential viewing.

And how much?!  12 of your English pounds. Is that expensive? No. Especially considering it gains you entry to the Quiz from Hell.

The WHAT?!

THE QUIZ FROM HELL

This was one of my favourite parts of last year’s Frightfest as I finally joined in with ANDY NYMAN’S QUIZ FROM HELL and certainly wasn’t disappointed. I was made to feel like a total moron, but I definitely was not disappointed!

Andy Nyman in Abigail’s Party. Maybe.

Running for the third year and destined to provide some of the hardest fucking questions you’ve ever been asked about horror, Quiz From Hell 3 is all part of the Short Film Showcase package and 100% worth the £12 entry fee.

Fuck prizes. Fuck winning. Managing to answer 25% of the questions without your brain bleeding out of your nose will be impressive enough. Last year they had poster mash-ups, general knowledge and the most absurd ‘music round’ you’ve EVER HEARD OF.

All hosted by the actor, genius and gentleman Andy Nyman.

Brilliant fun.

So don’t dismiss Sunday’s SHORT FILM SHOWCASE + ANDY NYMAN’S QUIZ FROM HELL 3.

In fact, go and buy a ticket.

NOW!

THE DISCOVERY SCREEN

Discover this!

Man, this is tough. Frightfest has THREE screens this year. Read ‘em. THREE. This makes your decisions even tougher than last year, with the Main Screen and Discovery Screen now in competition with the Re-Discovery Screen. Who will win?! The Main Screen… right?

Right?

And this!

I completely dismissed the Discovery Screen last year. Why? Because I’m an idiot. I just presumed it was full of films not quite as good as the Main Screen. On hindsight, that is a bastardly-dumb and naive approach, but one unfortunately shared by a lot of people.

So you have a choice.

And this!

If you haven’t got a festival pass and found the Main Screen films have sold out, don’t look at the other screens with sadness. They’ve got World Premieres, exclusives and some soon-to-be-classic offerings. Cast and crew will be there, there’s even a live commentary of Inbred on the Re-discover screen, a film that split audiences in two (like an incredibly-violent jar of Marmite)!

Festival pass holders can choose the Discovery Screen / Re-Discovery over the Main Screen by picking up their tickets on the morning of the screening. You can’t just stroll into the Discovery Screen like the Main Screen – even festival pass holders need tickets!!

So what do you choose? Well, there are a LOT of factors involved… and Gorepress want to help you out (or confuse you further).

Let’s go.

CHOOSING YOUR FILMS

One big pull for horror fans (and movie fans in general) with film festivals such as Frightfest is the preview aspect.

Frightfest has delivered us horror films that don’t get UK release dates for months and years (and sometimes NEVER). There are previews, UK premieres, European premieres and World Premieres on offer here and sometimes you’ll find yourself in a room with the cast and crew, watching the final edit of their film for the very first time. Some edits are finished a week before! Even the cast are surprised / shocked / crying with shame!

However, there’s something a little gutting after watching something – with this feeling of exclusivity – and finding it on DVD the following Monday, or at the cinema two weeks later!

Now, that’s not to say the films are somehow magically unenjoyable just because they’re released into the wild a few days later… but it does lose some of the ‘exclusiveness’, especially to those who have Cineworld cards (see what you like, whenever you like!) or realize the DVD is available to buy for cheaper than the cinema ticket.

This is especially pertinent when you’ve missed the world exclusive of a film on the Discovery Screen in order to watch something released on DVD two days later (Outpost II, I’m looking at you)!!

Bloody undead Nazis…

Gorepress has decided to wheedle this information down into one useful little post. Use it how you will! If the fact Wrong Turn 4 is out on DVD two days after its Frightfest screening puts you off, then so be it, much like Nightmare Factory’s lack of release date might make you buy a ticket instantly because you may never have a chance to see it, ever again…

Below is a list of each film showing on every screen (the Main Screen, Discovery Screen and Re-Discovery Screen). Crazily the Re-discovery Screen has some films repeated from the Discovery Screen – so when you’ve discovered it, you can go back and re-discover it the next day!! This is brilliant for word-of-mouth films like last year’s surprise discover-screen hit Rabies.

In the list below we will only mention the films once!

Gorepress’s release dates are selfishly only based on UK release dates. Europe, Japan, USA etc… may have already had these released or might never see these, ever. They might be available on import (some are!) but we’re only looking at actual UK release dates. This list is good for Brits, but maybe a little inaccurate for our foreign friends (sorry!).

To make it easier to read, we’ve colour-coded it!

• Imminent Release (within 1 month)
• Released 2012
• No release date information available

MAIN SCREEN

Thursday 23rd August

• THE SEASONING HOUSE – WORLD PREMIERE
• COCKNEYS VS ZOMBIES – WORLD PREMIERE
• (Released in cinemas 31^st August 2012)
• GRABBERS - PREVIEW
• (Currently out in Ireland, no concrete information on its release in England…)

Friday 24th August

• NIGHTBREED: THE CABAL CUT – UK PREMIERE
• TOTAL FILM ICON: DARIO ARGENTO – WORLD EXCLUSIVE
• HIDDEN IN THE WOODS – UK PREMIERE
• V/H/S – UK PREMIERE
• [REC]3 – UK PREMIERE
• (released on DVD 3^rd September 2012)
• STITCHES – UK PREMIERE
• (in cinemas October 26^th 2012)

Saturday 25th August

• EUROCRIME - UK PREMIERE
• OUTPOST II: BLACK SUN – UK PREMIERE
• (released on DVD 27^th August 2012)
• PAURA 3D - UK PREMIERE
• UNDER THE BED – EUROPEAN PREMIERE
• TULPA – WORLD PREMIERE
• MANIAC – UK PREMIERE

Sunday 26th August

• THE THOMPSONS - UK PREMIERE
• SHORT FILM SHOWCASE & QUIZ FROM HELL 3 – UNIVERSE EXCLUSIVE!
• SLEEP TIGHT - UK PREMIERE
• BERBERIAN SOUND STUDIO – PREVIEW
• (in cinemas 31^st August 2012 (on limited release))
• SINISTER - UK PREMIERE
• (in cinemas 5^th October 2012)
• DEAD SUSHI – EUROPEAN PREMIERE

Monday 27th August

• AMERICAN MARY - PREVIEW
• AFTER – UK PREMIERE
• CHAINED – UK PREMIERE
• THE POSSESSION – EUROPEAN PREMIERE
• (in cinemas 31^st August 2012)
• TOWER BLOCK – WORLD PREMIERE
• (in cinemas 21^st September 2012)

DISCOVERY SCREEN

Friday 24th August

• GUINEA PIGS - PREVIEW
• THE VICTIM - UK PREMIERE
• (released on DVD 24^th September)
• ELEVATOR – UK PREMIERE
• (released on DVD 3^rd September)
• A NIGHT OF NIGHTMARES – EUROPEAN PREMIERE
• SAWNEY: FLESH OF MAN – WORLD PREMIERE
• ERRORS OF THE HUMAN BODY – UK PREMIERE

Saturday 25th August

• MAY I KILL U? – UK PREMIERE
• KILL ZOMBIE! – UK PREMIERE
• (released on DVD 17^th September)
• NIGHTMARE FACTORY – PREVIEW
• BEFORE DAWN – WORLD PREMIERE
• REMNANTS – WORLD PREMIERE
• WRONG TURN 4 – UK PREMIERE
• (released on DVD 27^th August 2012)

Sunday 26th August

• WE ARE THE NIGHT – PREVIEW
• (released on DVD 15^th October 2012)
• THE INSIDE – WORLD PREMIERE
• COMMUNITY – WORLD PREMIERE

RE-DISCOVERY SCREEN

• INBRED – live DVD commentary! – WORLD EXCLUSIVE
• THE ARRIVAL OF WANG – PREVIEW
• (released on DVD 8^th October 2012)
• CRAWL - PREVIEW
• THE MUMMY’S SHROUD – RESTORED VERSION
• (released on DVD / Blu Ray 22^nd October 2012)
• RASPUTIN THE MAD MONK - RESTORED VERSION
• (released on DVD / Blu Ray 22^nd October 2012)
• THE DEVIL RIDES OUT - RESTORED VERSION
• (released on DVD / Blu Ray 22^nd October 2012)
• THE BRIDE OF FRANKENSTEIN – RESTORED VERSION
• (released Blu Ray 1st October 2012)

Things of note here – there are more world premieres on the Discovery Screen than the Main Screen, which is certainly intriguing.

The RED titles currently don’t have a UK release date (that we can find!) but they could appear immediately, all depending on distribution / critical success etc… They might also never been seen again in the country.

Give Sennentuntschi a UK release! You bastards!

I’m still waiting for Sennentuntschi: Curse of the Alps to get a UK release, but so far it’s only available in German on DVD / Blu Ray!

MORE AUGUST FRIGHTFEST!

One thing that totally surprised me was the Chichester Fright Fest! What’s that?! Exactly!! Taking place from the 27^th – 31^st August, this mini-Frightfest is showing Berberian Sound Studio, Grabbers, Elevator, REC3 Genesis and V/H/S!

Check it out HERE

If you’re missing any of these films at Frightfest (Leicester Square) or desperately want to see them again, then get your arse to Chichester Cineworld – £7.50 a ticket!! Bloody bargain!

DECISIONS, DECISIONS

So what do you watch this Frightfest? That’s entirely up to you. Gorepress aren’t going to tell you what they think is the perfect selection of films or what to avoid – Frightfest is all about discovery!!

Personally I would choose to watch Kill Zombie! over Outpost II, for example. Both released on DVD within a month, it’s just Kill Zombie! comes out later… I’ve also seen it, and it’s great fun! Review HERE.

But will you choose Sawney: Flesh of Man over [REC]3? Will the Short Film Showcase drag you away from the World Premiere of The Inside? Will I watch Nightmare Factory or Paura 3D? I still don’t know!! Dammit!

So much choice.

Good luck.

[Gorepress’s final Frightfest preview will be on Wednesday when we look at the social aspects of the festival. Good times await!]