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'Werewolf Rising' howls to DVD in October

Werewolf Risingby Seth Metoyer

It's time to howl because WEREWOLF RISING will be releasing to on DVD on October 14, 2014. The cast includes Bill Oberst Jr., Melissa Carnell, Matt Copko, Brian Berry, and. Irena Murphy.

Check out the full lycanthrope details below.

From The Press Release:
Image Entertainment, an RLJ Entertainment (NASDAQ: RLJE) brand, announces the DVD release of the horror thriller film WEREWOLF RISING. Directed by BC Furtney and starring Bill Oberst Jr. (Abraham Lincoln vs. Zombies), Melissa Carnell (Boggy Creek), Matt Copko (Dirty Laundry), Brian Berry (Hellspawn), and Irena Murphy (Bitter is Better), WEREWOLF RISING will be available on DVD for an SRP of $27.97 on October 14, 2014.

Desperate for a break from big city life, Emma heads to her family’s cabin deep in the Arkansas hills. As she settles in for some much-needed R&R, she learns that something unspeakable lurks in the surrounding darkness. As the full moon rises, a bloodthirsty werewolf emerges from the shadows, slaughtering everyone in its path and revealing a sinister underworld Emma never knew existed. Thrown into a fight for her life, and her very soul, Emma will need to escape these big bad woods before it’s too late.

Cursed (2005) Review

Cursed 2005 ReviewReviewed by Kevin Scott, MoreHorror.com

Cursed (2005)
Written by Kevin Williamson
Directed by Wes Craven
Cast: Christina Ricci (Ellie), Joshua Jackson (Jake), Jesse Eisenberg (Jimmy), Milo Ventimiglia (Bo), Judy Greer (Joanie), Scott Baio (Himself), Craig Kilborne (Himself), Portia de Rossi (Zela), Mya (Jenny), Shannon Elizabeth (Becky), Derek Mears (Werewolf)

Here I am once more, potentially defending something that is much maligned as a catastrophic fail. I often find myself having to do that for films, (sequels especially) that did not find a collective acceptance among its target audience. Friday the 13th part 5, Halloween 3, Texas Chainsaw Massacre 2, just to name a few. “Cursed” stands alone, but still made a difficult road for itself by being part of a genre that has had its share of epic triumphs and hard disappointments. Werewolf films have broken new ground with “An American Werewolf in London” with its landmark special effects, and “The Howling” with special effects not to be understated, and social satire about a werewolf support group commune. Then we have “An American Werewolf in Paris”, “Wolf”, and “The Wolfman”. All had high expectations with talent in front of and behind the camera, but in the end had something about them that just didn’t quite work.

I had heard about the nightmare of a production for “Cursed” with half of the film having to be reshot. It was high on the horror radar with Wes Craven at the helm as director, the millennial John Hughes Kevin Williamson doing the writing, and the great Rick Baker doing the werewolf effects. Not the first pairing of Craven and Williamson. They penned “Scream” that gets the credit for reviving horror in the mid-nineties buy making a slasher film that was self aware of all the token tropes. In turn, that pave the way for some WB horror type films of the late 90’s and early 00’s like “I Know What You Did Last Summer” and even some slightly obscure ones like “Venom”. I can’t say that I enjoyed all of them, but most were pretty fun. So going into “Cursed”, I was pretty opened minded.

'Our Friend Jon - The Documentary' to begin shooting the week before Halloween

Our Friend Jon The DocumentaryThe week before Halloween will see the commencement of principal photography on Edward Payson’s next project: Our Friend John – The Documentary.

Our Friend Jon, a collaboration between Payson’s prolific production company, An AntiHero Production, and Maria Olsen’s MOnsterworks66, will document the story of how three friends will produce and shoot the short film, Rose Thorn, written by Jonathan Hernandez. What makes this story special is that Jon passed away from complications due to Sickle Cell Anemia while writing the script, and what makes it particularly poignant is that Jon’s three friends, Nick Saporito, Brandon Joyal and Garrett Payson, all lead extremely challenging lives...

What will make this film appeal to horror fans worldwide is that Rose Thorn is a horror film...it was Jon’s wish to become a horror filmmaker, and, by shooting his film and documenting the process, his family and friends will both celebrate his life and make his last wish come true.

In Edward’s own words:
“This is a project that really means a lot to my family and I. In August of 2013 our friend, Jonathan Hernandez passed away to complications from Sickle Cell Anemia. Before he passed away he was writing a script for a short film titled Rose Thorn. Upon his passing, his friends (all with disabilities of their own) decided to make his film and keep his memory alive forever. This is a documentary about three young men keeping their friend's dream alive.

We will be following Garrett Payson, Nick Saporito and Brandon Joyal over the course of one summer as they conceptualize and complete their fallen friend’s movie. The film will be an underdog story about these three boys making their friends film and in the process raise awareness for Sickle Cell Anemia.”

An American Werewolf In London (1981) review

An American Werewolf in LondonReviewed by Grace Fontaine

An American Werewolf In London (1981)
Written and directed by John Landis
Starring: David Naughton (David Kessler), Griffin Dunne (Jack Goodman), Jenny Agutter (Nurse Alex Price), Don McKillop (Inspt. Villiers) and Paul Kember (Sgt. McManus)

I will be honest with all of you; I am not a huge fan of ‘The Howling’. I know, I know. One of the most revered werewolf films ever made with a huge base of fans and critics alike. By all accounts I should be among them, but there is just something about it I do not gel with. It’s not a badly made film and it boasts some really incredible visual effects (you don’t see a natural lady garden in this day and age, either) and Dee Wallace was very likeable in the lead role, but as a whole, I just couldn’t get into it. Maybe it wasn’t precisely to my tastes, maybe it’s because I set my expectations a little too high, but if it were the later that would probably be due to the fact that I had previously seen ‘An American Werewolf In London’ which single-handedly established and set the bar for the canis lycanis genre. Made by the openly affable John Landis, ‘An American Werewolf In London’ established itself as a horror genre icon not only because of its insane visuals and simple yet effective story but also because it was absolutely, positively FUNNY. I don’t mean slyly satirical or acerbically jabbing, I mean genuinely hilarious comedy that you could have easily seen in a National Lampoon flick.

Two American college students, David Kessler (David Naughton) and Jack Goodman (Griffin Dunne), are backpacking across John Bull country (aka the Yorkshire Moors). As darkness falls, they decide to stop for the night at the inauspiciously named pub known as "The Slaughtered Lamb". Jack notices a pentagram on the wall. When he asks about it, the pub becomes very quiet and the pub-goers start acting very strange and hostile. The American boys decide to make a graceful exit, but not before the others offer them pieces of advice such as "Beware the moon, lads" and "Keep to the road." Whilst conversing with each other and wondering what they meant, they wander off the road, onto the moors. Back at the pub, the proprietors becomes distressed and suggests that they go after the pair. As she says this, a sinister howling is heard. The rest of the salty publicans, having barricaded the door, vehemently decline. Back out on the moors, Jack and David have also heard the howls, and they seem to be steadily getting closer. They start back to The Slaughtered Lamb when they realize that they have left the road and are now hopelessly lost on the moors. A full moon comes out from behind the clouds, and they remember the advice they were given earlier. The noises get steadily closer until the boys are stopped by a freakishly large animal. The beast attacks both of them, and slays Jack. The animal is then shot and killed by the pub-goers, who have had a change of heart, but it is far too late. The beast changes into the dying body of a naked man. David survives the mauling and is taken to a hospital in London to convalesce.

Don’t Look Now (1973) review

Don't Look NowReviewed by Kevin Scott, More Horror.com

Don’t Look Now (1973)
Directed by: Nicolas Roeg
Written by: Daphne Du Maurier (Short Story), Allen Scott (Screenplay)
Cast: Donald Sutherland (John Baxter), Julie Christie (Laura Baxter), Hilary Mason (Heather), Clelia Matania (Wendy), Nicholas Salter (Johnny Baxter), Sharon Williams (Christine Baxter), Renato Scarpi (Inspector Longhi), Massimo Serato (Bishop Barbarrigo)

There’s a term for a spinoff hybrid of country music that I really can appreciate. “Countrypolitan” is the label used for country music with lush arrangements, maybe some horns and unconventional stringed instruments thrown in. A refined version of an elemental thing that was good on its own, but elevated while retaining the same beloved and established characteristics of its genre. The thing that is so great about “Countrypolitan” is that it gave some culture to the masses in a palatable way so that they almost didn’t know it. My Dad would never have anything in his eight track that sounded like Charlie Rich, except Charlie Rich, if that makes any sense.

Horror in the 1970’s was a mixed bag. We had the visceral stuff like “The Texas Chainsaw Massacre” that played to our senses on the most baser level, religious horror that made us terrifyingly aware of the battle between good and evil that rages around us, and lastly “Horrorpolitan”. Yep, hopefully I just coined that term, but I bet it’s been used before somewhere else. “Horrorpolitan” films had studio backing, big name stars, and really high production values. Everyone in them happens to be dressed to the nines in loud sport coats, smoking a cigarette while pouring a glass of brandy from an ornate decanter. Most are really well shot with sweeping scenes and authentic locales typically in England or Italy. Some good scoring and foley work with orchestral music that swells to a crescendo when something scary happens, and a pace counted of as everyone’s hard soled shoes click a successful balance of substance and style. “Don’t Look Now” happens to be one of the standouts.

Camp Dread (2014) review

Camp DreadReviewed by Colleen Wanglund

Camp Dread (2014)
Directed by Harrison Smith
Runtime 94 minutes

Written and directed by Harrison Smith, Camp Dread stars Eric Roberts as Julian Barrett, a washed-up director of a trilogy of hit horror films who has a scheme for another “big” project. Barrett brings together a group of troubled twenty-somethings who were given the choice of jail or boot camp, and two of his former stars for a reality show. The camp is actually the site of Barrett’s original three films, a working summer camp in a small town overseen by Sheriff Donlyn, played by the lovely Danielle Harris. The “contestants” will have to get the camp ready to open, as well as take part in challenges, go to therapy sessions, and risk elimination. That elimination becomes all too real rather quickly.

For a B-movie, Camp Dread isn’t too bad, even though the plot has some implausible aspects to it. First, the star of Barrett’s horror “summer camp” trilogy, Rachel Steele (Felissa Rose) just happens to be an actual therapist now. Second, most, if not all of the young people have exhibited criminal behavior. Why would a judge allow them to participate in a reality show with a million dollar prize? I also found there to be too many characters, resulting in poor character development. How am I supposed to care about any of these kids when the bad stuff starts happening if I don’t like any of them? And most of them, I REALLY didn’t like. I liked Roberts as Barrett—Roberts always plays a fantastic sleazeball--but I was disappointed in Danielle Harris’ limited screen time, although I did enjoy what was done with her character.

Devil’s Due (2014) Review

Devils Due CoverBy Jesse Miller

The Omen, Rosemary’s Baby, Paranormal Activity, The House of the Devil - we’ve all seen the ‘satanic panic’ horror film before and ‘Devil’s Due’ gives the whole theme another shot, following newlyweds Zach and Sam as they await the arrival of their firstborn. And we all know where this is going, don’t we?

When this subject matter has been done to death, one can fall back on the comfortable thought of ‘well, to hell with it, it’s entertainment so let’s see if it delivers?’ and does this film deliver? Look, it’s very lackluster because the film falls on some horror film beats that we’ve all seen done before time and time again, delivering a flat journey into horror with scares that miss their chance to truly pop out at you.

Yeah, the couple here is fantastic, have great chemistry and yeah, they do their absolute best with what they’ve got to work with and succeeded in getting me engaged. In all honesty, Devil’s Due sets up the couple effectively enough. They’re cute kids and it’s lovely seeing them goof around before the horror begins. Unfortunately, when the horror begins, the relationship between the two is put on the back burner for the shenanigans and that particular story arc unfortunately ends with a whimper.

There’s little unique or new that’s brought to the table, aside from some rather excellent visual shots when everything all goes to..well, hell.

Whether or not you’ll enjoy this spectacle depends entirely on whether or not you’ll be happy to sit back in your chair with choice of beverage or snacks, come to terms with the fact that this is recycled horror and just enjoy the ride for the 89 minutes or so.

FANtastic Horror Film Festival 2014 official film selections announced

FHFFFANtastic Horror Film Festival has recently released its film selection list for 2014.

Check out the video interview below from Dawna Lee Heising of MoreHorror In Hollywood as well as the graphic showing screening times.

From The Press Release:
The FANtastic Horror Film Festival (FHFF) will be holding its inaugural event during Halloween Weekend, as part of the Annual Gaslamp Halloween Celebration in San Diego.

Billed as the Premiere Horror Festival in San Diego, the event will showcase over 30 independent full-length horror films and shorts over a three-day period, October 31st, and November 1st and 2nd. All films showcased are billed as premieres, from World Premieres to local premieres. All films showcased have never been seen in San Diego.

Many luminaries from the indie horror community will be on hand to meet their FANS; prominent actors and actresses, directors and producers as well. The Festival starts with a gala Kick-Off Party on Spirit Night, October 30th, on the Rooftop Poolside Lounge at the fabulous Westgate Hotel in the heart of the Gaslamp Quarter. Jim Dolore and the Cult of Light will be performing.

The screenings will take place at the Premiere Festival Theater in San Diego, the AMC Reading 15 Theater on 5th street in the Gaslamp Quarter of the city. Known for hosting any of the city’s film festivals, the AMC Reading knows how to put on a great festival. Horror films of all genres will be presented, including gore, thriller, psychological, comedy, and even animation.

FANS are also invited to participate. FAN voting will help decide who will walk away with awards. In a departure from most indie awards, the FHFF Awards Banquet will have awards for both Oscar® style categories, such as Best Actor and Best Film, as well as Horror Genre Specific awards, like Scariest Death and most Gore. FANS are invited to vote online their Facebook page, listed below.

Beyond the Door (1974) Review

Beyond The Door PosterBy Jennica Lynn Johnson

Does possession happen to people in real life? Is the Devil real? Tears streaming down my face, those were the kinds of questions weighing heavily on my mind after my first viewing of The Exorcist (1973). The fear of becoming Satan’s next vessel was instilled in me at nine years old.

Since its 1973 release, The Exorcist inspired the production of many copycat films with Beyond the Door (1974) aka Che Sei? being the “most commercially successful,” according to Nikolas Schreck, author of The Satanic Screen: An Illustrated Guide to the Devil in Cinema. In fact, Beyond the Door star Juliet Mills confessed that the film was believed to resemble The Exorcist so closely that Warner Bros. had to be paid approximately $90 million. Although still loaded with as much shock value as The Exorcist, Beyond the Door reveals a sneakier, more seductive side to satanic culture and there aren’t any priests to save the day this time.

“Tonight I stand on the edge of eternity where she left me in the dark with self-despair. I’ve been turned away by Heaven. Now let the Devil hear my prayer.” Much unlike The Exorcist, in which musical scores such as Mike Oldfield’s Tubular Bells strictly serve the purpose of enhancing the heart-racing eeriness of the story, the music heard in Beyond the Door is almost like an omniscient character within the film.

The opening song, Bargain with the Devil, composed by Franco Micalizzi, is a funky little ditty which narrates the main plot of the story and sets the overall mood throughout the film. Bargain with the Devil tells the tale of a man, Dimitri (Richard Johnson), who has made a pact with the Devil to punish his former lover, Jessica (Juliet Mills), in exchange for immortality. What the song does not disclose is that Jessica was and still is married with children. Oh, and her punishment must be delivered in the form of satanic possession followed by Dimitri stealing her unborn child.

In addition to narrating the story, music is also personified to reflect the emotions of the main characters in the film. A case in point is when Jessica’s husband, Robert (Gabriele Lavia), is frantically running through the streets of San Francisco concerned for his now possessed wife.
As he begins to pick up his pace, a group of street performers begin following him and closing in on him, creating a nearly suffocating wall around him as they play jazzy tunes on their flutes and saxophones. The louder the music gets and the closer the musicians get to Robert, it is impossible not to feel his panic and desperation to get home to his wife and find a way to cease her suffering.

Summer Psychotronic Short Film Night

Jumpcut Cafe Horror Film ShortsBy Jonathan Weichsel

The Jumpcut Cafe has long been the hangout spot for the horror crowd in Hollywood, and for very good reason. Not only does the cafe feature screenings of both popular and hard to find classic horror films, but it also showcases new films by some of the most exciting young talents working in Hollywood today. Curator Elric Kane has a very eclectic taste in movies, and is a smart programmer who reaches far into the indie horror community find the best, most cutting-edge short films possible. What follows are my favorite films of the night, in no particular order.

Far Out, directed by Phil Mucci, opened the night. Far Out is a, well, far out vampire flick that takes place during the swinging sixties. The film perfectly captures the mood and look of a space age, mod bachelor pad shindig. Far out is a fun, at times funny little flick with cool visuals and a lot of blood.

House Call, which screened right after Far Out, is another vampire film, directed by Graham Denman and written by Dick Grunert, a popular screenwriter in the festival scene and a Jumpcut cafe regular. Where Far Out is a psychedelic romp, House Call is a studied thriller. Horror favorite Ruben Pla plays a dentist who is home alone when a man barges into his house with a gun, claims that he is changing into a vampire, and demands that the dentist remove two of his teeth that he believes are growing into fangs. House Call features a strong script, taut storytelling, and a standout performance by Pla.

Red Red, directed by Ama Lea, is a Dario Argento/Giallo inspired surreal, disturbingly sexual, totally weird slice of horror. Although Red Red was presented as a rough cut, which is filmmaker lingo for unfinished film, with a temp score and sound, from what I saw I can say that once the film is finished it will have the potential to become my favorite horror film of the year. I have seen other Giallo inspired films recently, but Red Red captures the look and feel of the genre better than any of them. At twenty minutes, Red Red was the longest film of the evening, but it was also the most deep, complex, and provoking movie screened. I just love movies that dive into dangerous territory, and this story of sexual abuse and repression goes where others won't.


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