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‘Somebody’s Darling’ Shows Promise, But Ultimately Falls Flat

Set in 2006, Somebody’s Darling takes place on a university campus and centers on a fraternity house that throws posh cocktail parties instead of keggers. The frat brothers put on an air of Southern sophistication, but it doesn’t take long before we see a darker underbelly to the house.
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Faves of 2017: Writer and Director Izzy Lee


Izzy Lee has directed several award-winning short horror films, including Innsmouth (available to watch on Shudder); For a Good Time, Call; and Rites of Vengeance. She has also written several short stories for various anthologies. For more about her work, check out her website, Nihil Noctem Films.
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Holiday Gift Guide 2017: Pre-order Arrow’s ‘Basket Case’ Blu-ray


When the Museum of Modern Art announced they would be doing a 4k restoration of Frank Henenlotter’s 1982 Basket Case, my reaction was “it’s about fucking time.” I relayed this news to someone nearby and they rolled their eyes hard. Fine. Basket Case is that kind of movie, I guess.
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‘They Remain’ Provides Dread and Frustration


Starring William Harper Jackson and Rebecca Henderson, They Remain is about two scientists that are helicoptered into a remote location to study strange animal behavior and environmental changes where a Manson-style cult had committed a brutal atrocity. Director Philip Gelatt weaves themes of paganism, sci-fi, and horror into a dread-filled and beautifully shot film. It’s an effective slow burn thriller that works on every level, to a point.
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The Week in Horror – Day of the Dead: Bloodlines, mother! + more

Day of the Dead: Bloodlines come to VOD, mother! gets a Blu-ray release date, and more, as we look at some of the biggest stories from the week in horror!

_MAN3208.nefOfficial release details for Day of the Dead: Bloodlines

This week, more details emerged regarding the new reimagining of George A. Romero’s classic Day of the Dead (the less said about the Mena Suvari take, the better). “Day of the Dead: Bloodline is set in a post-apocalyptic, zombie-filled world where a former med school student is tormented by a dark figure from her past. The only thing is, he’s a half-human, half-zombie hell-bent on destroying her world.” The film, directed by Hèctor Hernández Vicens and written by Mark Tonderai & Lars Jacobson based on the motion picture “Day of the Dead” by George A. Romero, will be released on VOD, theaters and Digital HD on January 5th, 2018.
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31 Days of Horror: ‘Hellraiser’ at 30


Author, artist, and playwright Clive Barker made his directorial debut on September 18, 1987. He was adapting his own novel The Hellbound Heart, which would become the seminal work of horror cinematic art known as Hellraiser. Barker had no experience as a film director, but after two disappointing adaptations of his work (Transmutations and Rawhead Rex) he was determined to direct his own work and get it right.

In 1987 there was still room for innovation in horror cinema and though the slashers that ruled the day were already beginning to be a bit repetitious, there were still high points. 1987 alone had plenty of iconic films: Kathryn Bigelow’s Near Dark, Michele Soavi’s Stage Fright, John Carpenter’s Prince Of Darkness, and Sam Raimi’s Evil Dead 2, just to name a few. No film, though, came out of left field and blew them all off the road like Hellraiser.
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31 Days of Horror: Red Christmas

Red Christmas
Written and Directed by Craig Anderson
Starring Dee Wallace, Sarah Bishop, Geoff Morrell, Janis McGavin, David Collins, Sam Campbell, Gerard Odwyer, and Bjorn Stewart

With Red Christmas, Craig Anderson hasn’t just made a solid slasher film in the great ‘Oz-ploitation’ tradition of wildly pushing the boundaries, but he’s also made a film with a lot of heart and thought-provoking moments. Red Christmas may also push a lot of buttons, as it deals with abortion, religion, and sordid family secrets.

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31 Days of Horror: 78/52


The new documentary 78/52 dives deep into the technical aspects, meanings, anecdotes, and impact of Alfred Hitchcock’s notorious shower scene from his landmark 1960 film Psycho. (The film’s title refers to the 78 camera set ups and the 52 cuts in that scene.) Many industry luminaries lend their opinions and insights  in the film, like Peter Bogdanovich, Elijah Wood, Guillermo del Toro, Jamie Lee Curtis, Danny Elfman, Bret Easton Ellis, Mick Garris, Richard Stanley, and even Janet Leigh’s body double Marli Renfro.
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31 Days of Horror: Monica S. Kuebler Hungers for Blood with Midnight Son

I have a thing for vampires. I won’t tell you how much of a thing, since I’m pretty sure I began last year’s 31 Days of Horror Biff Bam Pop! guest post by doing just that. But let’s just say, Andy invited me back and I picked another vampire movie. If he calls on me next year, the outcome will likely be the same. It’s a big thing.

The reason vampires are my number one monster largely comes down to versatility. They can be used to tell horror stories, fantasy stories, sci-fi stories, romance stories – you name it, really. They can be anything from grotesque and monstrous to almost mistakably, sympathetically human, and all points in between. And their narratives can be just as grand or just as slight as the opposite ends of that spectrum allow for. With vampires, the possibilities feel endless. It’s hard to be bored with a bloodsucker in the room.

And it’s damn hard to pick favourites.

So I’m not going to.

Instead, I’m going to tell you about a little vampire movie you may have missed, but one that should be on your radar, particularly if you’ve fallen under the thrall of the slow-burn soul searching and quiet suffering of films such as Byzantium (2012) and Only Lovers Left Alive (2013).

Like those movies, 2011’s Midnight Son won’t tell you the whole story – it begins and ends somewhere in the middle. While not as lush or stylish as either of the previously mentioned films, its realness and desperation function in a similar manner. Want a look at vampirism without the lens of escapist fantasy? Want a look at what it would be like in the real world, in our modern world? Look here. It’s messy, problematic, and dangerous.

Midnight Son is the sole feature from writer/director Scott Leberecht (better known for his visual effects work on blockbusters such as Spawn, Sleepy Hollow and Percy Jackson: Sea of Monsters), who commands a cast of largely unknown actors. It’s a film that never makes its main character Jacob’s vampirism implicit (in fact, I’m not sure the word is ever spoken aloud, though it is seen on a poster). When the movie begins, he is already “sick.” We do not know why or how he contracted the contagion or how long he’s suffered, only that it’s worsening. Read the rest of this entry

Jigsaw returns to theatres, but will audiences play along?

It’s the final, frightful weekend before Halloween, which means there’s really only going to be one big pick for horror fans looking to get their trick and treat on. But, how many people want to play the game? Here’s our prediction:


After a seven years absence from movie screens, the SAW franchise is back, this time under the name Jigsaw. For a series of Halloween seasons in a row, SAW was a right of passage for audiences, who flocked to see the latest contraptions Jigsaw would come up with to punish those he saw taking life for granted. However, by the 2010 release of SAW 3D, the franchise had run its course, and that seventh film was meant to be the last. But this being horror and Hollywood, you can’t keep a good bad guy down. Will absence make audience’s hearts grow founder? In all likelihood, yes. Word is that Jigsaw eschews the mythology of the series for the most part, which definitely became somewhat convoluted at the end.  The season is also in need of a big bad, and Jigsaw the character certainly fits the bill. What could prove problematic is that Stranger Things 2 debuts on Netflix today, which could cut into a big chunk of Jigsaw’s core demo. Look for fans to welcome icon back with a first place debut, but with a soft start of $18 million.

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