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“I don't know how much movies should entertain. To me I'm always interested in movies that scar. The thing I love about Jaws is the fact that I've never gone swimming in the ocean again.” --- David Fincher ::::::::::::: MY CRITERIA FOR DISCUSSION ENCOMPASSES THE HORROR GENRE AND BEYOND, SO I USE THE TERM "NIGHTMARE MOVIES". SPOILERS CAN OCCUR WITH OR WITHOUT WARNING. READ AT YOUR OWN RISK.

Horrorphile - April 2010

The Beyond

In no particular order.

1. Atmosphere
Arguably the most important element of any genre movie and the element most overlooked. Dario Argento and Lucio Fulci had it down to a fine art.

2. Tone & Humour
The more consistent the tone the more effective the movie will be. A sense of humour doesn’t hurt, but needs to be used sparingly (unless you’re making a horror-comedy, but that’s a different kettle of fish).

3. Premise & Screenplay
It helps to hook people into a premise with something familiar, but then the screenplay needs to take the audience somewhere new.
Halloween Nick Castle
4. Casting & Performance
Well-known actors can potentially damage a movie's authenticity. A convincing performance is paramount, as an audience needs to believe a character is genuinely terrified otherwise the game’s over.

5. Direction
What you see and what you don’t see. Very important.

6. Dialogue
The less said the better. Take Nosferatu (1922) for example, or Eraserhead (1977), or even Alien (1979).

7. Sound & Score
Hugely important! Sound design affects an audience on a subconscious level. The music should be used with restraint and/or variations on an unsettling minimalist theme, such as John Carpenter’s Halloween (1978).
Eraserhead Jack Nance
8. Special Effects
It isn’t imperative that a nightmare movie use elaborate special effects, but in the case of John Carpenter’s The Thing (1982) or George Romero’s Day of the Dead (1985), they work a treat. John Carpenter’s Halloween, on the other hand, shows that with virtually no special effects you need your other elements to be very effective.

9. Editing & Suspense
Stephen King once said that he sets out to terrify, and if he can’t do that he’ll horrify. Tension and release, shocks and “Boo!”s are the bread and butter of a good nightmare movie.

10. Ending & Epilogue
The best endings suggest all hell has broken loose; the apocalypse is upon us. And epilogue needs to be really clever; otherwise it becomes a cheap effect or flattens the whole movie.
Suspiria Jessica Harper
11. Beginning & Prologue
Very, very important the mood and tone of the whole movie is set up within the first few minutes.

12. Violence
Whether it’s graphic gore or implied brutality, violence goes hand-in-glove with the nightmare movie. The whole point of this genre is to take an audience out of their comfort zone, take them to the edge of the abyss, let the stare into it, mortify them, let them purge their fears.

13. Nudity & Sexual Tension
Sex and death will always tango in the nightmare movie. They will be forever entwined. Sexual energy can be used in a multitude of ways; whether exploitative with gratuitous nudity or crudity, or as a manipulative weapon by having an empathic character on screen be sexually attractive, then place them in extended jeopardy, maybe even kill them in a heinous fashion.
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The Girl with the Dragon Tattoo

April 29th 2010 01:44
The Girl with the Dragon Tattoo movie poster
This movie was eluding me like a sly war criminal, but I finally got to see it last night on the big screen, and it exceeded expectations; a thoroughly enthralling, tense, intense, disturbing murder mystery thriller with stunning performances and assured direction and pacing. I haven’t read the novel (part one of the Millennium trilogy by Swedish author Stieg Larsson), which by all reports is much better (nothing surprising there), but I will most certainly be reading it now, along with the rest of the trilogy.

The Girl with the Dragon Tattoo Noomi Repace
Noomi Repace as Lisbeth
Swedish director Niels Arden Oplev works from a screenplay adaptation by Nikolaj Arcel and Rasmus Heisterberg. The Girl with the Dragon Tattoo (2009) is a controlled and intelligent narrative; two plots that merge and become one quest and hunt for the truth, to expose a serial killer’s identity. Disgraced Millennium magazine journalist, Mikael Blomkvist (Michael Nyqvist), is hired to dig deep into the files, and family history of frail old Henrik Vanger (Sven-Bertil Taube), of the wealthy Vanger Group, to find his 16-year-old daughter’s supposed murderer (since she vanished forty years earlier).
The Girl with the Dragon Tattoo Michael Nyqvist and Sven-Bertil Taube
Michael Nyqvist as Mikael Blomkvist with Sven-Bertil Taube as Henrik Vanger
Meanwhile, young lone wolf computer hacker Lisbeth Salander (Noomi Repace), a punk with a big chip on her shoulder, becomes embroiled in Blomkvist’s mission, and when she unravels an important clue he was unable to detect, he enlists her help; it seems Lisbeth has a few demons in her closet she wishes to purge herself. The Vanger clan is a dysfunctional group, to say the least, and it isn’t long before they discover the disappearance of Harriet Vanger (Julia Spoore, with Ewa Froling as the older version) is only the tip of a deadly iceberg, with a slippery surface.

The Girl With the Dragon Tattoo Peter Andersson and Noomi Repace
Lisbeth is threatened by her guardian Nils (Peter Andersson)
Three of the Vanger brothers were Nazis. Several young girls were viciously killed, their bodies mutilated in ritualistic fashion. The closer Mikael and Lisbeth get the more dangerous their job becomes. Lisbeth is already nursing wounds from a particularly nasty incident involving her legal guardian, since she is on psychiatric parole (a sub-plot that rears its ugly truth further down the track). She has a savage bone to pick with men who hate women. However Blomkvist is honest, genuine, vunerable, and she finds herself attracted to that, even though her preference is female.
The Girl with the Dragon Tattoo Michael Nyqvist
Mikael has a close call from a sniper in the woods
The Girl with the Dragon Tattoo, definitely a striking a title, appears a little misleading, as the movie’s main plot doesn’t focus on her, yet by movie’s end she has become a most curious player. What is the significance of the extraordinary ink marking of the mythological creature that spreads across her back, its powerful tail tracing down the back of her thigh? There’s only one moment in the movie where the camera lingers on her tattoo, the scene itself a sensual, but disquieting diversion. The novel and movie’s original title translates as Men Who Hate Women, a very confronting, wrathful implication. In many ways it’s a more apt title, but it makes for a much harder sell in the notoriously difficult world of film distribution.
The Girl with the Dragon Tattoo Michael Nyqvist
Looking for clues in a chequered family history
The second novel in the trilogy translates as The Girl Who Played with Fire, and the third, roughly as The Dream That Blew Up. They were made into movies at the same time, but directed by Daniel Alfredson, each one following the further (mis)adventures of Lisbeth, her involvement with Mikael Blomkvist, and her confrontations with the Swedish authorities.
The Girl with the Dragon Tattoo Michael Nyqvist and Peter Haber
Mikael is scrutinised by Martin Vanger (Pater Haber)
The Girl with the Dragon Tattoo Noomi Repace
The sub-plot of Lisbeth and her guardian bothered me; Lisbeth’s mistreatment and rape and her subsequent revenge seemed strangely unnecessary since the audience already knew she was troubled, and capable of violence and ruthlessness. I can only assume that one or both of the subsequent movies will return to this narrative thread (the trailer to part two appears to confirm this). My other gripe was that the last quarter of the movie seemed rushed, and the very end felt tagged on, most likely as a bridge toward the next movie. But in itself this was a grating “Hollywood” device. Because I haven’t yet read the novel, I’m very curious as to how frayed the edges of the various narrative threads are left. It all appeared rather too neat and tidy for my liking. Especially considering how uncompromising the movie had been up until the frightening climax and its emotional aftermath.

Reservations aside, The Girl With the Dragon Tattoo is a top-notch thriller, beautifully shot, superbly acted and directed, and essential viewing for those who like strong-flavoured, dark European fare, regardless of whether you’ve read the novel or not.

Here's the UK trailer:


Here's the trailer for The Girl Who Played with Fire:


And here's the trailer for The Girl Who Kicked the Hornet's Nest:
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The Children Hannah Tointon
The blood has been shed and the guts have been spilled for another year, and now I want to make a short gush to thank the Sydney organisers and local and overseas participants in this year’s A Night Of Horror International Film Festival; co-directors Dean Bertram and Lisa Mitchell, programmer Shane K., the esteemed judges for the film and screenplay competitions, and to all the filmmakers and horrorphiles who supported the festival! It was both a delight and an inspiration, and a drunken hoot (the pub crawl following the awards ceremony on closing night).
The Revenant David Anders
The Horseman
Although I didn’t get to see all the movies I did see some great stuff, and will hopefully catch up with the ones I missed further down the track. My three favourites of the festival were the atmospheric 70s-esque UK shocker The Children (2008), the black-as-a-putrid-corpse undead buddy comedy, The Revenant (2009) from the States - which won best international feature and director - and the uber-brutal Aussie revenge flick The Horseman (2009) - which took out best Australian feature and director. I also thoroughly enjoyed Triangle (2009) and The Haunting in Connecticut (2009), both at the commercial end, but very well made and highly effective.

2:22 short film poster
Unfortunately I missed the Lovecraftian Tales (now an annual fixture), the Homegrown Horror showcase (another fixture), and the Zombie Apocalypse short films programs. But I did get down to the Vampire Den, where several short films tickled my fetid fancy; The Night Life, 2:22, and The Familiar, all from the US, and Scary Therapy, an animated farce from down under. Perhaps you might be lucky enough to find them on youtube …

This year’s festival was also of note for me, as I won 2nd place in the short film screenplay competition for a science fiction earth-bound nightmare entitled Stranger. I was well stoked. Thank you once again judges’ panel! For a complete list of the award winners please visit the A Night Of Horror official website.

I’m already salivating for next year’s festival. May A Night of Horror never end!
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The Bad Lieutenant: Port of Call New Orleans movie poster
Terence McDonagh is a drug- and gambling-addled detective in post-Katrina New Orleans investigating the killing of five Senegalese immigrants. That’s the synopsis to Werner Herzog’s shameful slide into a steaming pile of mediocrity, or worse. Apart from the criminal behaviour of the lawman, his badge position and part of the title, it bears absolutely no resemblance to Abel Ferrara’s searing cult classic portrait, Bad Lieutenant (1992).
The Bad Lieutenant: Port of Call New Orleans Nicolas Cage
Nicolas Cage wonders if his haircut and accent will upstage him once again
The Bad Lieutenant: Port of Call New Orleans (2009, God, I hate that clumsy-ass title) is like bad television: visually dull with a tedious, un-engaging narrative, and lifeless, unremarkable characters. Worse still, the movie has no style or atmosphere whatsoever. I can’t believe this is the same director who made the masterfully creepy remake of Nosferatu (1979), the bravura studies of madness and obsession, Aguire, Wrath of God and Fitzcarraldo, or even those documentaries on the grotesque beauty of the Earth’s wilderness, such as Grizzly Man and Encounters at the End of the World.
The Bad Lieutenant: Port of Call New Orleans Eva Mendes and Nicolas Cage
Nicolas Cage gives Eva Mendes an actor's pep talk
Apparently Abel Ferrara was incensed when he learnt that Herzog claimed he’d never seen the original Bad Lieutenant, nor had he heard of Abel Ferrara. Herzog had been sent the original script, like the morality play, and decided it was up his alley. He re-locates the story to New Orleans from New York City and ends up promoting his tortured titular character to Captain. Where’s the humanity


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Blood Creek

April 22nd 2010 22:26
Blood Creek movie poster
It’s always a little curious when a high profile and successful Hollywood director who’s used to having his movies enjoy theatrical releases finds his latest relegated straight to the shelves of video stores, especially when there’s a hot television actor in the lead role, a prominent foreign actor enjoying exposure Stateside, and the movie is channeling a very popular genre trend. This is the case of Blood Creek (2009), which was known as Town Creek right up to its release.
Blood Creek Dominic Purcell
Dominic Purcell as Victor
Director Joel Schumacher has dabbled in the horror genre before, and very successfully too; firstly with The Lost Boys (1987), then a few years later with Flatliners (1990), however his potentially darkest movie, 8MM (1999), didn’t fare too well at the box office (let’s face it, it’s hardcore edge was severely blunted, which disappointed horrorphiles curious to see Hollywood tackle 70s-style exploitation). Blood Creek is Schumacher’s out-and-out foray into horror territory, and I must admit, I was expecting much worse.
Blood Creek Henry Cavill
Henry Cavill as Evan
The most intriguing element to this movie is its chequered history; the original screenplay by David Kajganich was apparently a much darker, edgier, and all-round more sophisticated tale of demonic chaos stemming back to the Third Reich, but unleashed in present day. Supposedly Schumacher decided to impose his own creative ideas, clashed with Kajganich whom was subsequently fired, resulting in Schumacher re-writing much of the more interesting parts of the script, including the ending, but still leaving Kajganich with the writer’s credit, much to Kajganich’s disdain. If I was the screenwriter, I’d be pissed off too


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Damned by Dawn AND The Dark Lurking

April 22nd 2010 00:45
Damned by Dawn movie poster
Two Aussie features made (more than two years ago) on the smell of a banshee’s rags and the cost of James Cameron’s catering, fueled by passion and determination, heavily influenced by two master technicians of the trade, flexing hardware muscle and visual gusto, and spouting diabolical dialogue from performances as ripe as rotten fruit; Brett Anstey’s Damned by Dawn (2010) and Greg Connors’ The Dark Lurking (2010), their first features, screened at this year’s A Night of Horror International Film Festival.

Damned by Dawn Renee Willner
Renee Willner as Claire
Damned by Dawn, the product of The Amazing Krypto Bros. (Mr. Anstey, who wrote the screenplay, co-produced, directed, and spent more than a year working on the digital effects), was shot in the bushes of Victoria in the freezing dead of night by a skeleton crew and a small cast headed by Renee Willner as Claire. The bare bones of the tale is thus: a family arrive at a farmhouse to visit relatives, the same time as a thunderstorm, which brings with it the piercing screeches of a terrifying banshee (a malevolent witch) hellbent on making their lives a misery


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The Children

April 21st 2010 00:50
The Children movie poster
It’s great to still see some directors aren’t afraid to make a movie that doesn’t comply with the modern overkill of spelling everything out for audiences, or providing a tenuous explanation when none was necessary, or simply ignoring one of the most effective elements of a horror movie: atmosphere. Tom Shankland is one such director, and The Children (2008) is the movie.
The Children Hannah Tointon
Hannah Tointon as Casey
The premise is very simple, yet devastating; one family visiting another to celebrate the New Year in the English countryside in the cold heart of winter ends up with their children infected with an aggressive, unknown virus, who then turn murderously against their parents. It’s a horrifying and terrifying scenario, and director Shankland handles the chaos with consummate control.
The Children Raffiella Brooks and Jake Hathaway
Raffiella Brooks as Leah and Jake Hathaway as Nicky
The screenplay by Shankland is from a story by Paul Andrew Williams who wrote and directed London to Brighton (2006) and The Cottage (2008). Shankland directed the dense and intense psycho thriller WAZ (2007), which had its horror moments and was certainly drenched in the thickest atmosphere this side of Hell’s Kitchen, but The Children is a lot more resonant and memorable, dripping with dread, flickering and twitching like a deeply entrenched nightmare, and – most enjoyable of all – feels like a tale of domestic disintegration straight out of the mid-70s


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The Haunting in Connecticut

April 20th 2010 01:20
The Haunting in Connecticut movie poster
Ghosts are making a comeback, and I’m enjoying myself. I’ve always had a fascination with the supernatural, especially poltergeist and spectres, and even more so when the movie purports to be based on real events (although I always take that tagline with a grain of salt). The Haunting in Connecticut (2009), which screened as part of A Night of Horror film festival, is based on the real story (notice it says “the” instead of “a”, giving more credence to the so-called facts); a tale of a teenage boy, Matt Campbell (Kyle Gallner), suffering from cancer and his family who move into a haunted house, in the state of Connecticut, of course, in the late 80s, and are driven to despair when they discover the seriously bad energy emanating from within the home, and the damaging effects it has on Matt.
The Haunting in Connecticut Kyle Gallner
Kyle Gallner as Matt Campbell
The Haunting in Connecticut Virginia Madsen
Virgina Madsen as Sara
Ex-pat Australian Peter Cornwell is at the helm and does a superb job. The screenplay is co-written by Tim Metcalfe and Adam Simon (who made the excellent documentary The American Nightmare), and is loosely based on the real life stories of Al and Carmen Snedeker who lived in a reportedly haunted former funeral parlor in Southington, Connecticut. A Discovery Channel documentary - A Haunting in Connecticut – was the main source for the screenplay.
The Haunting in Connecticut photos and eyelids
The eyelids of the dead
The Haunting in Connecticut Martin Donovan
Martin Donovan as Peter
The movie was shot in Victoria (convincingly doubling as Connecticut), but very wisely, the cast are all Americans (or Canadian, such as the striking Amanda Crew). I say wisely, because current releases, such as Daybreakers (2010) and Triangle (2010), suffer due to the casting of Australians trying to sound like Americans who are simply not good enough with their American accents. In The Haunting in Connecticut the North Americans are being played by North Americans, and the audience are none the wiser that the movie wasn’t actually made in America


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Triangle

April 19th 2010 01:52
Triangle movie poster
Triangle (2009), which is the closing night movie at this year’s A Night of Horror International Film Festival, is written and directed by Christopher Smith, who made Creep (2004) and Severance (2006). It’s a movie to be taken with a grain or two of sea salt. Any attempt to try and comprehend the internal logic or deconstruct the narrative structure will result in psychological meltdown and a serious headache. The best thing to do is simply enjoy the ride and let the waves crash over you. Triangle is not watertight, but it makes for a fantastic nightmare scenario.
Triangle Melissa George and Michael Dorman
Melissa George as Jess and Michael Dorman as Greg
Jess (Melissa George) joins her friend Greg (Michael Dorman) for a day on his yacht, along with Sally (Rachael Carpani), her husband Downey (Henry Nixon), Victor (Liam Hemsworth) and Heather (Emma Lung). Jess appears anxious and preoccupied, partly because she’s unused to leaving her autistic son’s side for such a long period of time, but there’s something else causing her concern, and even Jess can’t put her finger on it. Only time will tell.
Triangle Henry Dixon and Rachael Carpani
Henry Dixon as Downey and Racheal Carpani as Sally
Triangle Emma Lung as Heather
Emma Lung as Heather
Disaster strikes when a freak squall capsizes the boat and leaves the group in shock. But luck appears to be on their side in the shape of a massive ocean liner which appears out of the salty ocean mist. The silhouette of a figure confirms that they’ve been seen, and soon enough they’ve left the ruined yacht for the safety of the liner. But in reality (or a semblance of it) they’ve jumped out of the frying pan and into the fire … and Jess will continue to be burnt ‘til Hell freezes over


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House of Flesh Mannequins

April 15th 2010 23:59
House of Flesh Mannequins movie poster
“Impressions of our Earth from space, swirls of blue and white and green, illuminated sharply against a dark background, a distant cold beauty, silent, lonely, timeless. From high above seemingly placid …”

… but down upon the surface and in the underground lie the carnal beasts and smut merchants of prey, sliding in and out of the shadows, lurking, beckoning, taunting, caressing, torturing, murdering. Who are the freaks really? Where does reality end and phantasy begin


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The Revenant

April 15th 2010 00:49
The Revenant poster art
I do like my comedies black as midnight on a moonless night. The Revenant (2009), which screens as part of Sydney’s A Night of Horror International Film Festival, is a fresh take on the undead buddy movie set in the desolate urban expanse that is the City of Angels, and kicks some serious ass with its severed tongue firmly lodged in its putrefying cheek.
The Revenant David Anders
Bart (David Anders) wakes from the dead to find his lips sown together
Bart (David Anders), a decorated officer killed in action in the Middle East and shipped home, lies in his coffin awaiting burial. His distraught fiancée, Janet (Louise Griffiths) is comforted by her friend Mathilda (Jacy King) and Bart’s best pal Joey (Chris Wylde). But Chris is the one who gets the real shock when Bart breaks free of his box and returns to his friend’s abode, looking much worse for wear; his eyes glazed yellow, his skin pallid and crumbly, he stinks to high heaven, and when he tries to eat cold pizza he vomits up embalming fluid and black blood. Charming!
The Revenant Louise Griffiths, Jacy King, Chris Wylde
Janet (Louise Griffiths) and Mathilda (Jacy King) visit Joey (Chris Wylde)
Joey immediately wants to help his mate in any way he can, as surreal as the situation might be. Mathilda, on the other hand, is positive the only way to deal with Bart is to cut off his head, since he’s essentially a version of a vampire and things will only get out of hand. As they do. Soon enough Joey is assisting Bart in his pursuit for blood. Violence and disorder rule the night as Bart and Joey become partners in crime. There’ll be tears before daytime, of course. But not without much wicked chortling along the way


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Mary and Max

April 13th 2010 22:32
Mary and Max movie poster
I missed this delightfully off-kilter, even perverse, animated feature from the hugely talented Australian writer/director Adam Elliot, when it had its theatrical season. Catching up with it on DVD it was even better than I imagined, and now Mary and Max (2009) rests comfortably amongst my very favourite animated feature movies, such as Wizards (1977), Akira (1989), and Monsters vs. Aliens (2009).

Firstly, I love claymation, having grown up with Tony Hart’s curious creation Morph on pioneering UK childrens' show Vision On. Adam Elliott won the Oscar for animated short with Harvey Krumpet (who makes a cameo in Mary and Max), but in typical absurd fashion the Academy snubbed Mary and Max for this year’s Awards. I guess the Jewish angle hit a raw nerve with those old fuddy-duddy Academy members


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CHAS. BALUN (1948 - 2009) R.I.P

April 13th 2010 05:34
Horror Holocaust cover art
My apologies for the delay to any hardcore True Believers, but I only just caught the whiffy wind of the passing of legendary horrorphile, gorehound uber-enthusiast, and gonzo writer to boot, Charlie “Chas.” Balun. What a guy! I never actually met him, but I shared a very brief email correspondence with him a few years back when I was trying to track down issues of his hard-to-find guerrilla-style publication Deep Red, which he published himself. He came across as gruff, which in hindsight I put down to a cancer-induced mood of perpetual disgruntlement, perhaps. Poor bugger.

Chas. Balun
Chas. Balun (channelling Stephen King)
Chas., who lived in Hollywood, had his first book published in 1983, The Connoisseur’s Guide to the Contemporary Horror Film. In 1986 he started contributing to Fangoria magazine, and in 1989 he had his own column, “Piece of Mind”, in the short-lived Fangoria spin-off, Gorezone (not to be confused with the current UK publication of the same name). In 1987 he published a one-off severed-tongue-in-cheek magazine (only 30-odd pages) called The Gore Score, where he rated horror movies in relation to how much blood and guts were spilled; 1-10. He followed this with two more Gore Score publications (The Splatter Years and Brave New Works
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Kairo (Pulse)

April 13th 2010 02:49
Pulse DVD cover art
Director Kiyoshi Kurasawa (no relation to Akira) has style to burn. I’ve only seen two of his features, Sakebi (2006) and this one, Kairo (2001), but I’m keen to see more. He controls a very elegant oneiric atmosphere throughout his movies, and the performances of his actors are always excellent. He also understands the power of nightmarish imagery and sound when used sparingly. Kairo, while overlong, maintains a potent element of dread and foreboding, right up to the final image.

A small group of Japanese university students investigate a series of strange deaths linked to a very bizarre website that encourages viewers to meet with a ghost and interact with the dead. It’s a serious slow burner; a ponderous and enigmatic study on loneliness and the spectres of the afterlife that creates a deeply unsettling, yet creepily elusive effect. How in touch with each other are we? How powerful are ghosts? How devastating is a computer virus? Well, in this case these cyber-driven ghosts have the ability to induce severe depression and suicidal tendencies. But there’s something worse at stake … humanity itself


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Jennifer's Body

April 9th 2010 00:03
Jennifer's Body movie poster
Something’s gotta be said about what actually made Juno so appealing to such a wide demographic. It wasn’t just Diablo Cody’s witty screenplay. Sure, she won the Oscar, but there were a couple other very important elements: Jason Reitman’s colourful direction and Ellen Page’s charming performance. If those two elements hadn’t been in place Juno could well have been just another teen movie with a modicum of sly edge.

Jennifer's Body Megan Fox
Megan Fox as Jennifer
Because Diablo Cody won the Best Screenplay gong she immediately got the green-light for another feature, and so out came her supposed sly take on the slasher flick, written around the same time as Juno, Jennifier’s Body (2009), the title of which was lifted from a Hole song. Not a straight slasher flick, just as Juno wasn’t really your average coming-of-age flick, Jennifer’s Body fused the succubus supernatural tale into the high school wallflower vs. the cheerleader bitch story. Unfortunately, not very successfully


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Halloween II (2009)

April 7th 2010 23:51
Halloween II 2009 movie poster
Dreadful, dreadful, dreadful! Rob Zombie must be stopped! He is a hack masquerading as a filmmaker; each feature getting progressively worse. House of 1000 Corpses (2003) is the only movie with a shred of appeal, and yet it shamelessly derives its atmosphere and intent from The Texas Chain Saw Massacre (1974). But enough of Zombie’s early transgressions, we’re talking here about his latest travesty; the continuing shambolic attempt at re-envisioning the mythology of Michael Myers, the brilliantly nightmarish boogeyman created by John Carpenter and unleashed back in 1978.
Halloween II 2009 Tyler Mane
Tyler Mane behind the mask of Michael Myers
Halloween II 2009 Taylor Scout-Compton
Taylor Scout-Compton as Laurie
Zombie’s Halloween II (2009) bears very little semblance to the original sequel, Halloween II (1981), which, although penned by Carpenter and Debra Hill, was directed by Rick Rosenthal. Rosenthal’s movie is flawed, but comes off as a far superior movie to Zombie’s obnoxious little turd of a flick. One of the reasons why it stinks so much is its pretensions, its onerous self-importance, its lack of a consistent style, as well as being devoid of any subtlety of humour. I’m not referring to comedy per se, but humour, an altogether important, but delicate element in horror.

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A Night of Horror 2010
One of my favourite periods of the year returns to Sydney (and beyond) for its fourth season: A Night Of Horror, a nine-day film festival of features, shorts, Q&As, giveaways, and awards, a phantasmogorical shriek-fest, drenched in blood, streaked with gore, and guaranteed to send shivers up the most hardened spines!

Co-directors Dean Bertram and Lisa Mitchell and programmer Shane K. have put together a delightfully dark selection of horror humdingers and terror treats, many from Australian filmmakers, but also from horrorphile cineastes abroad, some of whom have traveled across the great divide to present their films and answer questions from enthusiasts


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YOUR FAVOURITE ZOMBIE MOVIES

April 6th 2010 04:25
He’s back! Orble’s prodigal black sheep returns after a month’s hiatus, well holiday actually, but a blog hiatus by default. I hope all my True Believin’ followers missed me. Sometimes it can get lonely in the Dark, I know.

So without further adieu, let me announce the favourite zombie movies as voted by you! There was no competition for Romero’s monochromatic masterpiece, the seminal low-budget shocker that spearheaded the modern horror genre. I’m talking, of course, about Night of the Living Dead (1968), in the top position


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