by Baron Craze
The latest addition to come into my claws was The Casket Crew’s album entitled Poor Mans Coffin, a full- length 10-song CD and filled of metal delights and has minor influence of progressive, and a gothic covering. The opening track, was “The Sight”, mixture of clean and not vocals was refreshing for one to experience, and the bass (Bart McCrorey) is heard strongly with the drumming (Jessy Newland) in full force. One of the standout tracks on this CD comes early with “Ignite a Blaze” that spears one to stay to listen to this band and their music. This particular track allows each member of this 3-member group to showcase and show off the talents, especially with James Rodrock’s showing a raw and then polish sound of his guitar riffs, but never leaving the snarling form of the song or his vocals, to do a breakout of a guitar solo, that is too poppy.
“Book of Myths” truly has the funeral pyres lit for this song as it marches the listener through the land of despair to the other side and victory by crushing the opposition skulls’ wasted from garbage music and false metal. It is with this song, the album really turns a corner and takes the audience into another level, with a sound drumming that introduces them to “Embedded”. This song is both raw and yet shining example of a blood stained sword thrashing throw battle, there are no smiles here just the brutality of the music unleashing on a unsuspecting audience. An interesting tidbit is that by the stamp time code of 2:57 on this track which sound seems like The Equinox’s of the Gods “Death Wish” (from the defunct label Unisound Records) musical similarity was introduce.
The tracks “Over the Edge” and “Dead is Thought to be Dead” are both showing the exceptionally skill that this band has to build upon, as the track are different in blend and tone, “Over” is like Overkill’s famous shredding, though not as whiplash frenzied, while, “Dead” has influences of Samael layered throughout the song with a touch of doom.
The song “The Journey’s End” is driving forceful song, using many change ups, to achieve and single evil act of passion that would give a deadly moment of glory to all to listen to this song, let alone the band. However the band is not finished with the listener’s carcass, it is time to raise up a “Demon Flask” and have a “Life or Limb” join the Casket Crew with a somber drink, for this again contains the same rawness as previous tracks, yet craving to cause sleepless in the disciples of the audience.
Monday, January 19, 2009
Thursday, January 15, 2009
NEW LIBERTY Review of Show at Troc December 30, 2008
The Trocadero, Philadelphia, PA hosted an excellent close out to the 2008 year that included two outstanding performances from Phantasm and New Liberty. I was there to cover the band New Liberty since I missed their performance at Risqué in Philadelphia, this that review.
New liberty made themselves very available and accessible to their fans and the press, and while mixing professional and the carefree rockers mentality into the fray, has they supported other performers by watching and cheering them on for their shows. This immediately showed their showmanship even before they would take the stage.
As the night’s final performer, took the stage there was a calmness on the stage was they hurried to set-up and a buzz starting in the audience awaiting this talent to swarm all over the Troc’s balcony. The first song to open the night was “Shake Shake” that was raunchy and yet true party atmosphere, which showed off and introduced the audience to accomplished musicians in the band, with straightforward shot. The set continued with like a rocket ready to rained glaring show of tasty riffs and killer tracks that would make the most depressed person in the area to become involved in the show. New Liberty immediately showed them talents and gave a great way to close out the year, and welcome a new year.
The driving force came with Blue 42, which had many in the audience wanting to play this song in their car, as they would cruise the streets on the prowl to grind down with liquor and women. A line in the song was “not done with New Jersey”, and that got a vocal crowd even more intense as this song highlighted a positive aspect of Jersey and showed off Niko Marz’s talents on guitar.
The performance was tight and energy packed, New Liberty was presenting them as the face of rock-n-roll, and still had a trace of metal in the songs, that makes them ready to replace, Motley Crue, without the ego-obsessed façade. The band has the right personnel that will make them strive forward, only limited their own goals. Shane Mac, the lead singer, was excellent with the crowd, and the set control, and even when one person stormed the stage to sing a long, Shane, just went along with the show.
The last three songs of the night really sharpen then talons of this band, as it started “STG” that was raunchy and yet tastefully perform to the all-ages crowd, which contained even a few parents with their children. This though was no ‘boy-band’ it is a cut-down bare bones, rock-n-roll band in the vein of no one, their sound has influences of each member but united it is unique. Willi Love Love (Bass) and Doppler Diesel Bottoms (Drums) gave each of the songs a steady flow, as they crashed into “Criminal” the final song of their set, that crowd on hand was thumping, grinding, and jumping, however it was not complete until a mosh pit started.
The audience was the key to get an encore though they chanted for a Drum Solo, and Diesel gave them what they wanted, with a variation that briefly, reference showed the influence of the song ‘Moby Dick’ (Led Zeppelin) and a style of late Randy Castillo.
The encore song was, Ain’t No Fool, and no was one at this show, New Liberty‘s knows how to close out a show, leaving all wasted and yet wanton for more. This was rock-n-roll that that viciously suffocated the audience leaving them to remember the moment and the enjoyment.
New Liberty is a crazy all-nighter rock-metal band that brings the party, which everyone craves!
New liberty made themselves very available and accessible to their fans and the press, and while mixing professional and the carefree rockers mentality into the fray, has they supported other performers by watching and cheering them on for their shows. This immediately showed their showmanship even before they would take the stage.
As the night’s final performer, took the stage there was a calmness on the stage was they hurried to set-up and a buzz starting in the audience awaiting this talent to swarm all over the Troc’s balcony. The first song to open the night was “Shake Shake” that was raunchy and yet true party atmosphere, which showed off and introduced the audience to accomplished musicians in the band, with straightforward shot. The set continued with like a rocket ready to rained glaring show of tasty riffs and killer tracks that would make the most depressed person in the area to become involved in the show. New Liberty immediately showed them talents and gave a great way to close out the year, and welcome a new year.
The driving force came with Blue 42, which had many in the audience wanting to play this song in their car, as they would cruise the streets on the prowl to grind down with liquor and women. A line in the song was “not done with New Jersey”, and that got a vocal crowd even more intense as this song highlighted a positive aspect of Jersey and showed off Niko Marz’s talents on guitar.
The performance was tight and energy packed, New Liberty was presenting them as the face of rock-n-roll, and still had a trace of metal in the songs, that makes them ready to replace, Motley Crue, without the ego-obsessed façade. The band has the right personnel that will make them strive forward, only limited their own goals. Shane Mac, the lead singer, was excellent with the crowd, and the set control, and even when one person stormed the stage to sing a long, Shane, just went along with the show.
The last three songs of the night really sharpen then talons of this band, as it started “STG” that was raunchy and yet tastefully perform to the all-ages crowd, which contained even a few parents with their children. This though was no ‘boy-band’ it is a cut-down bare bones, rock-n-roll band in the vein of no one, their sound has influences of each member but united it is unique. Willi Love Love (Bass) and Doppler Diesel Bottoms (Drums) gave each of the songs a steady flow, as they crashed into “Criminal” the final song of their set, that crowd on hand was thumping, grinding, and jumping, however it was not complete until a mosh pit started.
The audience was the key to get an encore though they chanted for a Drum Solo, and Diesel gave them what they wanted, with a variation that briefly, reference showed the influence of the song ‘Moby Dick’ (Led Zeppelin) and a style of late Randy Castillo.
The encore song was, Ain’t No Fool, and no was one at this show, New Liberty‘s knows how to close out a show, leaving all wasted and yet wanton for more. This was rock-n-roll that that viciously suffocated the audience leaving them to remember the moment and the enjoyment.
New Liberty is a crazy all-nighter rock-metal band that brings the party, which everyone craves!
Phantasm Review of Show at Troc December 30, 2008
by Baron Craze
The Trocadero, Philadelphia, PA hosted an excellent close out to the 2008 year that included two outstanding performances from Phantasm and New Liberty. I was there to cover the band New Liberty since I missed their performance at Risqué in Philadelphia early in the year, but found this delightful band to enjoy beforehand.
Phantasm, the second to last set of the night that held itself in the intimate setting of the balcony for an all ages show. If one has not heard of Phantasm the band – for shame, this band uses and fuses funk and metal into a sound delight tango that could dance and pulsate with the Aurora Borealis. They were a metal version of Pink Floyd pushing the prog-metal to new waves that made the audience sway and groove with new element thrust at them. The Steven Ross vocals were clean and unhurried, mixing with the music for provided a hypnotic tone like that of the Doors. Steven was playful with the crowd, never holding them beneath him nor giving any ego over the band or the music. The band played a tight set, never crossing on top of each other in a reckless manner that sometimes occurs in a prog-jazz-metal performance.
Aaron White’s bass playing was reminiscent of the late Cliff Burton of Metallica, with the comfort of his bass, using it not as purely as not instrument, but also as an extension of himself, physical and even spiritual and he had the music speaking with a tone not usually heard from a 3-piece band. The bass sounds were deeper than most as it became more creative in the use of feedback and no using sampling to achieve the uniqueness of their sound. His backup vocals assisted Ross where and when needed on cue, never late, and at times his vocals did drop out, and it was not the cause of the sound at the Troc. Perhaps it was due to what the songs required or perhaps it was something deeper, a musical form of voodoo, as the vocals were to be subliminal.
There was an element of spiritual voodoo occurring that night in their set, that ended with a head banging grove that was faster, intensely challenging for the three-member band to convey in the musical complexion that should be played before Dream Theater would take the stage. The final performance ended with George Clinton, jazz-funk blend, and had a jazz drumming unlike anything heard before as Aaron and Steven joined Jay Yachetta as one human form of a 6-armed drummer and surpassing the any drummer machine capabilities. This one catalyst had three variations of drumming occurring at once and ran for approximately 4 minutes of this insanity that was beautifully blossoming.
Their music was expelling across the galaxy like a voice confessing love in a storm.
The Trocadero, Philadelphia, PA hosted an excellent close out to the 2008 year that included two outstanding performances from Phantasm and New Liberty. I was there to cover the band New Liberty since I missed their performance at Risqué in Philadelphia early in the year, but found this delightful band to enjoy beforehand.
Phantasm, the second to last set of the night that held itself in the intimate setting of the balcony for an all ages show. If one has not heard of Phantasm the band – for shame, this band uses and fuses funk and metal into a sound delight tango that could dance and pulsate with the Aurora Borealis. They were a metal version of Pink Floyd pushing the prog-metal to new waves that made the audience sway and groove with new element thrust at them. The Steven Ross vocals were clean and unhurried, mixing with the music for provided a hypnotic tone like that of the Doors. Steven was playful with the crowd, never holding them beneath him nor giving any ego over the band or the music. The band played a tight set, never crossing on top of each other in a reckless manner that sometimes occurs in a prog-jazz-metal performance.
Aaron White’s bass playing was reminiscent of the late Cliff Burton of Metallica, with the comfort of his bass, using it not as purely as not instrument, but also as an extension of himself, physical and even spiritual and he had the music speaking with a tone not usually heard from a 3-piece band. The bass sounds were deeper than most as it became more creative in the use of feedback and no using sampling to achieve the uniqueness of their sound. His backup vocals assisted Ross where and when needed on cue, never late, and at times his vocals did drop out, and it was not the cause of the sound at the Troc. Perhaps it was due to what the songs required or perhaps it was something deeper, a musical form of voodoo, as the vocals were to be subliminal.
There was an element of spiritual voodoo occurring that night in their set, that ended with a head banging grove that was faster, intensely challenging for the three-member band to convey in the musical complexion that should be played before Dream Theater would take the stage. The final performance ended with George Clinton, jazz-funk blend, and had a jazz drumming unlike anything heard before as Aaron and Steven joined Jay Yachetta as one human form of a 6-armed drummer and surpassing the any drummer machine capabilities. This one catalyst had three variations of drumming occurring at once and ran for approximately 4 minutes of this insanity that was beautifully blossoming.
Their music was expelling across the galaxy like a voice confessing love in a storm.
Friday, January 9, 2009
Vile Vindiction Self-Title CD Review
Vile Vindiction’s compact disc by the same title captures the audience and has them craving and aching for the live performance to witness the shredding brilliance. Many individuals professionally prepare their album from the outset for both fans, and industry labels and venues. The band avoids the common misstep that many unsigned bands to produce a bare compact disc with no artwork and it would have not attracted the same attention and overlooked. Although, Vile Vindiction does put the whole package on display from the cover to the vital thrash metal music, which has a clean production sound to it, in the vein of Morbid Angel of their olden days. They have the technical significance for this young band loaded with talent and experience to carry them into larger venues with their tempo changes that gives a precision assault. Vocalist Kris Poole takes each shred delivered by Jim Nickles’ guitar and the lyrics in the songs to embed with a sledgehammer in one’s face and soul leaving you drained and exhausted. The lyrics are beyond the normal standard fare, and rather deep thought provoking well design, and driven stabs in one’s soul.
The standout song of the five-track EP, is Puritanical Winterlight, which many Slayer fans will find reminiscent of Haunting the Chapel through the brutalism of raping its listening audience’s ears that will have a sound cleansing of their mp3 players and a return to what metal should represent. The drumming of Evan Leuer, strives through to the listener especially at the end track Death Wrapped in Plastic, and heads the hellish winds of anger into Burn Inside the final track. Vile does not avoid controversial with their EP, and takes on the suicide issue in the opening track, Life Lost.
The artwork that is often forgotten many albums, outside of the metal genre here it is taking the time to convey a theme and reflect the inner turmoil and despair of society’s disease is facing us all in levels of life. The side binding of their CD uses the repeated pattern of VILEVILE to allow the term ‘evil’ to explore the subtle of the death metal genre.
Jim Nickels’ past shows that he was a founding member of legendary and infamous death genre band Malevolent Creation, and then had toured with Hellwitch, these influences have both matured and growth on this album.
VERDICT: 4 OUT OF 5 Skulls
The standout song of the five-track EP, is Puritanical Winterlight, which many Slayer fans will find reminiscent of Haunting the Chapel through the brutalism of raping its listening audience’s ears that will have a sound cleansing of their mp3 players and a return to what metal should represent. The drumming of Evan Leuer, strives through to the listener especially at the end track Death Wrapped in Plastic, and heads the hellish winds of anger into Burn Inside the final track. Vile does not avoid controversial with their EP, and takes on the suicide issue in the opening track, Life Lost.
The artwork that is often forgotten many albums, outside of the metal genre here it is taking the time to convey a theme and reflect the inner turmoil and despair of society’s disease is facing us all in levels of life. The side binding of their CD uses the repeated pattern of VILEVILE to allow the term ‘evil’ to explore the subtle of the death metal genre.
Jim Nickels’ past shows that he was a founding member of legendary and infamous death genre band Malevolent Creation, and then had toured with Hellwitch, these influences have both matured and growth on this album.
VERDICT: 4 OUT OF 5 Skulls
Friday, October 31, 2008
The Terror Film Festival of 2008 - a Hellish Train Ride!
by Baron Craze
The Terror Film Festival ASCENDED again onto the unsuspecting society of Philadelphia, PA for the third year straight and its fiery presence was met with loud crowds of and for the filmmakers from the fans and the public. As in previous years, the festival started on Tuesday, though this year, starting time would be a preferred 5pm instead of the dreaded 2pm, making it more open to the public and kinder to the out-of-town filmmakers. The filmmakers, who ranged from worldwide, enjoyed the later hour of the fest, for it allowed them to enjoy the city and its attractions and a few got to go on a special trip to South Philly, with Claw, Princess Horror and others. The fest had no shortage of films - both features and shorts, and the talent on hand was first rate, it was the best of best, mixing new and current genre artists together. This year the submitted films rose greatly and increased from last year's totals and the films ranged from such country as Turkey and New Zealand. In addition, two-time Academy Award winning Alan Howarth made a special appearance at the festival to promote the heavily nominated film, BASEMENT JACK.
Some of the selected films seemed to fall into patterns, such as controversial topics, and others had similar subject matters and that would appear on the same nights. These would present themselves in shorts and in features that would close out the evenings, before the incredible after party events would start for all attendees. As in previous years, the festival was pushing boundaries and never playing it mild or safe nor going for the quick buck and sacrificing the audience to poorly made pieces.
This festival truly serves up many short films for the audience to enjoy and display the new talents of filmmakers, as they seem to understand that they never get the respect they deserve which makes it difficult for them ever to get the distribution to expose their craft to more people. The 'shorts' are tougher to do than the features, in the sense that you only have about 30 minutes to tell the story, define the characters, and bring the climax to the audience. These films normally do not recoup their monies and the hope is to make them into full-length features. Here, there are both the chance of that happening and the ability to talk, meet, and network with other filmmakers.
"All aboard! The Terror Film Festival is leaving on track 13 for its own Terror on the Train, and this train is bellowing more than black smoke and having Claw as the engineer, and the ever so lovely Princess Horror using this as her chariot. The train carried her to the forefront of what now has become the standard-bearer at all horror festivals to have their own 'scream queen' as the representative. Princess Horror, though is not a spokesperson or eye-candy (of some notable have been such as Elvira or Bettie Page), she is artist too. This train would be presenting 62 films over the course of 5 days."
The presentation of the films generally started with three segments that repeated over the course of the 5-day event, and it would be on average five short films for the two segments that would be about 60 minutes and then the feature film segment. The only changes to this were on Friday night and Saturday nights of the fest, which was the awards night. As last year's staple, the filmmakers (including their cast and crew) went onstage for an orderly Q&A from the audience. An additional note, the program guides where in the form of comic books, graced with Princess Horror and a vampire creature, rumored to be Victor Blood.
Tuesday, October 21, was the first night of the festival and it far surpassed any expectations of the festival organizers as the crowds on hand were three times the totals present to the previous years. There were immediate changes in this year's festival, as such, using a submitted short film as one of the trailers to invite the audience to become comfortable in their seats. The trailer was none other than EL ZOMBIE DE LA MUERTE, set in Mexico, a funny two minute short that opened the festival, and quickly generated a buzz to the growing audience with its aged brilliance of a heavy green tint. The audience brought into debate whether the word 'brains' is universal in zombie language and genre. The best line of the short is "Brain Tacos", though these words do not convey the humor that is upon the screen. Each year the festival finds an amusing short to start the festival, which repeated at each segment of each day for 16 times in total!
The first short of the night that was of interesting and layered with Twilight Zone influences throughout was entitled, THE EYE OF MENW (and yes, that is the correct spelling). This film has multiple layers from camera direction to the storytelling and the pacing of the film was tight for the most part. Actress Giovanna Galdi portrayed the character, Victoria, and was on screen 90% of the time, giving not only much screen time, but also, the sole principal person responsible for conveying the emotion of the film. Director Charles A. Christman III's editing and pacing with the tempo was to keep the audience on edge and trying to determine the next possible move that would happen. The supporting character was 'the skull'. Though never consciously speaking, it conveyed all it needed with the lengthening shadows into the hollows of the remnants of the eyes giving the ability for it to hint to unknowing future horrors. Sorry gore hounds, there is none in this film, but there is a convincing lead performance that should keep your interest as the festival continues its trek.
FOET (pronounced "feet") uses a screenplay adapted from a short story by F. Paul Wilson and perhaps influenced by Jonathan Swift's "Modest Proposal". This 'short' was the first of two controversial films shown at the festival, though not advertised. The film dealt with the sensitive issue of abortion, and as it was at the Ethical Society Building, the objective possibly to keep it low-key. If so, the festival organizers made the best decision, especially with such subject matter and political rallies occurring across the Rittenhouse Square, as not to bother the fans and the filmmakers. This film was disturbing to some of the audience and a few left in disgust, as it involved a homemaker, Denise, portrayed by the talented Ellen Mareneck, is addicted to shopping and craving the latest fashion, pocketbooks of dead baby skin. Those three words just roll off the tongue, and after all, we learn thru the film that it is legal to mass-produce them, as stitched-together from aborted fetuses, which are not human, as the courts have ruled. This black comedy hints of a Hammer Studios production, mixing horror, minor experimental-surrealism, and the political and religious sensitive topic of dead fetuses and recycling. The audience quickly learns that FOET is the name for the fashion line introduced to society. Director Ian Fischer pits extreme moral dilemmas and ethical outrage against the norms found in the tender under belly of a baby, where society is more concerned about saving animals - with outrages against leather and fur usages, and so seemingly no true cares about babies suffering or starving - though none of this preached to the audience. The surrealism surfaces in the nightmarish sequence that has to be seen to experience it, though it has trademarks to Mario Bava and to the 1970s horror film DEMON SEED. It is strange for a horror movie to delve into this material without making it an overall art-house horror film or tasteless. Neither of these elements occurs in this film, rather the director and cast spread confidence in the material throughout. Some of the language also contributes to the films controversial nature, but that is what propels this film to the forefront. Although there was a tough dialogue line in the film for some to handle, involving babies and gloves, but this film and the director pushed the envelope and that is what makes films more memorable.
The feature of the night was LUNICIDAL, but before the film showed an honorable mention of the teaser trailer for DEVIL IN THE WOODS, made a premier. Douglas Scott Johnson created this teaser, though the film was more of short than a trailer, as it is about 10 minutes in length. The audience, however, enjoyed it. All welcomed this film, but to those in the audience from New Jersey, it had more impact as it was set in the New Jersey Pine Barrens, and featured a different angle on the urban legend of The Jersey Devil. Director Douglas Johnson stated he had watched all the previous films on the legend to see their views and storylines before creating his own version - a Devil that targets those who have done evil. He and Rebel Production Associates used CGI special effects to create the Devil, rather than use an actor in rubber or latex suit, yet still kept the production cost well in check. The film starred Norman Macera, who also starred in and wrote the film LUNICIDAL, so upon this it became evident why they were screening them together.
LUNICIDAL is a film of special importance. It is 20 years in the making and still needs minor tweaks, such as a tighter edit, according to Norman Marcera, screenwriter of the festival's opening night feature length film and would close out the night. Although this was his second year selected by the fest, this film was much shorter than last year's entry, MURDER BELOW THE LINE. Norman stars as John Good, a well-liked fellow who spends his time as a local dork who enjoys reading to children and who takes pleasure in being a neat and tidy serial killer, which is awful hard to do when one wears white overalls constantly. The film generated a large audience and brought a chorus of laughs, as this horror film is definitely a b-movie that does not take itself seriously. In addition, with the dialogue being so over the top, the film really generates attention - an attractive horror romp. This though is not a straightforward slasher film. There is a battle of serial killers because Johnny's opposition is a messy killer, uncaring of his actions. The film has a sense, as a what-if scenario, about what if The Odd Couple of Felix and Oscar were serial killers. However, the film uses a unique element of Philadelphia within itself, the ominous images of Eastern State Penitentiary and a fine ending that proves the film worth.
In the first presentation on Wednesday, October 22, the crowds did taper off very slightly, yet there was still a steady flow of them into the festival. Princess Horror wasted not one minute of the night to unveil the second controversial film of the festival, in the first segment called Wild Shorts. The film was THE 9TH CIRCLE, by director and special effects artist, Damien Leone, who won the Best SFX Claw Award at the festival. One very scary clown does the setup for this film as he uses a most original style to abduct a woman on a train platform on Halloween night for a special loving date. For those familiar with the title, it can be suggested that is relates to Dante's Divine Comedy, and this draws comparisons through the ultimate sins, hellish delights, and ravaging torments. This is a terror filled train ride to sickness and fun for horror fans. The film preys of the innocence of this woman and instills in the audience this can be happening to anyone of them. Taken under the platform of normalcy and safety, there are many references to satanic imagery such as nine circles of Hell, demonic creatures, a cult leader - Dark Lord, and a blood chalice. This imagery splashes onto the screen, as the dialogue is limited and mainly is screams and torture porn. A fantastic scene in the film, and gore hounds take note, is the carnage of first, a rape, and then, a forced birth that is ripping out a fetus - very much inspired by ROSEMARY'S BABY, but updated to today's standards and shock elements, and it might be better than Hollywood's remake of that said film. There was a large discussion among moviegoers that the forced birth scene was actually a forced abortion, which had some women aghast in either manner. The director worked for two years to create the demon makeup and masks, with trial and error, and Damien's mother helped with funding and locations.
Also in this first segment was a film called, EVEN, which gives a new way to exact revenge. Director Ben Jurin gave everyone, in the audience, a quick lesson in the skillful arts of both storytelling and editing with a horrific shock. This film believes highly in extremism, and carnage, and it is truly a film not intended for vegans. However, it might serve as a reminder to all corporate executives and children who inherit companies' fortunes to be aware of office politics. The plot here was simplicity at is finest, because the film is only 6 minutes long and it never holds back the strong hold or gore. A young man taken advantage of by a skillful man named none other than, "Barnabas", who is enjoying sucking the life out this man - it is not what you think.
There was a production filmed in Philadelphia called, ST. LUKES, which needs to have an honorable mention, as guerilla filmmakers and co-directors Ray Davis and Isaac Ruth, filmed on the city streets without permits and tons of problems on a film that has contaminated painkillers transforming citizens into zombies. Ray stated, "This [Terror Film Festival] is a great event and we are treated like rock stars, given press kits, and given all this attention... so cool!"
In the second segment of the night for the short films was the elegantly crafted EEL GIRL, by Aussie Director Paul Campion. This was his second straight year that he had entered a film with last year's being the amusing NIGHT OF THE HELL HAMSTERS. This is a film that has lots of potential and possibilities to venture into different areas, and easily displays the talents of Paul, though his entry did not win any awards - is a recount needed? There is undoubtedly a lot of CGI use in this production that normally is seen in large Hollywood productions, however the over usage does not offend the audience. Rather, an eerie short lovingly greets them. In fact, audiences worldwide have had the opportunity to witness this film as it has played in over 40 festivals. The plot is a horror-romance storyline, about a military science project that genetically alters a woman who is also part eel with an exquisite sexuality that draws others to her, so that their love joins and feeds. This is the first film that is true to Greek mythology, about sea creatures called Sirens that use mystical powers to lure men to their demise. Paul's film is not far off this mark.
The feature film of the night was, SWAMP DEVIL, which starred Bruce Dern, and was a film that had all the general horror requirements, including a swamp monster, that in some ways resembles the SWAMP THING, but not with the same kindness and caring. The film had great CGI values and a good pacing to the it, and the plot was about reuniting an estranged father and his daughter in a bond, while the swamp equally and always joining in to create a stronger reliance on the outside world. A noted scene from THE EVIL DEAD films appeared when the vines showed demonic possession to do the Swamp Devil's bidding. The film was in the capable hands of veteran Hollywood Director David Winning, who has captured many awards for television productions. In addition, even though this film aired on the Sci-fi channel earlier in the month, it was well worth seeing again on the big screen.
As Thursday, October 23, came upon us, excitement was focused on the feature film of the night, though for others, today was the hump day of fest, and from here, it would speed up with the sands on time cascading down, only to lock its doors and seal their fate. All in attendance were learning about these new filmmakers and the troubles that plague them in producing, exploring, and evolving their craft compare to being on a raft set adrift in a hurricane. Truly, all must work to together to design the best product and the greatest form of their abilities to enhance their art.
The first segment of the shorts featured the sci-fi/horror film, CREEPERS, by Director Nick Thiel and his friend, CJ Johnson, who was an actor and producer on this film. The overall feeling in this movie generated tension and had the audience come to grips with our own prejudices and fears. Perhaps this film was using the political landscape of the historic presidential race as an underlying tone in assisting it in generating such an internet buzz. Nevertheless, Nick provides a film that harkens back slightly to a cross between JOHN CARPENTER'S THE THING and PHANTOMS. As the film progresses at a quickened rate, because of the unknown terror chasing them, there is never a moment of hesitation from actors CJ and Sarah Ashley, as they are a mixture of hard razor edge and rollercoaster-like emotions, respectively. As they are at zero hour of infestation, similar to 28 DAYS LATER, from the unknown source and feeding frenzy of paranoia that swirls around like a tornado, while trapped in a tiny apartment. The film has no hurried pace, nor is the audience ignored or sacrifice for the betterment of the film. CREEPERS lets the creeping terror into the tiny room that the actors, and even the audience, are trapped in, with a raw energy power drain that is feeding on paranoia and secretly social views and that is in essence -- the realism in the film. The film treats the audience to a complete mystery storyline for these 17 minutes. This film actually prepared the crowd on hand for the feature film of the night. Moreover, they sat in anticipation and they waited, and amassed in great numbers for that film.
In the following short segment, a proposal presented itself for a reality TV series called, SERIAL TV, from the creative resources of Chris McGuinness, and the talented actor, Jim Chlopecki. The film actually framed as a TV pilot and used the scenario made famous by MTV's Real World. As in the civilized world, these serial killers, who are as unique as the actors that portray them, cannot harm their roommates. So, could a serial killer, who has the rage, anger and the instants to kill on the pace of any disease that exists, refrain - watch and find out! Jim Chlopecki stars as Lance Red, the creator and producer who will do anything to ensure the success of his concept, and the show highlights the stellar marks he sets for it and himself. After all, one must have a killer show to make a large profit in the Nielsen ratings!
Once the lights dimmed, and a green hue escaped from the screen, it was time for Ben Rock's ALIEN RAIDERS to open unmercifully on the audience, making them both aware and scared of shopping this holiday season, and in general. Ben has his own fame and a cult following which appeared at the festival, for he was part of the team that created THE BLAIR WITCH PROJECT and is an old salt when it comes to horror films, having worked on nine of them in his young career. Although his filming of this production occurred during the Writers Guild strike, it did not hinder the project. This movie had a positive spin and effect on itself creating a throwback where the back-story is invasion, and not given any more significant details. This is similar to many sci-fi/horror films such as THE THING and THE X-FILES, especially highlighting the character Mulder and his nickname Spooky. The basis of the film is how a well-armed, well-trained, and dedicated assault force seizes a supermarket to stop the invasion and then advance to other unearthly realms. Another great aspect of this movie is the lack of CGI, and in its place, rather old-fashioned effects that are able to excite any gore hound and please any sci-fi fan. The cinematography was by the award winning and talented Walt Lloyd that became available through the writers' strike that dampened the Hollywood market. The shadowy effects did not hurt the film either. Rather, they accelerated it, as the film makes subtle hints to, and surpasses, films like, THE FACULTY and THEY LIVE, and never looks back. Moreover, just like the solar vastness and unpredictable patterns, the ending of this film is equal to that element. This film will be on DVD and available in 2009 from Raw Feed and exclusively distributed by Warner Brothers, and it claimed the top prize of Best Feature Film at Terror Film Festival.
Friday, October 24, of the festival included the filmmakers who had arrived thus far. The crowd on hand was a mixture of fans and filmmakers having large discussions with each other. The festival organizers did their best to include everyone, especially the screenwriters of whom some huddled off by themselves and did not feel welcome in the beginning of the festival, but by now felt accepted. So many individuals were clamoring for pictures with Claw and Princess Horror and each other. Programming of Friday included two vastly different types of feature length films. However, first there were the short programs, that special element of the fest that had become triumphant and had a loyal following at the festival.
One of Florida's top student filmmakers, Director Ryan Spindell showcased his short horror film, KIRKSDALE, that left the audience aching and mouths agape, not in disgust, but rather, in awe for more from this director and his film. The movie screams for a full-length feature version and though some would like to make comparison, the closest that comes to this film would the dreadful, DON'T LOOK IN THE BASEMENT. The setting is the 1960s in a southern mental hospital pitting reality against a double dose of insanity - on one side, it is a corrupted immoral deputy and a confused girl versus friendly fiends that are misunderstood - instead in visiting? This hospital might fit into the current health care system in the United States today. His film is not torture-porn, but rather, has the sadistic overtones found in the movies of the early 70s, such as, THE TEXAS CHAINSAW MASSACRE. Ryan's film is a downright eerie set tone and curls around the unsuspecting audience members and throttles them. As a film that is only 10 minutes long, it is far better than any episode of the most recent television horror shows, aside from MASTERS OF HORROR and DEXTER. However, still, this is from a student filmmaker and that is excellent company for this film to be a part of the festival. While Ryan provides an excellent foreground, it is the cinematography work of Julie Hotz that gives us the grimly, and a saturation of sunshine and the skilled talents they possess are clearly influenced by Tobe Hooper and Alfred Hitchcock.
A great b-movie horror comedy was present and was hands down an incredibly funny film - especially if one understands the culture of the 50s era, which was the setting for this film. PROMBIES' plot is straightforward and simple. It is young couples, sexual settings and zombies. At first they might not seem to work together, unless one takes on abstract thinking, and then it makes a lot of sense! The moral lesson presented here, is that men, in general, are animals, and become mindless zombies when seeking sex. This is the first film to show men or zombies corrupting the young flowers of women and making them into numbing zombies. This harkened not only in the setting to the 1950s, but also was in black and white, with the shadow images of lustful images common of films long ago in the cinema. Zombies bred after these brief fleeting moments come with hands, legs raised in passion and signaling the act had occurred. PROMBIES was another excellent film from Florida by Director Frederick Snyder. See this film with either your children as a lesson of the birds and bees, or be daring and see it with a lover!
GOMEDA made its United States premier, which has become commonplace for the Terror Film Festival, though like other festivals across the nation and around the world there are always premiers, but this film is from Turkey and is the first surreal-horror film of its type to be created. The title of the film is from an actual place in Turkey and considered by many to be haunted, so there was not a long leap of faith that a horror film came from this area at some point, even in the socially conservative country of Turkey. As with many horror films there seems to always be an odd number of friends, and here is no different - five - therefore the audience knows one will always end up by themselves sooner rather than later. In addition, the director was obviously influenced THE EVIL DEAD, how and where - watch and see for this beautifully executed homage scene. Filming took place in caves, which in essence already makes for a creepy atmosphere as where torture had taken place at this dreadful and yet surreal location and these torturous acts are attacking the group in dreams where they have no defense. The attacking of the dreams leads from nightmares to sickening and perverse hallucinations questioning even their own points of birth. This is a complete art-house horror film capitalizing on surrealism practices and beliefs of the director, the film had English sub-titles, and the composition of the music keeps everyone riveted. Even though Director Tan Tolga Demirci could not be on hand for the film and none of the cast was able to make the journey, the Composer, Semih Tareen, flew in from Seattle to attend the festival.
This was not Semih Tareen's first time associated with the Terror Film Festival. In 2007, he directed and composed a 7-minute epic in total style and homage to Mario Bava. That film was YELLOW.
Additional information about this film is available in the article covering the festival last year.
However, Semih Tareen would not be the only composer this night to grace the stage and take hold of the Q&A session microphone. There would also be a man that would hold the attention of all on hand for over 45 minutes speaking on the film, BASEMENT JACK, and that man was Alan Howarth. Nevertheless, both would become the composer duo, Semih and Alan, young and experienced respectfully, each taking home Claw Awards!
BASEMENT JACK is a classic slasher genre film, though it has incredible elements that were refreshing from Director Michael Shelton, as this is his first film ever that he had a director role. Although he has worked on over 17 previous horror films as a special visual effects creator, and in this film again CGI was heavily limited. The killer, portrayed by Eric Peter-Kaiser, gave a Johnny Depp impression and mixture of other gothic like film characters, though never going over the top, as he never speaks and makes no sound. His triggered is to kill entire families during a storm. His caring mother and weather patterns assist him in his triggered killings. The plot is simple and that is what makes this film so enjoyable. Jack had been caught and sent away to a nice mental facility for killing 15 people and leaving one lone survivor, but an error in paperwork allows the sweet man to walk out the front door to enjoy both nature and visiting with strangers. While the film showed similarities to
HALLOWEEN, there are elements that show this film is standing on its own. There are two key actresses, first is Michele Morrow (Karen), a lone survivor from many years ago seeking to find Jack. Then gracing the film was scream queen, Tiffany Shepis, who is a staple in horror films with a growing count of 50 films. The key of this interconnected cast seems to be the fact that most have done many horror films and have a core understanding of how they work and how to cause terror. In addition, this film is not without its fair share of jump scenes, gore lusting, and quirky characters, such as Nathan Bexton as the manager. There is plenty for all horror fans to enjoy, especially those lusting for the gore. This film is not a let down in that department. If anything, it is drenched with bloodlust, but never losing itself, and provides great amounts of twisting in the plot. Alan Howarth gives a stellar performance by using his music prowess to create both the aura and personality of Jack, using a mixture of tempo and tone. The tone allows for and designs to lead in the audience and lull them into a safe haven - only to have the Director Shelton then wreck havoc on them. Alan's best element is displayed thru the music box and it simply must be witnessed to understand the usage of his vast talent. Moreover, like all good horror, there is always a crack at the end for the customary glimpse at a sequel and this film definitely needs one! On the other hand, perhaps a final chapter better states it. For this is the second of a horror film trilogy, the first, "EVILUTION", and the third "NECROPOLITAN" (In Development).
Alan Howarth was at the festival for many days and freely gave his time to talk and answer as many questions as one could, and never avoided any of the fans that just wanted to get his photo with them. So many had awe for him, after all he is an Oscar famed composer who has worked on almost every cool film of the past 20 years, and he is someone that takes pleasure in speaking with the young talent in the room. He never vanished from the Terror Film Festival - staying for each segment and even attending all the after party events. He also became the festival's first ever Lifetime Achievement Claw Award recipient and accepted multiple awards - five in total!
Saturday, October 25, the final day, had arrived. For some, it was to be glorious, for others, it means returning home and working harder on their craft. However, to all, this day was going to be hard on the emotions. Nevertheless, the festival organizers handled all of the emotional escapades, never letting the tears of happiness and sadness become visible, that it was all to end around 10pm. Moreover, there was still one final filmmaker yet to arrive from Australia. Would they make it on time for their screening and the Claw Awards?
The planning of the final day was as if it were a Broadway show, with everyone knowing their cues, marks, lines, and letting others just flow with the emotions with instincts to know where to be at precise times. There were to be three sixty minute segments today starting at 1pm, and then the last feature film, the amazing SQUEAL, that would end the film screening programs. All that remained after the films was the presentation of the Claw Awards!
The first film of the short films programs which was entitled, Spewing Shorts, was a film called THE PROCEDURE that was very tainted with the usage of Sir Alfred Hitchcock, and in positive effect. Director Sergio Pinheiro brings to the screen a film that would easily fit in as a TWILIGHT ZONE episode, and that might become the norm in helping people in a down economy and poor job outlook. The job is simple, record the data while the project manager brings test subjects with fraying mental status and gives them objects and options to complete the procedures. Sergio took his input, learned Hitchcock's technique of suspense, and stamped it on the entire apparent suicide scene, which is very enjoyable to view from the audience. It is not for a moment too long or too short, just pure perfection.
In the next segment of shorts, there was an outstanding horror film, such as ABSENT, which makes the Hollywood film TEACHING MRS. TINGLE look like a G-rated production. Aaron Mento directed this 80s throwback horror film assisted by the talented lead actress, Mary Ann Biewener, captured the Claw Award for Best Actress. The movie poster design with Aaron's input paid homage to the video nastiness of the 1980s.The element of this film is for gore hounds, to relish in the passion of the blood, which incidentally occurs at a real classroom for a 2-day shoot that has two students returning to the scene of brutalization and mass suicide of evil portions. Though there was comparison, made by some attendees, that in the barest form this film was advocating popularity to the Columbine Massacre, however this viewpoint was dismissed by Aaron who instead wanted to create a production that dismissed the current Hollywood model of playing it safe with horror films.
The next film EXCISION was about family values, and a lesson on Parental Guidance, from Director Richard Bates, Jr. The storyline is common and yet with a twisted horror line twist, normally a movie like this would be on Lifetime Network, if it were not for the extremism on the horror. Parents neglect Pauline, a female teen, played convincingly by Tessa Ferrer, as they care for her sister who is plagued with cystic fibrosis. Normally, a child's interest in medicine and surgery is encouraged by parents, the standard line 'my child is a doctor', but here that does not exist. Pauline's dreams help her launch her plan to orchestrate the perfect solution to assist her sister, reunite her family and become the angel in the family's eye. Richard uses surreal imagery in Pauline's dreams, which was offensive to some, both men and women, though not to the extent in GOMEDA. This film will make current and future parents think about their children, and keep them all in focus. If not, then Richard will show us the realities of our society, with mental horrors becoming part of the social landscape and news flashes.
As the award ceremony was fast approaching, filmmakers' nerves were becoming more on edge. The suspense favored the festival and their anguish would continue to plague them. This would not matter as the next shorts segment entitled Slaughter Shorts began with two excellent films. The first,
WHEN SALLY MET FRANK, a highlighted film from Australia, made its appearance with the Director Victoria Waghorn arriving just in time and on cue for her Q&A session. This is an incredible film because of the feat that occurred in bringing it to the screen was 5 days, 24 hours of editing, and one special little piggy. This was the first and only female director to be on hand to promote a film this year, which is showing both the festival's and Princess Horror's support to female directors and also the advancements that women are making to the prominent position on a set. The plot is as direct forward as a head crash into a brick wall. Each year, millions of women are crawling their way to perfection under the knife for this ludicrous element of physical perfection (though men are doing this now too, though nowhere near the butchering rate of women). The obsession with perfection is the fairytale, for those involved in massive dance of a scalpel and suction devices on and under their tender flesh. This film has "Frankenstein" qualities to it and is a piggish tale, referring to something more sinister, that we are all the pigs at the trough of body alterations, and this unknowing tale to the audience could be a precursor to a feature. Victoria has been on a worldwide journey supporting her film, which one usually has to do for an independent film these days, let alone a short film. In her own words, "I'm here because no one is going to know me or care about my film if I don't come out to support it."
Brian Lonano's film ATTACKAZOIDS!, marked his second straight year accepted into the festival, though it is not just that he was there last year, but rather his film carried him here for all to enjoy. A staple of Brian's previous work shows itself here again, as retro graded special effects that would make the late Ed Wood envious and a young Steven Spielberg quiver. Although his film is a brief 7 minutes, as previous shorts presented at the festival none lacking on their storytelling, overall this is a good sci-fi film that surpasses MARS ATTACK. Brian most likely would venture back to those films of the 1950s to compare his movie to, which many seem to suggest communism as other worldly attacks, as Brian makes subtle political links to with his film. As in his previous film, ELECTRICAL SKELETAL, Brian uses miniature sets to create a marveling array of features while mastering the techniques of the black void. A heavily layered plot exists; however, the overall concept is average people in a very abnormal situation that is dark and limited. Nevertheless, there is some glimmer of light, as in WAR OF THE WORLDS (1953), yet the director and his cast keeps this disguise very well, allowing for a sequel.
The second feature of the night, SQUEAL, used a similar device to open its film like that of some released versions of PSYCHO (1960). That device is an attached trailer that uses the techniques of mystery and restraint, except to inform the viewers that a medical testing has gone terribly wrong. The horror playbook of characters had not expanded, hence these unfortunate characters -- three-piece band, a manager, two hot girls, nevertheless, the audience does become emotionally concerned about them, because of a strong screenplay. Although, there are the standard elements found in many low budget horror films, odd gas station folks, drugs, yelling matches, and nudity, and of course isolationism, these are no problem for Director Tony Swansey as he guides the film with professionalism and believability. There is no breath taken when out of the shadows the introduction of a family of fun loving homicidal maniacs meet their guests, but there will be a relishing aspect for any dedicated gore hounds. All gore hounds will savor in the beautiful blossoming bloodlust that spreads across the screen like a mad painter overdosing on absinthe. One of the key maniacs is 'pig boy', the creation of this character is solely from actor Mike Masset, who is key to the very end of film and an element used in HOUSE ON HAUNTED HILL (1999). The viewers do learn by the end of this film a key lesson, even a manipulation of genetic chromosomes polygamy overwhelmingly considered unfavorable - though learning how we learn is wonderful to watch.
The festival and its organizers had provided and performed a flawless show and delivered on perfection. Not for a moment were there any panic or arguments, just endless smiles, greetings, handshakes, and laughter. They received a 5 star rating, based upon: organization's energy and enthusiasm; pacing of the festival; greeting the filmmakers with Festival Kits; treatment of the filmmakers and screenwriters as filmmakers and the fans as equals; and lastly, the organizers performance in handling themselves and the press' accessibility. The festival's staff handled all situations with calm and tact, never allowing voices or tempers to rise, providing a fun and safe event. Competition at this year's festival was very stiff, with so much talent crammed into each category, all vying for the coveted Claw Award, and being on the stage with Princess Horror. This event is bringing all sorts of creative people together -- musicians, composers, producers, executive producers, writers, actors, actresses, dancers, directors, and crew personnel, all to view the new talents and network better than most social groups online. This is raw energy taking a new form, becoming its own individual with its own soul -- all due to the backgrounds Claw and Princess Horror.
The Terror Film Festival does give the filmmaker the acclaim they have earned and deserve for the passion of their film to live and breathe at the fest, on the silver screen, with all the pageantry and attention attributable.
From the final night, as the Terror Film Festival's "Terror Train" pulled into its final stop, the best of the best had gathered to see if their fulfillment answers their prayers, hopes, and dreams, share the stage for a moment with Shawn Cain and Princess Horror, and if they would claim the infamous Claw Award. Though unknowing to all filmmakers in attendance that were gathering upstairs at the Claw Awards reception, a truly new show was being prepared below, all in their honor. The filmmakers made their journey down the spiraling staircase into the main theater for the awards show. Multiple flashes came from photographers who greeted them from every side, with their smiles and awe evidently present on their faces and clearly unsure how to react. Filmmaker Sergio Pinheiro stated, "This is unlike any other festival. We are treated like Hollywood stars." Once inside the theater, the greatness excelled even higher, as there were multiple video cameras set up and another photographer awaiting them. Claw made his appearance on the stage to introduce a special guest that called in to give his celebratory congratulations to the legendary Alan Howarth. This special guest introduced his new film to a delightfully surprised audience and an ungodly roar when they recognized the voice of none other than Bruce Campbell. The roar continued for his trailer, MY NAME IS BRUCE. In addition, as the Claw Awards began, Shawn Cain of Seattle's Independent Film United took the stage and provided the final piece of excitement to the award show. Moreover, his wit, skill in working with the media, and masterful control of keeping the show on time and knowing the audience, propelled the event into the stratosphere.
The party afterward was exclusive to filmmakers and the organizers of the show, held in the private room of the Raven Lounge, an excellent site to close out the night and the festival, in a place that featured Poe pictures and the infamous absinthe fountain, the drink known mostly to the artist crowd. The night and party had a bass line groove that had smiles and laughs for all there, including Alan Howarth, who had no ego whatsoever as the demons and spirits flowed freely in the room. By 3am the event had ended, with filmmakers slowly exiting after long lengthy handshakes and hugs, pats on the back, and friendships that were set in stone. The goodbyes were sincere and sad that it all had to end. The Terror Film Festival "Terror Train" screeched off into the darkness and beyond, the inescapable laughter of Princess Horror and the rye laughter of Claw echoed across the barren city streets!
The Terror Film Festival has announced it is returning with a star-studded event in 2009.
A full listing of winners is here: http://terrorfilmfestival.net/_wsn/page6.html
The Terror Film Festival ASCENDED again onto the unsuspecting society of Philadelphia, PA for the third year straight and its fiery presence was met with loud crowds of and for the filmmakers from the fans and the public. As in previous years, the festival started on Tuesday, though this year, starting time would be a preferred 5pm instead of the dreaded 2pm, making it more open to the public and kinder to the out-of-town filmmakers. The filmmakers, who ranged from worldwide, enjoyed the later hour of the fest, for it allowed them to enjoy the city and its attractions and a few got to go on a special trip to South Philly, with Claw, Princess Horror and others. The fest had no shortage of films - both features and shorts, and the talent on hand was first rate, it was the best of best, mixing new and current genre artists together. This year the submitted films rose greatly and increased from last year's totals and the films ranged from such country as Turkey and New Zealand. In addition, two-time Academy Award winning Alan Howarth made a special appearance at the festival to promote the heavily nominated film, BASEMENT JACK.
Some of the selected films seemed to fall into patterns, such as controversial topics, and others had similar subject matters and that would appear on the same nights. These would present themselves in shorts and in features that would close out the evenings, before the incredible after party events would start for all attendees. As in previous years, the festival was pushing boundaries and never playing it mild or safe nor going for the quick buck and sacrificing the audience to poorly made pieces.
This festival truly serves up many short films for the audience to enjoy and display the new talents of filmmakers, as they seem to understand that they never get the respect they deserve which makes it difficult for them ever to get the distribution to expose their craft to more people. The 'shorts' are tougher to do than the features, in the sense that you only have about 30 minutes to tell the story, define the characters, and bring the climax to the audience. These films normally do not recoup their monies and the hope is to make them into full-length features. Here, there are both the chance of that happening and the ability to talk, meet, and network with other filmmakers.
"All aboard! The Terror Film Festival is leaving on track 13 for its own Terror on the Train, and this train is bellowing more than black smoke and having Claw as the engineer, and the ever so lovely Princess Horror using this as her chariot. The train carried her to the forefront of what now has become the standard-bearer at all horror festivals to have their own 'scream queen' as the representative. Princess Horror, though is not a spokesperson or eye-candy (of some notable have been such as Elvira or Bettie Page), she is artist too. This train would be presenting 62 films over the course of 5 days."
The presentation of the films generally started with three segments that repeated over the course of the 5-day event, and it would be on average five short films for the two segments that would be about 60 minutes and then the feature film segment. The only changes to this were on Friday night and Saturday nights of the fest, which was the awards night. As last year's staple, the filmmakers (including their cast and crew) went onstage for an orderly Q&A from the audience. An additional note, the program guides where in the form of comic books, graced with Princess Horror and a vampire creature, rumored to be Victor Blood.
Tuesday, October 21, was the first night of the festival and it far surpassed any expectations of the festival organizers as the crowds on hand were three times the totals present to the previous years. There were immediate changes in this year's festival, as such, using a submitted short film as one of the trailers to invite the audience to become comfortable in their seats. The trailer was none other than EL ZOMBIE DE LA MUERTE, set in Mexico, a funny two minute short that opened the festival, and quickly generated a buzz to the growing audience with its aged brilliance of a heavy green tint. The audience brought into debate whether the word 'brains' is universal in zombie language and genre. The best line of the short is "Brain Tacos", though these words do not convey the humor that is upon the screen. Each year the festival finds an amusing short to start the festival, which repeated at each segment of each day for 16 times in total!
The first short of the night that was of interesting and layered with Twilight Zone influences throughout was entitled, THE EYE OF MENW (and yes, that is the correct spelling). This film has multiple layers from camera direction to the storytelling and the pacing of the film was tight for the most part. Actress Giovanna Galdi portrayed the character, Victoria, and was on screen 90% of the time, giving not only much screen time, but also, the sole principal person responsible for conveying the emotion of the film. Director Charles A. Christman III's editing and pacing with the tempo was to keep the audience on edge and trying to determine the next possible move that would happen. The supporting character was 'the skull'. Though never consciously speaking, it conveyed all it needed with the lengthening shadows into the hollows of the remnants of the eyes giving the ability for it to hint to unknowing future horrors. Sorry gore hounds, there is none in this film, but there is a convincing lead performance that should keep your interest as the festival continues its trek.
FOET (pronounced "feet") uses a screenplay adapted from a short story by F. Paul Wilson and perhaps influenced by Jonathan Swift's "Modest Proposal". This 'short' was the first of two controversial films shown at the festival, though not advertised. The film dealt with the sensitive issue of abortion, and as it was at the Ethical Society Building, the objective possibly to keep it low-key. If so, the festival organizers made the best decision, especially with such subject matter and political rallies occurring across the Rittenhouse Square, as not to bother the fans and the filmmakers. This film was disturbing to some of the audience and a few left in disgust, as it involved a homemaker, Denise, portrayed by the talented Ellen Mareneck, is addicted to shopping and craving the latest fashion, pocketbooks of dead baby skin. Those three words just roll off the tongue, and after all, we learn thru the film that it is legal to mass-produce them, as stitched-together from aborted fetuses, which are not human, as the courts have ruled. This black comedy hints of a Hammer Studios production, mixing horror, minor experimental-surrealism, and the political and religious sensitive topic of dead fetuses and recycling. The audience quickly learns that FOET is the name for the fashion line introduced to society. Director Ian Fischer pits extreme moral dilemmas and ethical outrage against the norms found in the tender under belly of a baby, where society is more concerned about saving animals - with outrages against leather and fur usages, and so seemingly no true cares about babies suffering or starving - though none of this preached to the audience. The surrealism surfaces in the nightmarish sequence that has to be seen to experience it, though it has trademarks to Mario Bava and to the 1970s horror film DEMON SEED. It is strange for a horror movie to delve into this material without making it an overall art-house horror film or tasteless. Neither of these elements occurs in this film, rather the director and cast spread confidence in the material throughout. Some of the language also contributes to the films controversial nature, but that is what propels this film to the forefront. Although there was a tough dialogue line in the film for some to handle, involving babies and gloves, but this film and the director pushed the envelope and that is what makes films more memorable.
The feature of the night was LUNICIDAL, but before the film showed an honorable mention of the teaser trailer for DEVIL IN THE WOODS, made a premier. Douglas Scott Johnson created this teaser, though the film was more of short than a trailer, as it is about 10 minutes in length. The audience, however, enjoyed it. All welcomed this film, but to those in the audience from New Jersey, it had more impact as it was set in the New Jersey Pine Barrens, and featured a different angle on the urban legend of The Jersey Devil. Director Douglas Johnson stated he had watched all the previous films on the legend to see their views and storylines before creating his own version - a Devil that targets those who have done evil. He and Rebel Production Associates used CGI special effects to create the Devil, rather than use an actor in rubber or latex suit, yet still kept the production cost well in check. The film starred Norman Macera, who also starred in and wrote the film LUNICIDAL, so upon this it became evident why they were screening them together.
LUNICIDAL is a film of special importance. It is 20 years in the making and still needs minor tweaks, such as a tighter edit, according to Norman Marcera, screenwriter of the festival's opening night feature length film and would close out the night. Although this was his second year selected by the fest, this film was much shorter than last year's entry, MURDER BELOW THE LINE. Norman stars as John Good, a well-liked fellow who spends his time as a local dork who enjoys reading to children and who takes pleasure in being a neat and tidy serial killer, which is awful hard to do when one wears white overalls constantly. The film generated a large audience and brought a chorus of laughs, as this horror film is definitely a b-movie that does not take itself seriously. In addition, with the dialogue being so over the top, the film really generates attention - an attractive horror romp. This though is not a straightforward slasher film. There is a battle of serial killers because Johnny's opposition is a messy killer, uncaring of his actions. The film has a sense, as a what-if scenario, about what if The Odd Couple of Felix and Oscar were serial killers. However, the film uses a unique element of Philadelphia within itself, the ominous images of Eastern State Penitentiary and a fine ending that proves the film worth.
In the first presentation on Wednesday, October 22, the crowds did taper off very slightly, yet there was still a steady flow of them into the festival. Princess Horror wasted not one minute of the night to unveil the second controversial film of the festival, in the first segment called Wild Shorts. The film was THE 9TH CIRCLE, by director and special effects artist, Damien Leone, who won the Best SFX Claw Award at the festival. One very scary clown does the setup for this film as he uses a most original style to abduct a woman on a train platform on Halloween night for a special loving date. For those familiar with the title, it can be suggested that is relates to Dante's Divine Comedy, and this draws comparisons through the ultimate sins, hellish delights, and ravaging torments. This is a terror filled train ride to sickness and fun for horror fans. The film preys of the innocence of this woman and instills in the audience this can be happening to anyone of them. Taken under the platform of normalcy and safety, there are many references to satanic imagery such as nine circles of Hell, demonic creatures, a cult leader - Dark Lord, and a blood chalice. This imagery splashes onto the screen, as the dialogue is limited and mainly is screams and torture porn. A fantastic scene in the film, and gore hounds take note, is the carnage of first, a rape, and then, a forced birth that is ripping out a fetus - very much inspired by ROSEMARY'S BABY, but updated to today's standards and shock elements, and it might be better than Hollywood's remake of that said film. There was a large discussion among moviegoers that the forced birth scene was actually a forced abortion, which had some women aghast in either manner. The director worked for two years to create the demon makeup and masks, with trial and error, and Damien's mother helped with funding and locations.
Also in this first segment was a film called, EVEN, which gives a new way to exact revenge. Director Ben Jurin gave everyone, in the audience, a quick lesson in the skillful arts of both storytelling and editing with a horrific shock. This film believes highly in extremism, and carnage, and it is truly a film not intended for vegans. However, it might serve as a reminder to all corporate executives and children who inherit companies' fortunes to be aware of office politics. The plot here was simplicity at is finest, because the film is only 6 minutes long and it never holds back the strong hold or gore. A young man taken advantage of by a skillful man named none other than, "Barnabas", who is enjoying sucking the life out this man - it is not what you think.
There was a production filmed in Philadelphia called, ST. LUKES, which needs to have an honorable mention, as guerilla filmmakers and co-directors Ray Davis and Isaac Ruth, filmed on the city streets without permits and tons of problems on a film that has contaminated painkillers transforming citizens into zombies. Ray stated, "This [Terror Film Festival] is a great event and we are treated like rock stars, given press kits, and given all this attention... so cool!"
In the second segment of the night for the short films was the elegantly crafted EEL GIRL, by Aussie Director Paul Campion. This was his second straight year that he had entered a film with last year's being the amusing NIGHT OF THE HELL HAMSTERS. This is a film that has lots of potential and possibilities to venture into different areas, and easily displays the talents of Paul, though his entry did not win any awards - is a recount needed? There is undoubtedly a lot of CGI use in this production that normally is seen in large Hollywood productions, however the over usage does not offend the audience. Rather, an eerie short lovingly greets them. In fact, audiences worldwide have had the opportunity to witness this film as it has played in over 40 festivals. The plot is a horror-romance storyline, about a military science project that genetically alters a woman who is also part eel with an exquisite sexuality that draws others to her, so that their love joins and feeds. This is the first film that is true to Greek mythology, about sea creatures called Sirens that use mystical powers to lure men to their demise. Paul's film is not far off this mark.
The feature film of the night was, SWAMP DEVIL, which starred Bruce Dern, and was a film that had all the general horror requirements, including a swamp monster, that in some ways resembles the SWAMP THING, but not with the same kindness and caring. The film had great CGI values and a good pacing to the it, and the plot was about reuniting an estranged father and his daughter in a bond, while the swamp equally and always joining in to create a stronger reliance on the outside world. A noted scene from THE EVIL DEAD films appeared when the vines showed demonic possession to do the Swamp Devil's bidding. The film was in the capable hands of veteran Hollywood Director David Winning, who has captured many awards for television productions. In addition, even though this film aired on the Sci-fi channel earlier in the month, it was well worth seeing again on the big screen.
As Thursday, October 23, came upon us, excitement was focused on the feature film of the night, though for others, today was the hump day of fest, and from here, it would speed up with the sands on time cascading down, only to lock its doors and seal their fate. All in attendance were learning about these new filmmakers and the troubles that plague them in producing, exploring, and evolving their craft compare to being on a raft set adrift in a hurricane. Truly, all must work to together to design the best product and the greatest form of their abilities to enhance their art.
The first segment of the shorts featured the sci-fi/horror film, CREEPERS, by Director Nick Thiel and his friend, CJ Johnson, who was an actor and producer on this film. The overall feeling in this movie generated tension and had the audience come to grips with our own prejudices and fears. Perhaps this film was using the political landscape of the historic presidential race as an underlying tone in assisting it in generating such an internet buzz. Nevertheless, Nick provides a film that harkens back slightly to a cross between JOHN CARPENTER'S THE THING and PHANTOMS. As the film progresses at a quickened rate, because of the unknown terror chasing them, there is never a moment of hesitation from actors CJ and Sarah Ashley, as they are a mixture of hard razor edge and rollercoaster-like emotions, respectively. As they are at zero hour of infestation, similar to 28 DAYS LATER, from the unknown source and feeding frenzy of paranoia that swirls around like a tornado, while trapped in a tiny apartment. The film has no hurried pace, nor is the audience ignored or sacrifice for the betterment of the film. CREEPERS lets the creeping terror into the tiny room that the actors, and even the audience, are trapped in, with a raw energy power drain that is feeding on paranoia and secretly social views and that is in essence -- the realism in the film. The film treats the audience to a complete mystery storyline for these 17 minutes. This film actually prepared the crowd on hand for the feature film of the night. Moreover, they sat in anticipation and they waited, and amassed in great numbers for that film.
In the following short segment, a proposal presented itself for a reality TV series called, SERIAL TV, from the creative resources of Chris McGuinness, and the talented actor, Jim Chlopecki. The film actually framed as a TV pilot and used the scenario made famous by MTV's Real World. As in the civilized world, these serial killers, who are as unique as the actors that portray them, cannot harm their roommates. So, could a serial killer, who has the rage, anger and the instants to kill on the pace of any disease that exists, refrain - watch and find out! Jim Chlopecki stars as Lance Red, the creator and producer who will do anything to ensure the success of his concept, and the show highlights the stellar marks he sets for it and himself. After all, one must have a killer show to make a large profit in the Nielsen ratings!
Once the lights dimmed, and a green hue escaped from the screen, it was time for Ben Rock's ALIEN RAIDERS to open unmercifully on the audience, making them both aware and scared of shopping this holiday season, and in general. Ben has his own fame and a cult following which appeared at the festival, for he was part of the team that created THE BLAIR WITCH PROJECT and is an old salt when it comes to horror films, having worked on nine of them in his young career. Although his filming of this production occurred during the Writers Guild strike, it did not hinder the project. This movie had a positive spin and effect on itself creating a throwback where the back-story is invasion, and not given any more significant details. This is similar to many sci-fi/horror films such as THE THING and THE X-FILES, especially highlighting the character Mulder and his nickname Spooky. The basis of the film is how a well-armed, well-trained, and dedicated assault force seizes a supermarket to stop the invasion and then advance to other unearthly realms. Another great aspect of this movie is the lack of CGI, and in its place, rather old-fashioned effects that are able to excite any gore hound and please any sci-fi fan. The cinematography was by the award winning and talented Walt Lloyd that became available through the writers' strike that dampened the Hollywood market. The shadowy effects did not hurt the film either. Rather, they accelerated it, as the film makes subtle hints to, and surpasses, films like, THE FACULTY and THEY LIVE, and never looks back. Moreover, just like the solar vastness and unpredictable patterns, the ending of this film is equal to that element. This film will be on DVD and available in 2009 from Raw Feed and exclusively distributed by Warner Brothers, and it claimed the top prize of Best Feature Film at Terror Film Festival.
Friday, October 24, of the festival included the filmmakers who had arrived thus far. The crowd on hand was a mixture of fans and filmmakers having large discussions with each other. The festival organizers did their best to include everyone, especially the screenwriters of whom some huddled off by themselves and did not feel welcome in the beginning of the festival, but by now felt accepted. So many individuals were clamoring for pictures with Claw and Princess Horror and each other. Programming of Friday included two vastly different types of feature length films. However, first there were the short programs, that special element of the fest that had become triumphant and had a loyal following at the festival.
One of Florida's top student filmmakers, Director Ryan Spindell showcased his short horror film, KIRKSDALE, that left the audience aching and mouths agape, not in disgust, but rather, in awe for more from this director and his film. The movie screams for a full-length feature version and though some would like to make comparison, the closest that comes to this film would the dreadful, DON'T LOOK IN THE BASEMENT. The setting is the 1960s in a southern mental hospital pitting reality against a double dose of insanity - on one side, it is a corrupted immoral deputy and a confused girl versus friendly fiends that are misunderstood - instead in visiting? This hospital might fit into the current health care system in the United States today. His film is not torture-porn, but rather, has the sadistic overtones found in the movies of the early 70s, such as, THE TEXAS CHAINSAW MASSACRE. Ryan's film is a downright eerie set tone and curls around the unsuspecting audience members and throttles them. As a film that is only 10 minutes long, it is far better than any episode of the most recent television horror shows, aside from MASTERS OF HORROR and DEXTER. However, still, this is from a student filmmaker and that is excellent company for this film to be a part of the festival. While Ryan provides an excellent foreground, it is the cinematography work of Julie Hotz that gives us the grimly, and a saturation of sunshine and the skilled talents they possess are clearly influenced by Tobe Hooper and Alfred Hitchcock.
A great b-movie horror comedy was present and was hands down an incredibly funny film - especially if one understands the culture of the 50s era, which was the setting for this film. PROMBIES' plot is straightforward and simple. It is young couples, sexual settings and zombies. At first they might not seem to work together, unless one takes on abstract thinking, and then it makes a lot of sense! The moral lesson presented here, is that men, in general, are animals, and become mindless zombies when seeking sex. This is the first film to show men or zombies corrupting the young flowers of women and making them into numbing zombies. This harkened not only in the setting to the 1950s, but also was in black and white, with the shadow images of lustful images common of films long ago in the cinema. Zombies bred after these brief fleeting moments come with hands, legs raised in passion and signaling the act had occurred. PROMBIES was another excellent film from Florida by Director Frederick Snyder. See this film with either your children as a lesson of the birds and bees, or be daring and see it with a lover!
GOMEDA made its United States premier, which has become commonplace for the Terror Film Festival, though like other festivals across the nation and around the world there are always premiers, but this film is from Turkey and is the first surreal-horror film of its type to be created. The title of the film is from an actual place in Turkey and considered by many to be haunted, so there was not a long leap of faith that a horror film came from this area at some point, even in the socially conservative country of Turkey. As with many horror films there seems to always be an odd number of friends, and here is no different - five - therefore the audience knows one will always end up by themselves sooner rather than later. In addition, the director was obviously influenced THE EVIL DEAD, how and where - watch and see for this beautifully executed homage scene. Filming took place in caves, which in essence already makes for a creepy atmosphere as where torture had taken place at this dreadful and yet surreal location and these torturous acts are attacking the group in dreams where they have no defense. The attacking of the dreams leads from nightmares to sickening and perverse hallucinations questioning even their own points of birth. This is a complete art-house horror film capitalizing on surrealism practices and beliefs of the director, the film had English sub-titles, and the composition of the music keeps everyone riveted. Even though Director Tan Tolga Demirci could not be on hand for the film and none of the cast was able to make the journey, the Composer, Semih Tareen, flew in from Seattle to attend the festival.
This was not Semih Tareen's first time associated with the Terror Film Festival. In 2007, he directed and composed a 7-minute epic in total style and homage to Mario Bava. That film was YELLOW.
Additional information about this film is available in the article covering the festival last year.
However, Semih Tareen would not be the only composer this night to grace the stage and take hold of the Q&A session microphone. There would also be a man that would hold the attention of all on hand for over 45 minutes speaking on the film, BASEMENT JACK, and that man was Alan Howarth. Nevertheless, both would become the composer duo, Semih and Alan, young and experienced respectfully, each taking home Claw Awards!
BASEMENT JACK is a classic slasher genre film, though it has incredible elements that were refreshing from Director Michael Shelton, as this is his first film ever that he had a director role. Although he has worked on over 17 previous horror films as a special visual effects creator, and in this film again CGI was heavily limited. The killer, portrayed by Eric Peter-Kaiser, gave a Johnny Depp impression and mixture of other gothic like film characters, though never going over the top, as he never speaks and makes no sound. His triggered is to kill entire families during a storm. His caring mother and weather patterns assist him in his triggered killings. The plot is simple and that is what makes this film so enjoyable. Jack had been caught and sent away to a nice mental facility for killing 15 people and leaving one lone survivor, but an error in paperwork allows the sweet man to walk out the front door to enjoy both nature and visiting with strangers. While the film showed similarities to
HALLOWEEN, there are elements that show this film is standing on its own. There are two key actresses, first is Michele Morrow (Karen), a lone survivor from many years ago seeking to find Jack. Then gracing the film was scream queen, Tiffany Shepis, who is a staple in horror films with a growing count of 50 films. The key of this interconnected cast seems to be the fact that most have done many horror films and have a core understanding of how they work and how to cause terror. In addition, this film is not without its fair share of jump scenes, gore lusting, and quirky characters, such as Nathan Bexton as the manager. There is plenty for all horror fans to enjoy, especially those lusting for the gore. This film is not a let down in that department. If anything, it is drenched with bloodlust, but never losing itself, and provides great amounts of twisting in the plot. Alan Howarth gives a stellar performance by using his music prowess to create both the aura and personality of Jack, using a mixture of tempo and tone. The tone allows for and designs to lead in the audience and lull them into a safe haven - only to have the Director Shelton then wreck havoc on them. Alan's best element is displayed thru the music box and it simply must be witnessed to understand the usage of his vast talent. Moreover, like all good horror, there is always a crack at the end for the customary glimpse at a sequel and this film definitely needs one! On the other hand, perhaps a final chapter better states it. For this is the second of a horror film trilogy, the first, "EVILUTION", and the third "NECROPOLITAN" (In Development).
Alan Howarth was at the festival for many days and freely gave his time to talk and answer as many questions as one could, and never avoided any of the fans that just wanted to get his photo with them. So many had awe for him, after all he is an Oscar famed composer who has worked on almost every cool film of the past 20 years, and he is someone that takes pleasure in speaking with the young talent in the room. He never vanished from the Terror Film Festival - staying for each segment and even attending all the after party events. He also became the festival's first ever Lifetime Achievement Claw Award recipient and accepted multiple awards - five in total!
Saturday, October 25, the final day, had arrived. For some, it was to be glorious, for others, it means returning home and working harder on their craft. However, to all, this day was going to be hard on the emotions. Nevertheless, the festival organizers handled all of the emotional escapades, never letting the tears of happiness and sadness become visible, that it was all to end around 10pm. Moreover, there was still one final filmmaker yet to arrive from Australia. Would they make it on time for their screening and the Claw Awards?
The planning of the final day was as if it were a Broadway show, with everyone knowing their cues, marks, lines, and letting others just flow with the emotions with instincts to know where to be at precise times. There were to be three sixty minute segments today starting at 1pm, and then the last feature film, the amazing SQUEAL, that would end the film screening programs. All that remained after the films was the presentation of the Claw Awards!
The first film of the short films programs which was entitled, Spewing Shorts, was a film called THE PROCEDURE that was very tainted with the usage of Sir Alfred Hitchcock, and in positive effect. Director Sergio Pinheiro brings to the screen a film that would easily fit in as a TWILIGHT ZONE episode, and that might become the norm in helping people in a down economy and poor job outlook. The job is simple, record the data while the project manager brings test subjects with fraying mental status and gives them objects and options to complete the procedures. Sergio took his input, learned Hitchcock's technique of suspense, and stamped it on the entire apparent suicide scene, which is very enjoyable to view from the audience. It is not for a moment too long or too short, just pure perfection.
In the next segment of shorts, there was an outstanding horror film, such as ABSENT, which makes the Hollywood film TEACHING MRS. TINGLE look like a G-rated production. Aaron Mento directed this 80s throwback horror film assisted by the talented lead actress, Mary Ann Biewener, captured the Claw Award for Best Actress. The movie poster design with Aaron's input paid homage to the video nastiness of the 1980s.The element of this film is for gore hounds, to relish in the passion of the blood, which incidentally occurs at a real classroom for a 2-day shoot that has two students returning to the scene of brutalization and mass suicide of evil portions. Though there was comparison, made by some attendees, that in the barest form this film was advocating popularity to the Columbine Massacre, however this viewpoint was dismissed by Aaron who instead wanted to create a production that dismissed the current Hollywood model of playing it safe with horror films.
The next film EXCISION was about family values, and a lesson on Parental Guidance, from Director Richard Bates, Jr. The storyline is common and yet with a twisted horror line twist, normally a movie like this would be on Lifetime Network, if it were not for the extremism on the horror. Parents neglect Pauline, a female teen, played convincingly by Tessa Ferrer, as they care for her sister who is plagued with cystic fibrosis. Normally, a child's interest in medicine and surgery is encouraged by parents, the standard line 'my child is a doctor', but here that does not exist. Pauline's dreams help her launch her plan to orchestrate the perfect solution to assist her sister, reunite her family and become the angel in the family's eye. Richard uses surreal imagery in Pauline's dreams, which was offensive to some, both men and women, though not to the extent in GOMEDA. This film will make current and future parents think about their children, and keep them all in focus. If not, then Richard will show us the realities of our society, with mental horrors becoming part of the social landscape and news flashes.
As the award ceremony was fast approaching, filmmakers' nerves were becoming more on edge. The suspense favored the festival and their anguish would continue to plague them. This would not matter as the next shorts segment entitled Slaughter Shorts began with two excellent films. The first,
WHEN SALLY MET FRANK, a highlighted film from Australia, made its appearance with the Director Victoria Waghorn arriving just in time and on cue for her Q&A session. This is an incredible film because of the feat that occurred in bringing it to the screen was 5 days, 24 hours of editing, and one special little piggy. This was the first and only female director to be on hand to promote a film this year, which is showing both the festival's and Princess Horror's support to female directors and also the advancements that women are making to the prominent position on a set. The plot is as direct forward as a head crash into a brick wall. Each year, millions of women are crawling their way to perfection under the knife for this ludicrous element of physical perfection (though men are doing this now too, though nowhere near the butchering rate of women). The obsession with perfection is the fairytale, for those involved in massive dance of a scalpel and suction devices on and under their tender flesh. This film has "Frankenstein" qualities to it and is a piggish tale, referring to something more sinister, that we are all the pigs at the trough of body alterations, and this unknowing tale to the audience could be a precursor to a feature. Victoria has been on a worldwide journey supporting her film, which one usually has to do for an independent film these days, let alone a short film. In her own words, "I'm here because no one is going to know me or care about my film if I don't come out to support it."
Brian Lonano's film ATTACKAZOIDS!, marked his second straight year accepted into the festival, though it is not just that he was there last year, but rather his film carried him here for all to enjoy. A staple of Brian's previous work shows itself here again, as retro graded special effects that would make the late Ed Wood envious and a young Steven Spielberg quiver. Although his film is a brief 7 minutes, as previous shorts presented at the festival none lacking on their storytelling, overall this is a good sci-fi film that surpasses MARS ATTACK. Brian most likely would venture back to those films of the 1950s to compare his movie to, which many seem to suggest communism as other worldly attacks, as Brian makes subtle political links to with his film. As in his previous film, ELECTRICAL SKELETAL, Brian uses miniature sets to create a marveling array of features while mastering the techniques of the black void. A heavily layered plot exists; however, the overall concept is average people in a very abnormal situation that is dark and limited. Nevertheless, there is some glimmer of light, as in WAR OF THE WORLDS (1953), yet the director and his cast keeps this disguise very well, allowing for a sequel.
The second feature of the night, SQUEAL, used a similar device to open its film like that of some released versions of PSYCHO (1960). That device is an attached trailer that uses the techniques of mystery and restraint, except to inform the viewers that a medical testing has gone terribly wrong. The horror playbook of characters had not expanded, hence these unfortunate characters -- three-piece band, a manager, two hot girls, nevertheless, the audience does become emotionally concerned about them, because of a strong screenplay. Although, there are the standard elements found in many low budget horror films, odd gas station folks, drugs, yelling matches, and nudity, and of course isolationism, these are no problem for Director Tony Swansey as he guides the film with professionalism and believability. There is no breath taken when out of the shadows the introduction of a family of fun loving homicidal maniacs meet their guests, but there will be a relishing aspect for any dedicated gore hounds. All gore hounds will savor in the beautiful blossoming bloodlust that spreads across the screen like a mad painter overdosing on absinthe. One of the key maniacs is 'pig boy', the creation of this character is solely from actor Mike Masset, who is key to the very end of film and an element used in HOUSE ON HAUNTED HILL (1999). The viewers do learn by the end of this film a key lesson, even a manipulation of genetic chromosomes polygamy overwhelmingly considered unfavorable - though learning how we learn is wonderful to watch.
The festival and its organizers had provided and performed a flawless show and delivered on perfection. Not for a moment were there any panic or arguments, just endless smiles, greetings, handshakes, and laughter. They received a 5 star rating, based upon: organization's energy and enthusiasm; pacing of the festival; greeting the filmmakers with Festival Kits; treatment of the filmmakers and screenwriters as filmmakers and the fans as equals; and lastly, the organizers performance in handling themselves and the press' accessibility. The festival's staff handled all situations with calm and tact, never allowing voices or tempers to rise, providing a fun and safe event. Competition at this year's festival was very stiff, with so much talent crammed into each category, all vying for the coveted Claw Award, and being on the stage with Princess Horror. This event is bringing all sorts of creative people together -- musicians, composers, producers, executive producers, writers, actors, actresses, dancers, directors, and crew personnel, all to view the new talents and network better than most social groups online. This is raw energy taking a new form, becoming its own individual with its own soul -- all due to the backgrounds Claw and Princess Horror.
The Terror Film Festival does give the filmmaker the acclaim they have earned and deserve for the passion of their film to live and breathe at the fest, on the silver screen, with all the pageantry and attention attributable.
From the final night, as the Terror Film Festival's "Terror Train" pulled into its final stop, the best of the best had gathered to see if their fulfillment answers their prayers, hopes, and dreams, share the stage for a moment with Shawn Cain and Princess Horror, and if they would claim the infamous Claw Award. Though unknowing to all filmmakers in attendance that were gathering upstairs at the Claw Awards reception, a truly new show was being prepared below, all in their honor. The filmmakers made their journey down the spiraling staircase into the main theater for the awards show. Multiple flashes came from photographers who greeted them from every side, with their smiles and awe evidently present on their faces and clearly unsure how to react. Filmmaker Sergio Pinheiro stated, "This is unlike any other festival. We are treated like Hollywood stars." Once inside the theater, the greatness excelled even higher, as there were multiple video cameras set up and another photographer awaiting them. Claw made his appearance on the stage to introduce a special guest that called in to give his celebratory congratulations to the legendary Alan Howarth. This special guest introduced his new film to a delightfully surprised audience and an ungodly roar when they recognized the voice of none other than Bruce Campbell. The roar continued for his trailer, MY NAME IS BRUCE. In addition, as the Claw Awards began, Shawn Cain of Seattle's Independent Film United took the stage and provided the final piece of excitement to the award show. Moreover, his wit, skill in working with the media, and masterful control of keeping the show on time and knowing the audience, propelled the event into the stratosphere.
The party afterward was exclusive to filmmakers and the organizers of the show, held in the private room of the Raven Lounge, an excellent site to close out the night and the festival, in a place that featured Poe pictures and the infamous absinthe fountain, the drink known mostly to the artist crowd. The night and party had a bass line groove that had smiles and laughs for all there, including Alan Howarth, who had no ego whatsoever as the demons and spirits flowed freely in the room. By 3am the event had ended, with filmmakers slowly exiting after long lengthy handshakes and hugs, pats on the back, and friendships that were set in stone. The goodbyes were sincere and sad that it all had to end. The Terror Film Festival "Terror Train" screeched off into the darkness and beyond, the inescapable laughter of Princess Horror and the rye laughter of Claw echoed across the barren city streets!
The Terror Film Festival has announced it is returning with a star-studded event in 2009.
A full listing of winners is here: http://terrorfilmfestival.net/_wsn/page6.html
Wednesday, October 24, 2007
Terror Film Festival Has Risen Again!
By Baron Craze
October 16th, 2007 - Philadelphia, PA
The Terror Film festival resurrected itself from its secret crypt to unleash itself with unbridled lusts for horror, gore, and divine wickedness. For the second year in a row, the Terror Film Festival slithered into the Ethical Society Building in the famous Rittenhouse area of Philadelphia, PA. This year's festival had improved and in fact more aggressive for this young fest, led by an experienced proven group of individuals that has a pristine quality called showmanship. The fest was headed by Claw, a director in his own right and the event was hosted by the special presenter Princess Horror, the first ever princess of the Terror Film Festival. Their stellar quality showed through the darkness by providing more dedication to the films, filmmakers, and the fans.
Their reign of terror lasted for six days, with 68 films displaying cinematic delights out of the 134 submitted films. There were additions such as a musical act and the awards presented in front of all who attended. Although, a downside was an earlier starting time than that of last year... two hours earlier in some cases. The reason was to highlight more talent, but the attendance did not reflect well in the early shows. Claw and the rest of his team, also designed a Trailer, that presented Princess Horror and snippets of the films that would be showing during the festival, which was accompany by a nod to eerie music and Alice Cooper. Some of the filmmakers had traveled from great distances; in fact, a group even came from as far away as France, to take part in the festival. Many were from California, a scattering came from Tennessee, and all were quite friendly in the audience. However, only a few were on hand from the local area of Philadelphia and New Jersey.
The first night of the fest was Tuesday, October 16, which showed both two segments of short films and two full, length features. This was a special night for fans, for the films were truly a mixed of genres, ranging from artsy to b-movie horror fare to sci-fi bliss. The first special film on the night's menu was BACCHUS, a film from France, later this masterful film would go on to for Best Thriller Short Film. This film dealt with a mysterious painting and incredible trip through life and facing Laurent's nemesis Giovanni. Character, Laurent at the age of 20, must also come to the realization of the secret of his nightmares and conquer them or be destroyed by them. Another incredible and intense actor in this film was Alexandre Dabusco, who has similar qualities to that of actor Antonio Banderas. Ideally, it was very special to see the actual director and star, Laurent Fabre and with part of his cast all from France, in attendance to support their film. The art of this film was both scenic and persuasive while the sound of strings simulated the pulse of the film, again showing to all the importance of the music fitting not only the film but also the scene. The film took two years to complete, but was worth the long time to see it to its completion. Personally, one should be looking for these filmmakers to grace the screen again. However, due to the time of the showing, sadly, a limited audience did dine on it.
The next short film of interest was a family fun flick, something that is truly rare at many horror film festivals; it was THE 30 BONES OF UNFORTUNATE JOEY JONES, from directors Kevin and Matthew McManus, of Rhode Island. This film was special because of its moral message to listen to ones' parents about the dangers of eating unexamined candy. However, it was not preaching, rather using the dark humor and rhymes signaling out the 31 days of October into one special night all told in seven minutes.
The first main feature of the night was a film called FLIGHT OF THE LIVING DEAD; the Terror Film Festival was the first festival to present the film. This is truly a low budget horror movie that would not get much attention if it was not for New Line Cinema, backing the film and consequently which was in production prior to the release of SNAKES ON A PLANE. This film is unrelated to the comic book by the same name, creator Scott Ewen. This film starred two seasoned horror actors, Kevin O'Connor and Dale Midkiff, starring in their sixth and fourth horror film respectively. The basic storyline has a mad team of doctors secretly transporting the cargo of an infected person who is the living dead - on a plane that has turbulence and unleashes the plague upon the passengers and crew. The best and most comedic line in the film was "she gumming me to death" in reference to a living dead old woman without teeth trying to feed on Kevin O'Connor's character Frank's arm.
The last feature of the night was DECAYING ORBIT, the sci-fi film, directed by Tim Pyle, which had the honors to close out the fest's first night. The film had character and plot elements that were similar in a form to LIFEBOAT, in which there was betrayal, greed, deception, war, hopelessness of survival, and one additional factor that was presented was a virus. The script was a very twisty, with good tension, special effects and set design for such a low budgeted independent film.
The second night presented pieces that are more thoughtful and some treats to have the audience savor. The program format was a repeat of the previous night, two segments of shorts followed by two full-length features. The first short of creative genius was DOLLHOUSE, a creepy film from Maryland, told through Mark DeGaetani. The film has some tributes to the70's, such as woman's revenge, demonic children, and exploitation, while the lightning is homage to Dario Argento. There is a joyous venture featuring a tantalizing mother, played by Juliette Bennett, who exudes enticing sexuality, similar to Elvira, but never overacting the part. The daughter, Lilly, is quite the character, her creepiness transcends through the film and creep-out the audience. Her freaky doll collection, have an interesting relationship and convey a story for men to watch their behavior or face punishment and a permanent grounding. The creepy daughter is played by the up and coming child actor Christina Barlas. This was another example the fresh films that were presented and teased audiences at the festival.
The next segment had two very different standout films, first was ONE SOUL from director Arun Vaidyanathan, it should be noted that he was the festival's first repeat filmmaker having his work shown at last year's fest. This same director went on to become the festival's first repeat winner for Best Cinematography. His film was a further exploration of his personal views of India customs with venture of love and affection towards parents when faced with the sense of desperation. The cast for this film was the same ones that were in SÉANCE, last years film fest short feature. Two overwhelming hidden notes of ONE SOUL was that it filmed in one fifteen hour shoot day and that actor Valentina Quinn, who plays the mother in the film, is the daughter of famed actor Anthony Quinn.
The other short film, from Denmark, had a silly but funny title, ZOMBIE WESTERN: IT CAME FROM THE WEST, and a wonderful sound of psychobilly and surf music through out it. It plays homage to Sergio Leone's classic westerns referencing Clint Eastwood. The film has a wonderful mixture of puppets and animation that made for a unique experience and dark humor that wonderfully conveyed to the audience.
The first feature was a classic, must see, throwback b-movie of the late 80's, from Prodigy Entertainment, (coincidentally this is their first film), with horror and intentional humor and gore galore. The film, called BRAIN DEAD (no relation to Peter Jackson's classic horror film) had a good solid script, from Dale Gelineau, of which the filmmakers never actually take to a serious standpoint in the film, which actually works for them. It has the commonplace T and A, and very good special effects, from the experienced hands of Gabe Bartalos, for such a low budget horror film. In fact the film has a keynote scene that must be viewed by all b-movie horror fans, and that is the most original way to give birth to a zombie creature, that shatters DAWN OF THE DEAD (2004) birthing event with an up close and personal mannerism. This particular film is destined to become a word-of-mouth fan favorite because it is scary, funny, gory, has zombies, and of course the nudity though not treading new ground but still worthy to be worthy of being a classic in the b-movie cinema.
The entry for the night was a film that harkened back to the old rules of cinema, those being once the film starts no one may enter into the theater. This special film was entitled DIAMOND ZERO which starred actors Bronson Pinchot and Leo Rossi, who was on hand for the film, and would later be a special guest presenter at the awards show. In addition, the legendary Tippi Hedren of THE BIRDS fame starred in this semi-low budget dark thriller/ sci-fi film. In addition, Richard Moll, who starred in HEADLESS HORSEMAN, marks the screen with his presence. Bronson shows off his talents of comedy and drama similar to TRUE ROMANCE and is briefly upstaged by a 'talking turd' - must see for yourselves. The film is both funny and uses a voice over narration that is not annoying to the audience. Leo Rossi's contribution is wonderfully captured and presented in this film; showing his talent and dedication to acting. The plot is original showing greed, lies, deception and corruption. The storyline had twists and turns which are becoming more commonplace in films, this is a guarantee must see film for fans of this genre and for the stars in it do sparkle. This was the second sci-fi film of the fest to have to the honor to close out the night. It also had the luxury of a large crowd to be on hand for it.
By Thursday, the fest was in full swing, with the filmmakers each conversing with each other, some entourages and others alone. Altogether, they combined to make one large family that brought smiles to the event's organizers and had the dark creative genius swelling to the top. There was a constant warm greeting from all of the event organizers and it was not limited or just catering to the filmmakers, but also engaging with the fans a rare quality not present at many festivals. A few problems occurred in the fest, as it does in all fests, but the professionalism was there to cover the issue without making it obvious or affecting the patrons, filmmakers, and the films. Never a moment of panic or outright shouting matches. Everything had the touch of class and style. The format still had no change in appearance in its presentation; except for this night was Grindhouse for it was to have two films of exploitation.
The first short film segment highlighted three films, first film of the day was entitled PIG TALE, a film from Canada, dealt with a child rapist and killer who from the title kills girls with pigtails. The film had the reverse element of the television show GHOST WHISPERER, where the dead speak and torment the living taking justice to him. The rapists like all other molesters tries to justify his crimes, but dead children do not listen rather they have the strength to destroy the evil and the monster. The film has a truly graphic fight scene and sodomy done to the molester that is justified.
Next was EYES OF SAMIR, a corky film, from California, that starred Tony Todd in the briefest of on screen roles since the film COLORS, but still had his passionate strength as an actor. The storyline was the basis of the terrorists versus the American media through displays of imposing wills and displaying these graphic and shocking images on the internet showing the beheadings and executions. The terrorists' sleeper cell had discovered this was the best way to convey their message - live executions equaled better television ratings. However, this film develops into a supernatural thriller with twists, turns, and ends with adventure ready to take hold of society's desirable thirst for higher ratings.
The last standout short was TRAVESTY that starred the powerful actor Duncan Garrow, as one who conveyed his passion for his craft as an actor of a man who kidnaps a woman holding her hostage. The location in this kidnapping horror film plays an important part, so remote, away from the security and confines of society in reality it is Malibu, California, it is for this reason alone that the film must be seen. Duncan Garrow who was on hand for the film stated that "location is a real shack in the Malibu hills of California, that has a real owner, and required very little enhancement for the film, and that helped him use the scenery to add to his characters attributes."
The full length feature that started the evening was TIL NIGHT, a vampire romance murder mystery, with the underlying theme of one man's darkness that exists in his soul and his drowning in despair and destruction while one woman whose love transcends endless bounds for her true love. Director Matt Boatright-Simon, is a director who can pace his storyline and create a human drama of which had many nods to Alfred Hitchcock with an easy to spot PSYCHO reference, and the surprise and suspense ratio. This film is great if seen with one you care for, as it is not a gore fest, rather it has character development something that lacks in many films today and multiple layers of intrigue. This was truly the first film that is similar to the literary works of the recent, romantic vampire novel by such writers as, Laurell K. Hamilton. In addition, this film gave new meaning to dining out.
It was then time to ring the Grindhouse elements, that have resurrected themselves due to Quentin Tarantino, the first film was called ADDICTION IS MURDER which had both the event organizers and the audience wondering if it was not an actually snuff film. The film is currently available on Youtube for everyone to debate whether it is real or fake. Please take some time to weigh in; too.
The other film was called WEREWOLF IN A WOMEN'S PRISON, a film that gain a lot of attention on MySpace, this is your basic women-in-prison film, borderline porn, and has the common place lesbian themes, often associated with these films. There was a clear reference to AMERICAN WEREWOLF IN LONDON and a subtle note to BAD MOON. This film is an over the top b-movie of exploitation, funny lines, a werewolf in a hairy costume never taking itself serious and was a big college crowd pleaser. The script by Vincent Bilancio, is campy and film of eroticism, he also gets the opportunity to star briefly as the lead character Sarah's (Victoria De Mare) boyfriend. This film definitely assisted in bringing out more audience members to the remaining days of the festival.
Friday night presented another new element to the festival a musical act, by the name of Lone Vein, however, two more impressive short films were shown before they went on, one about a controversial subject matter and the other was sheer homage that only true horror fans could appreciate. The film dealing with the controversial subject was REPRESSIONS, another film from California, dealing with sexual child abuse, and the adult it happened to, and their struggle to overcome the despair, and anger, the repressive memories from childhood. The subject matter of the film and the presentation clearly demonstrates how overzealous one's assessments can be even for the most sincere professionals. Director and writer Adam Kargman delivers a Hitchcockian film that is tense and has a sordid tale of slow twists and shows humanity's grimness, but never does his film venture into a soap opera, which coincidentally has the lead actress Sharon Case, (The Young and The Restless). Both actors Sharon Case and Debra Hopkins interaction are truly incredible, and the performance is amazing, with each delivering punch for punch involvement in the storyline. Sharon's performance, as the victim is very believable, conveying to the audience her confusion and turmoil from her sessions while Debra's portrays a stunning psychiatrist who is willing to break ethical boundaries and get involved in her patients' world.
YELLOW was the other a short inspiring and impressive film at a mere seven minutes in duration, created by Semin Tareen, this film was a perfect non-speaking homage to Mario Bava and the giallo films of the 70s. The production values were at the zenith levels, with strikingly rich colors and the traditionally haunting blue that was commonplace in Bava and in Dario Agrento's films. The loving tributes come in the form of first the music eerily similar to Goblin and then having it filmed on 16mm to capture Bava's style. This type of film would be a wonderful addition if attached to special editions of Bava's films.
However, the first feature length film of the night was the one of a heated distributors' bidding war, that involved many companies including Lionsgate, created by the talented director, Mike D'Anna, and his film was SIDE SHO. This film takes a surbudan family and tosses them into a whirlwind storyline of a forgotten tourist attraction. This film is production company Lucky Kitty's first film, written by Frank Fox who also owns the production company and used $350,000 of his own monies to have it made, and with the assistance of Savannah College of art and Design, truly created a wondrous set design masterpiece. Mike D'Anna showed his love for horror films with his creativity, by using Hitchcockian techniques' of suspense, instead surprise which was due to onset problems which normally occur on under funded projects though overcame them with professional filmmaker's style. Frank Fox stressed he had "one key stipulation had to under 90 minutes," and with Mike D'Anna's past experience in editing commercials the film clocks in at 89 minutes and is worth every minute of it was a tight storyline. SIDE SHO clearly marks reference to a recent horror film, namely WRONG TURN and then harkens back to the classic and controversial film from 1932 called FREAKS, though D'Anna does pay homage to EVIL DEAD. How? See the film!
Before the last film was to show, the new element added to the festival was the special musical guest Lone Vein that took the stage and with no overproduction values or set pieces the group played a groove that made you feel like you we attending a voodoo ceremony from New Orleans. Singer Plain Jane's performance was reminiscent of Screaming Jay Hawkins, and with fascinating songs that referred to both horror films and stars such as Lance Henriksen. Nevertheless, this session was brief, as they were to be performing at the award's ceremony the following night.
MURDER BELOW THE LINE was the last film of the night, which featured a killer by the name of Cineslayer, which terrorizes a small town and teases the police with videos. Unlike the standardized slasher films produce today that follow a cookie-cutter blueprint, this film by Norman Macera, does give the twists and turns, false endings and a grizzly killer that is outside the norm.
Saturday day and night, was highlighted by five films, and the all important award show to a sold out crowd fill of special presenters, nominated filmmakers, filmmakers in general and of course the fans. However, the first film was the funny horror comedy called THE TOLL, an animation film, in the CGI arena from Hatchling Studios. The film's creation was solely to show other larger studios what they are capable of creating, for a mere $500,000 but the film excels in another area, and that is conducting a lively interview with a troll that runs a toll bridge.
Next film was BY APPOINTMENT ONLY a film title that director John Faust stated has caused confusion with some of the viewers, but that aside, it was another film of the fest, like many others, which showed that Hitchcock's teachings of film presentation and storyline were alive and well. This was also, the second film; of the festival that hinted to the legend of Countess Bather, the other was THE LURE. Belen Greene plays Jane a woman who wants to restart life, away from the city's turmoil and heads small out of the way town, while Matt Ryan who portrays Lyle is seeking to vacate the small town, both intersect with each other either by choice or face. However, to think, that life is so vastly different in a small town, where incest and horror do not exist is, as we all know foolish to think in horror films. It starred Nancy Sinclair, who appeared in her first horror film, "didn't know how rewarding the genre was," and who showed some quite natural talents in wielding a dagger. This film was dynamic and complex, raging one moment and treading softly, John used Hitchcock's genius and masterful strokes throughout his film, making one wonder if, the Master himself was not onset.
The stellar film was RED HARVEST, which received an award for Best Short, is from Indiana, and was originally slated for a full length feature, but like so many others, the lack funds postponed that concept and instead a shorten script and film was created. The screenplay hints of Poe and Lovecraft traits, and pays homage in dividends to these to writers. Collin Armstrong's script shows 3 drug dealers trying to make a big payday, these 3 actors were the same ones who were to star in the full-length feature, have a run in with a boy who may not be what he appears to have been. The packaging and transportation of the narcotics in the film, makes one wonder if it is not based on someone's real life experience, simply because it is too well done, not even the movie BLOW came close to this display. Unsure what I am exactly referring to then perhaps then it is time to view the film.
Striving forward to awards, the audience was growing as the next film opened on the screen called ELECTRICAL SKELETAL, that homage to Ed Wood and the films of the 50s, that feature a death rock, psychobilly music Casket Architects. Brian Lonano, is now a award winning director, who was a fan at the fest last year, and used stop action animation and curious miniatures set design presented in a black and white setting that is action packed for just five minutes. His film could be dismissed by some individuals as cheesy, however it is not, rather it is perfect for a classic invasion style film that will delight fans of Ed Wood, and is family friendly.
The last film presented before Lone Vein took the stage one last time and the awards show was appropriately called THE WISH, for the audience had gathered, each had one wish - To Win! This film was from the Potent Studios local in Philadelphia, and directed by Christian Jude Grillo, who up until this film had never won any award for any film, but did so by winning Best Screenplay - which left him speechless. His film dealt with an important question and provided a warning to others, the question if a deadly disease was to ravage you, would you wish to outlive it, and accept the consequences. Well perhaps this film will help you to decide, but I would warn as does the filmmaker you to watch it before you play a game with a street vendor.
After another incredible set by Lone Vein, that pounded home, their talents and ready the crowd for the awards, and then Terror Film Festival unleashed its mighty wrath of the awards portion of the festival, which are the Claw Awards.
This young festival had a few notable quality actors on hand to present awards those being Leo Rossi and Tony Luke Jr. Also presented briefly, was outlandish Count Scotulka both a filmmaker and friend of Claw, who added some comedian presence, Scotulka is famous for his introductions of films at the North Street Bar, on third avenue, in Philadelphia. Princess Horror wore the original dress I DRINK YOUR BLOOD, and was a presenter. The awards also had a tie for Best Actress, which Claw presented himself, had divided the category into two parts, to accommodate these unusual circumstances. Christina Barlas won for THE DOLLHOUSE in the category of Best Actress of a Horror Film while Nancy Sinclair took home the award for Best Actress of a Thriller Film For a complete listing of the nominated filmmakers and their films, and the winners please visit Terror Film Festival's website. Although, thank you speeches were limited Leo Rossi stated, "There is great quality among the independent films that shouldn't be overlooked." Then was Laurent, from France, who struggled slightly with the English language, but was triumphant again, stating the greatest quote of the night "America is the land of the cinema."
Strangely, after what one would deem to be the last day of the fest, hence ending on the high note being the award show, there was to be one last day of films. However, this not the say these films were worthless, in fact that was far from the truth, these quality films sadly were not seen by many fellow filmmakers, much to their loss yet, the audience was entertained with such delights. The final films came from such areas as United Kingdom/ New Zealand; Vermont; California; the cold region of Wisconsin and from the fest's home town of Philadelphia.
First, of significance were NIGHT TERRORS an interesting film from California, and from Taryn Hough who never went to film school, and is a self-taught woman, who funded her film by doing corporate videos, which probably inspired this production as it deals with a man dealing with the conflicting worlds of fantasy and reality. In which, life in many corporate videos tries to sell a happy, blissful positive side while actually, there is nothing but lies and grim reality. It is easy to detect why the film selected to festival, for its very promising, both in cinematic creation and directing style, but like many others well under funded.
Next, was hilarious flick entitled NIGHT OF THE HELL-HAMSTERS from New Zealand and the United Kingdom. The title of this film would have many thinking to just skip it but that is the wrong choice, it has the over-the-top British humor of possessed hamsters battling mankind, and also unkindly eating mankind; too. This film easily hints to THE EXORCIST, but instead of drama and suspense, there is humor, fun, rich gory special effects and silliness. As other films mysterious haunting blue lights assisted in creating a stylized and spooky atmosphere.
Then a truly hidden gem of a horror film called THE CHAIR, formerly known as HUSH, another entry from Canada, from the skillful hands of director Brett Sullivan. The film has a highly intriguing supernatural storyline that hinted to both the elements of the film M (1931), to Poe qualities, and references the movie STIR OF ECHOES. However, only the most aficionados of films will notice that connect between this film and the classic M. A creepy thriller, which has a possessed soul haunting not only a home, but also, the homeowner, Danielle (played by Alanna Chishlom in her film debut) and the entire audience, is on edge. Brett's stirring film is a whirlwind of panic in the final fifteen minutes of this film. This was third film of the festival that was about child molesters though this film was from a completely different angle than the other film.
The Philadelphia film, THE UNHOLY SIDESHOW, came with a spontaneous and unplanned event that the fest's crowd enjoyed immensely which was a sword swallowing show. This show featured the legendary 'Red' Stuart, the Amazing Barry Silver and the director's brother, Jelly Boy the Clown. The event was both shocking and well received by the audience, again making the Terror Film Festival enter into an elite status, of presentation, where only a few other fests only dare tread. The film though dealing with zombies, had a fantastic score, and also has a strong warning label, not for the commonplace violence or gore, that were clearly represented but rather for the real 'freak show' that occurred on screen - with such wondrous talents as, sword swallowing, walking on glass and burying faces into it.
Nevertheless one can't forget the hammering of nails to people's skulls, a mind numbing and shocking display that was repeated at the after party event, by Jelly Boy himself and with Princess Horror's help. It is unwise to skip the Terror Film Festival the best things happen so often that it is so hard to believe that much of it is unplanned.
The final film of the night and the festival was BACKWOODS BLOODBATH, a film made in the backwoods of Wisconsin, based on a simple script that had an underlying twist and running along the surface was the urban legend that was feeding itself and the film. This urban legend is the Black Hodag, who is having a human buffet of all you can devour or is someone else becoming the killing machine. Donn Kennedy, the director, delivers an old school horror flick, that is gore packed, paced, and according to him, "we had limited funds, and used the best of the guerilla-type filmmaking lessons: film fast, often, and be eventful with your resources." However, the summary of this film of friends venturing off to redneck woods to spend time together sounds like CABIN FEVER, but unlike that film, this one goes visually for the jugular and rips out the spine in the process.
As the credits rolled on the last film, there was to be one last 'Q and A' session handled by Claw and on the stage was both the filmmakers from the last two feature films, with Jelly Boy the Clown providing a dark comedic answer forum, which was delightful to the audience. As they left the stage, the organizers began to dismantle the set, and transform a horror-filled auditorium back to a white claming room, there was some obviously smiles and happiness intermixed with heartache.
The theater was the douse in darkness, the depression was present to all that fest had ended, even to the city outside, as it seemed to take a moment of eerie silence as The Terror Festival and its possession of the Ethnical Society Building and the organizers was ready to release its grip upon their lives. However, to quote Claw "We realized the festival is a yearlong job, that we love to do for film makers and the fans, but still we wish there was more time to work on the preparation." Nevertheless, the Fest has already begun to call for submissions for its third year, and this year the festival was to be unforgettable, it is one thing to be a part as a filmmaker, but it is also one to be enjoyed and cherished as a fan.
More resources
www.terrorfilmfestival.net
October 16th, 2007 - Philadelphia, PA
The Terror Film festival resurrected itself from its secret crypt to unleash itself with unbridled lusts for horror, gore, and divine wickedness. For the second year in a row, the Terror Film Festival slithered into the Ethical Society Building in the famous Rittenhouse area of Philadelphia, PA. This year's festival had improved and in fact more aggressive for this young fest, led by an experienced proven group of individuals that has a pristine quality called showmanship. The fest was headed by Claw, a director in his own right and the event was hosted by the special presenter Princess Horror, the first ever princess of the Terror Film Festival. Their stellar quality showed through the darkness by providing more dedication to the films, filmmakers, and the fans.
Their reign of terror lasted for six days, with 68 films displaying cinematic delights out of the 134 submitted films. There were additions such as a musical act and the awards presented in front of all who attended. Although, a downside was an earlier starting time than that of last year... two hours earlier in some cases. The reason was to highlight more talent, but the attendance did not reflect well in the early shows. Claw and the rest of his team, also designed a Trailer, that presented Princess Horror and snippets of the films that would be showing during the festival, which was accompany by a nod to eerie music and Alice Cooper. Some of the filmmakers had traveled from great distances; in fact, a group even came from as far away as France, to take part in the festival. Many were from California, a scattering came from Tennessee, and all were quite friendly in the audience. However, only a few were on hand from the local area of Philadelphia and New Jersey.
The first night of the fest was Tuesday, October 16, which showed both two segments of short films and two full, length features. This was a special night for fans, for the films were truly a mixed of genres, ranging from artsy to b-movie horror fare to sci-fi bliss. The first special film on the night's menu was BACCHUS, a film from France, later this masterful film would go on to for Best Thriller Short Film. This film dealt with a mysterious painting and incredible trip through life and facing Laurent's nemesis Giovanni. Character, Laurent at the age of 20, must also come to the realization of the secret of his nightmares and conquer them or be destroyed by them. Another incredible and intense actor in this film was Alexandre Dabusco, who has similar qualities to that of actor Antonio Banderas. Ideally, it was very special to see the actual director and star, Laurent Fabre and with part of his cast all from France, in attendance to support their film. The art of this film was both scenic and persuasive while the sound of strings simulated the pulse of the film, again showing to all the importance of the music fitting not only the film but also the scene. The film took two years to complete, but was worth the long time to see it to its completion. Personally, one should be looking for these filmmakers to grace the screen again. However, due to the time of the showing, sadly, a limited audience did dine on it.
The next short film of interest was a family fun flick, something that is truly rare at many horror film festivals; it was THE 30 BONES OF UNFORTUNATE JOEY JONES, from directors Kevin and Matthew McManus, of Rhode Island. This film was special because of its moral message to listen to ones' parents about the dangers of eating unexamined candy. However, it was not preaching, rather using the dark humor and rhymes signaling out the 31 days of October into one special night all told in seven minutes.
The first main feature of the night was a film called FLIGHT OF THE LIVING DEAD; the Terror Film Festival was the first festival to present the film. This is truly a low budget horror movie that would not get much attention if it was not for New Line Cinema, backing the film and consequently which was in production prior to the release of SNAKES ON A PLANE. This film is unrelated to the comic book by the same name, creator Scott Ewen. This film starred two seasoned horror actors, Kevin O'Connor and Dale Midkiff, starring in their sixth and fourth horror film respectively. The basic storyline has a mad team of doctors secretly transporting the cargo of an infected person who is the living dead - on a plane that has turbulence and unleashes the plague upon the passengers and crew. The best and most comedic line in the film was "she gumming me to death" in reference to a living dead old woman without teeth trying to feed on Kevin O'Connor's character Frank's arm.
The last feature of the night was DECAYING ORBIT, the sci-fi film, directed by Tim Pyle, which had the honors to close out the fest's first night. The film had character and plot elements that were similar in a form to LIFEBOAT, in which there was betrayal, greed, deception, war, hopelessness of survival, and one additional factor that was presented was a virus. The script was a very twisty, with good tension, special effects and set design for such a low budgeted independent film.
The second night presented pieces that are more thoughtful and some treats to have the audience savor. The program format was a repeat of the previous night, two segments of shorts followed by two full-length features. The first short of creative genius was DOLLHOUSE, a creepy film from Maryland, told through Mark DeGaetani. The film has some tributes to the70's, such as woman's revenge, demonic children, and exploitation, while the lightning is homage to Dario Argento. There is a joyous venture featuring a tantalizing mother, played by Juliette Bennett, who exudes enticing sexuality, similar to Elvira, but never overacting the part. The daughter, Lilly, is quite the character, her creepiness transcends through the film and creep-out the audience. Her freaky doll collection, have an interesting relationship and convey a story for men to watch their behavior or face punishment and a permanent grounding. The creepy daughter is played by the up and coming child actor Christina Barlas. This was another example the fresh films that were presented and teased audiences at the festival.
The next segment had two very different standout films, first was ONE SOUL from director Arun Vaidyanathan, it should be noted that he was the festival's first repeat filmmaker having his work shown at last year's fest. This same director went on to become the festival's first repeat winner for Best Cinematography. His film was a further exploration of his personal views of India customs with venture of love and affection towards parents when faced with the sense of desperation. The cast for this film was the same ones that were in SÉANCE, last years film fest short feature. Two overwhelming hidden notes of ONE SOUL was that it filmed in one fifteen hour shoot day and that actor Valentina Quinn, who plays the mother in the film, is the daughter of famed actor Anthony Quinn.
The other short film, from Denmark, had a silly but funny title, ZOMBIE WESTERN: IT CAME FROM THE WEST, and a wonderful sound of psychobilly and surf music through out it. It plays homage to Sergio Leone's classic westerns referencing Clint Eastwood. The film has a wonderful mixture of puppets and animation that made for a unique experience and dark humor that wonderfully conveyed to the audience.
The first feature was a classic, must see, throwback b-movie of the late 80's, from Prodigy Entertainment, (coincidentally this is their first film), with horror and intentional humor and gore galore. The film, called BRAIN DEAD (no relation to Peter Jackson's classic horror film) had a good solid script, from Dale Gelineau, of which the filmmakers never actually take to a serious standpoint in the film, which actually works for them. It has the commonplace T and A, and very good special effects, from the experienced hands of Gabe Bartalos, for such a low budget horror film. In fact the film has a keynote scene that must be viewed by all b-movie horror fans, and that is the most original way to give birth to a zombie creature, that shatters DAWN OF THE DEAD (2004) birthing event with an up close and personal mannerism. This particular film is destined to become a word-of-mouth fan favorite because it is scary, funny, gory, has zombies, and of course the nudity though not treading new ground but still worthy to be worthy of being a classic in the b-movie cinema.
The entry for the night was a film that harkened back to the old rules of cinema, those being once the film starts no one may enter into the theater. This special film was entitled DIAMOND ZERO which starred actors Bronson Pinchot and Leo Rossi, who was on hand for the film, and would later be a special guest presenter at the awards show. In addition, the legendary Tippi Hedren of THE BIRDS fame starred in this semi-low budget dark thriller/ sci-fi film. In addition, Richard Moll, who starred in HEADLESS HORSEMAN, marks the screen with his presence. Bronson shows off his talents of comedy and drama similar to TRUE ROMANCE and is briefly upstaged by a 'talking turd' - must see for yourselves. The film is both funny and uses a voice over narration that is not annoying to the audience. Leo Rossi's contribution is wonderfully captured and presented in this film; showing his talent and dedication to acting. The plot is original showing greed, lies, deception and corruption. The storyline had twists and turns which are becoming more commonplace in films, this is a guarantee must see film for fans of this genre and for the stars in it do sparkle. This was the second sci-fi film of the fest to have to the honor to close out the night. It also had the luxury of a large crowd to be on hand for it.
By Thursday, the fest was in full swing, with the filmmakers each conversing with each other, some entourages and others alone. Altogether, they combined to make one large family that brought smiles to the event's organizers and had the dark creative genius swelling to the top. There was a constant warm greeting from all of the event organizers and it was not limited or just catering to the filmmakers, but also engaging with the fans a rare quality not present at many festivals. A few problems occurred in the fest, as it does in all fests, but the professionalism was there to cover the issue without making it obvious or affecting the patrons, filmmakers, and the films. Never a moment of panic or outright shouting matches. Everything had the touch of class and style. The format still had no change in appearance in its presentation; except for this night was Grindhouse for it was to have two films of exploitation.
The first short film segment highlighted three films, first film of the day was entitled PIG TALE, a film from Canada, dealt with a child rapist and killer who from the title kills girls with pigtails. The film had the reverse element of the television show GHOST WHISPERER, where the dead speak and torment the living taking justice to him. The rapists like all other molesters tries to justify his crimes, but dead children do not listen rather they have the strength to destroy the evil and the monster. The film has a truly graphic fight scene and sodomy done to the molester that is justified.
Next was EYES OF SAMIR, a corky film, from California, that starred Tony Todd in the briefest of on screen roles since the film COLORS, but still had his passionate strength as an actor. The storyline was the basis of the terrorists versus the American media through displays of imposing wills and displaying these graphic and shocking images on the internet showing the beheadings and executions. The terrorists' sleeper cell had discovered this was the best way to convey their message - live executions equaled better television ratings. However, this film develops into a supernatural thriller with twists, turns, and ends with adventure ready to take hold of society's desirable thirst for higher ratings.
The last standout short was TRAVESTY that starred the powerful actor Duncan Garrow, as one who conveyed his passion for his craft as an actor of a man who kidnaps a woman holding her hostage. The location in this kidnapping horror film plays an important part, so remote, away from the security and confines of society in reality it is Malibu, California, it is for this reason alone that the film must be seen. Duncan Garrow who was on hand for the film stated that "location is a real shack in the Malibu hills of California, that has a real owner, and required very little enhancement for the film, and that helped him use the scenery to add to his characters attributes."
The full length feature that started the evening was TIL NIGHT, a vampire romance murder mystery, with the underlying theme of one man's darkness that exists in his soul and his drowning in despair and destruction while one woman whose love transcends endless bounds for her true love. Director Matt Boatright-Simon, is a director who can pace his storyline and create a human drama of which had many nods to Alfred Hitchcock with an easy to spot PSYCHO reference, and the surprise and suspense ratio. This film is great if seen with one you care for, as it is not a gore fest, rather it has character development something that lacks in many films today and multiple layers of intrigue. This was truly the first film that is similar to the literary works of the recent, romantic vampire novel by such writers as, Laurell K. Hamilton. In addition, this film gave new meaning to dining out.
It was then time to ring the Grindhouse elements, that have resurrected themselves due to Quentin Tarantino, the first film was called ADDICTION IS MURDER which had both the event organizers and the audience wondering if it was not an actually snuff film. The film is currently available on Youtube for everyone to debate whether it is real or fake. Please take some time to weigh in; too.
The other film was called WEREWOLF IN A WOMEN'S PRISON, a film that gain a lot of attention on MySpace, this is your basic women-in-prison film, borderline porn, and has the common place lesbian themes, often associated with these films. There was a clear reference to AMERICAN WEREWOLF IN LONDON and a subtle note to BAD MOON. This film is an over the top b-movie of exploitation, funny lines, a werewolf in a hairy costume never taking itself serious and was a big college crowd pleaser. The script by Vincent Bilancio, is campy and film of eroticism, he also gets the opportunity to star briefly as the lead character Sarah's (Victoria De Mare) boyfriend. This film definitely assisted in bringing out more audience members to the remaining days of the festival.
Friday night presented another new element to the festival a musical act, by the name of Lone Vein, however, two more impressive short films were shown before they went on, one about a controversial subject matter and the other was sheer homage that only true horror fans could appreciate. The film dealing with the controversial subject was REPRESSIONS, another film from California, dealing with sexual child abuse, and the adult it happened to, and their struggle to overcome the despair, and anger, the repressive memories from childhood. The subject matter of the film and the presentation clearly demonstrates how overzealous one's assessments can be even for the most sincere professionals. Director and writer Adam Kargman delivers a Hitchcockian film that is tense and has a sordid tale of slow twists and shows humanity's grimness, but never does his film venture into a soap opera, which coincidentally has the lead actress Sharon Case, (The Young and The Restless). Both actors Sharon Case and Debra Hopkins interaction are truly incredible, and the performance is amazing, with each delivering punch for punch involvement in the storyline. Sharon's performance, as the victim is very believable, conveying to the audience her confusion and turmoil from her sessions while Debra's portrays a stunning psychiatrist who is willing to break ethical boundaries and get involved in her patients' world.
YELLOW was the other a short inspiring and impressive film at a mere seven minutes in duration, created by Semin Tareen, this film was a perfect non-speaking homage to Mario Bava and the giallo films of the 70s. The production values were at the zenith levels, with strikingly rich colors and the traditionally haunting blue that was commonplace in Bava and in Dario Agrento's films. The loving tributes come in the form of first the music eerily similar to Goblin and then having it filmed on 16mm to capture Bava's style. This type of film would be a wonderful addition if attached to special editions of Bava's films.
However, the first feature length film of the night was the one of a heated distributors' bidding war, that involved many companies including Lionsgate, created by the talented director, Mike D'Anna, and his film was SIDE SHO. This film takes a surbudan family and tosses them into a whirlwind storyline of a forgotten tourist attraction. This film is production company Lucky Kitty's first film, written by Frank Fox who also owns the production company and used $350,000 of his own monies to have it made, and with the assistance of Savannah College of art and Design, truly created a wondrous set design masterpiece. Mike D'Anna showed his love for horror films with his creativity, by using Hitchcockian techniques' of suspense, instead surprise which was due to onset problems which normally occur on under funded projects though overcame them with professional filmmaker's style. Frank Fox stressed he had "one key stipulation had to under 90 minutes," and with Mike D'Anna's past experience in editing commercials the film clocks in at 89 minutes and is worth every minute of it was a tight storyline. SIDE SHO clearly marks reference to a recent horror film, namely WRONG TURN and then harkens back to the classic and controversial film from 1932 called FREAKS, though D'Anna does pay homage to EVIL DEAD. How? See the film!
Before the last film was to show, the new element added to the festival was the special musical guest Lone Vein that took the stage and with no overproduction values or set pieces the group played a groove that made you feel like you we attending a voodoo ceremony from New Orleans. Singer Plain Jane's performance was reminiscent of Screaming Jay Hawkins, and with fascinating songs that referred to both horror films and stars such as Lance Henriksen. Nevertheless, this session was brief, as they were to be performing at the award's ceremony the following night.
MURDER BELOW THE LINE was the last film of the night, which featured a killer by the name of Cineslayer, which terrorizes a small town and teases the police with videos. Unlike the standardized slasher films produce today that follow a cookie-cutter blueprint, this film by Norman Macera, does give the twists and turns, false endings and a grizzly killer that is outside the norm.
Saturday day and night, was highlighted by five films, and the all important award show to a sold out crowd fill of special presenters, nominated filmmakers, filmmakers in general and of course the fans. However, the first film was the funny horror comedy called THE TOLL, an animation film, in the CGI arena from Hatchling Studios. The film's creation was solely to show other larger studios what they are capable of creating, for a mere $500,000 but the film excels in another area, and that is conducting a lively interview with a troll that runs a toll bridge.
Next film was BY APPOINTMENT ONLY a film title that director John Faust stated has caused confusion with some of the viewers, but that aside, it was another film of the fest, like many others, which showed that Hitchcock's teachings of film presentation and storyline were alive and well. This was also, the second film; of the festival that hinted to the legend of Countess Bather, the other was THE LURE. Belen Greene plays Jane a woman who wants to restart life, away from the city's turmoil and heads small out of the way town, while Matt Ryan who portrays Lyle is seeking to vacate the small town, both intersect with each other either by choice or face. However, to think, that life is so vastly different in a small town, where incest and horror do not exist is, as we all know foolish to think in horror films. It starred Nancy Sinclair, who appeared in her first horror film, "didn't know how rewarding the genre was," and who showed some quite natural talents in wielding a dagger. This film was dynamic and complex, raging one moment and treading softly, John used Hitchcock's genius and masterful strokes throughout his film, making one wonder if, the Master himself was not onset.
The stellar film was RED HARVEST, which received an award for Best Short, is from Indiana, and was originally slated for a full length feature, but like so many others, the lack funds postponed that concept and instead a shorten script and film was created. The screenplay hints of Poe and Lovecraft traits, and pays homage in dividends to these to writers. Collin Armstrong's script shows 3 drug dealers trying to make a big payday, these 3 actors were the same ones who were to star in the full-length feature, have a run in with a boy who may not be what he appears to have been. The packaging and transportation of the narcotics in the film, makes one wonder if it is not based on someone's real life experience, simply because it is too well done, not even the movie BLOW came close to this display. Unsure what I am exactly referring to then perhaps then it is time to view the film.
Striving forward to awards, the audience was growing as the next film opened on the screen called ELECTRICAL SKELETAL, that homage to Ed Wood and the films of the 50s, that feature a death rock, psychobilly music Casket Architects. Brian Lonano, is now a award winning director, who was a fan at the fest last year, and used stop action animation and curious miniatures set design presented in a black and white setting that is action packed for just five minutes. His film could be dismissed by some individuals as cheesy, however it is not, rather it is perfect for a classic invasion style film that will delight fans of Ed Wood, and is family friendly.
The last film presented before Lone Vein took the stage one last time and the awards show was appropriately called THE WISH, for the audience had gathered, each had one wish - To Win! This film was from the Potent Studios local in Philadelphia, and directed by Christian Jude Grillo, who up until this film had never won any award for any film, but did so by winning Best Screenplay - which left him speechless. His film dealt with an important question and provided a warning to others, the question if a deadly disease was to ravage you, would you wish to outlive it, and accept the consequences. Well perhaps this film will help you to decide, but I would warn as does the filmmaker you to watch it before you play a game with a street vendor.
After another incredible set by Lone Vein, that pounded home, their talents and ready the crowd for the awards, and then Terror Film Festival unleashed its mighty wrath of the awards portion of the festival, which are the Claw Awards.
This young festival had a few notable quality actors on hand to present awards those being Leo Rossi and Tony Luke Jr. Also presented briefly, was outlandish Count Scotulka both a filmmaker and friend of Claw, who added some comedian presence, Scotulka is famous for his introductions of films at the North Street Bar, on third avenue, in Philadelphia. Princess Horror wore the original dress I DRINK YOUR BLOOD, and was a presenter. The awards also had a tie for Best Actress, which Claw presented himself, had divided the category into two parts, to accommodate these unusual circumstances. Christina Barlas won for THE DOLLHOUSE in the category of Best Actress of a Horror Film while Nancy Sinclair took home the award for Best Actress of a Thriller Film For a complete listing of the nominated filmmakers and their films, and the winners please visit Terror Film Festival's website. Although, thank you speeches were limited Leo Rossi stated, "There is great quality among the independent films that shouldn't be overlooked." Then was Laurent, from France, who struggled slightly with the English language, but was triumphant again, stating the greatest quote of the night "America is the land of the cinema."
Strangely, after what one would deem to be the last day of the fest, hence ending on the high note being the award show, there was to be one last day of films. However, this not the say these films were worthless, in fact that was far from the truth, these quality films sadly were not seen by many fellow filmmakers, much to their loss yet, the audience was entertained with such delights. The final films came from such areas as United Kingdom/ New Zealand; Vermont; California; the cold region of Wisconsin and from the fest's home town of Philadelphia.
First, of significance were NIGHT TERRORS an interesting film from California, and from Taryn Hough who never went to film school, and is a self-taught woman, who funded her film by doing corporate videos, which probably inspired this production as it deals with a man dealing with the conflicting worlds of fantasy and reality. In which, life in many corporate videos tries to sell a happy, blissful positive side while actually, there is nothing but lies and grim reality. It is easy to detect why the film selected to festival, for its very promising, both in cinematic creation and directing style, but like many others well under funded.
Next, was hilarious flick entitled NIGHT OF THE HELL-HAMSTERS from New Zealand and the United Kingdom. The title of this film would have many thinking to just skip it but that is the wrong choice, it has the over-the-top British humor of possessed hamsters battling mankind, and also unkindly eating mankind; too. This film easily hints to THE EXORCIST, but instead of drama and suspense, there is humor, fun, rich gory special effects and silliness. As other films mysterious haunting blue lights assisted in creating a stylized and spooky atmosphere.
Then a truly hidden gem of a horror film called THE CHAIR, formerly known as HUSH, another entry from Canada, from the skillful hands of director Brett Sullivan. The film has a highly intriguing supernatural storyline that hinted to both the elements of the film M (1931), to Poe qualities, and references the movie STIR OF ECHOES. However, only the most aficionados of films will notice that connect between this film and the classic M. A creepy thriller, which has a possessed soul haunting not only a home, but also, the homeowner, Danielle (played by Alanna Chishlom in her film debut) and the entire audience, is on edge. Brett's stirring film is a whirlwind of panic in the final fifteen minutes of this film. This was third film of the festival that was about child molesters though this film was from a completely different angle than the other film.
The Philadelphia film, THE UNHOLY SIDESHOW, came with a spontaneous and unplanned event that the fest's crowd enjoyed immensely which was a sword swallowing show. This show featured the legendary 'Red' Stuart, the Amazing Barry Silver and the director's brother, Jelly Boy the Clown. The event was both shocking and well received by the audience, again making the Terror Film Festival enter into an elite status, of presentation, where only a few other fests only dare tread. The film though dealing with zombies, had a fantastic score, and also has a strong warning label, not for the commonplace violence or gore, that were clearly represented but rather for the real 'freak show' that occurred on screen - with such wondrous talents as, sword swallowing, walking on glass and burying faces into it.
Nevertheless one can't forget the hammering of nails to people's skulls, a mind numbing and shocking display that was repeated at the after party event, by Jelly Boy himself and with Princess Horror's help. It is unwise to skip the Terror Film Festival the best things happen so often that it is so hard to believe that much of it is unplanned.
The final film of the night and the festival was BACKWOODS BLOODBATH, a film made in the backwoods of Wisconsin, based on a simple script that had an underlying twist and running along the surface was the urban legend that was feeding itself and the film. This urban legend is the Black Hodag, who is having a human buffet of all you can devour or is someone else becoming the killing machine. Donn Kennedy, the director, delivers an old school horror flick, that is gore packed, paced, and according to him, "we had limited funds, and used the best of the guerilla-type filmmaking lessons: film fast, often, and be eventful with your resources." However, the summary of this film of friends venturing off to redneck woods to spend time together sounds like CABIN FEVER, but unlike that film, this one goes visually for the jugular and rips out the spine in the process.
As the credits rolled on the last film, there was to be one last 'Q and A' session handled by Claw and on the stage was both the filmmakers from the last two feature films, with Jelly Boy the Clown providing a dark comedic answer forum, which was delightful to the audience. As they left the stage, the organizers began to dismantle the set, and transform a horror-filled auditorium back to a white claming room, there was some obviously smiles and happiness intermixed with heartache.
The theater was the douse in darkness, the depression was present to all that fest had ended, even to the city outside, as it seemed to take a moment of eerie silence as The Terror Festival and its possession of the Ethnical Society Building and the organizers was ready to release its grip upon their lives. However, to quote Claw "We realized the festival is a yearlong job, that we love to do for film makers and the fans, but still we wish there was more time to work on the preparation." Nevertheless, the Fest has already begun to call for submissions for its third year, and this year the festival was to be unforgettable, it is one thing to be a part as a filmmaker, but it is also one to be enjoyed and cherished as a fan.
More resources
www.terrorfilmfestival.net
Tuesday, October 24, 2006
Terror Creeps into Philly…
by Baron Craze
In late October 2006, for four days, a building of ethical foundation, was transformed into nightmarish delights, and hellish pleasures, while the buzz of Halloween swirl in the night air, this event called the Terror Film Festival unleashed itself to spread the toxics of horrors unto the public.
Philadelphia, Pennsylvania has now entered into the realm of horror film festivals joining the prestigious grounds of the elite in such cities of New York and Los Angeles, with their respective events. Yes, the Terror Film Festival did not have the big stars there, or the press, in fact any major press, well except me – one who found out about the event on MySpace. Nevertheless, what it the event organizers did bring to the forefront was integrity and talent.
The event organizers were, Claw and The Princess of Horror, with help from their friends and family, combine with their dedication and talent the Terror Film Festival shown at the Ethical Society Building in Philadelphia, was a success on many levels and will continue to be one.
One hundred and forty-four films were submitted for this festival, they came from all across America and from, Poland, Spain, Germany, and even South Africa. This was not a festival of any small proportion, nor was it limited to any individual or nationality, but rather to the best independent film production. Among the countless films, Snoop Dogg’s Hood of Horror was submitted to the festival, but alas, it was also declined… Why? “It did not fit into the fest’s definition of an independent film and with its large budget, [which dwarfed the competition,]” stated Claw. While the film would have guaranteed a larger turnout and most likely more press coverage, it did not warrant the festival’s acceptance, nor that of the event judges. Again, the event organizers were passing on guarantee dollars and their own acclaim to fame.
Nevertheless, the Terror Film Festival style is an intimate film festival personal and enjoyable for all who attended setting itself apart from other festivals by not limiting the films to certain years or to MPAA ratings, though they did still offer a shot at cash prizes and award known as ‘Claw Award’.
However, one can argue on the definition of independent films and the quality of those said films with regard to budgets. Yet, it cannot be argued about the talent that was showcased here in Philadelphia, thanks to Claw, a man who decline to be interviewed except to state that the event is for the filmmakers, the fans, and those who aspire for greatness and not himself.
This event was very hauntingly special. Instead of attending a haunted house and ghost, tours it was a friendly and fiendishly enjoyable time that started on October 17th highlighted six short films all nominated in various categories. Among which was entertaining animated short called Teddy Scares if sound familiar it should be it was made the same company that produces the collectible toy bears of the same name. This independent production highlighted the talent voices of Clive Barker and Linda Blair (of Exorcist fame) just to name 2 stars of cast. This film’s screenwriter, Jim Hankins, went on to win in the category: Writers Boot Camp 6 Week Online Class. After, a short intermission break which allowed for a question and answered session with any of the filmmakers that were presented, the first full length feature of the festival played it was, Under Surveillance, a quirky film that lived up to a Hitchcockian style. This film also won best screenplay.
The first night, Tuesday of the four - day festival ended with a second short films program of five programs. It was wonderful to see the talents and how wide reaching this festival was as films presented here were from Johannesburg, Gauteng, South Africa (The Mamtsotsi Bird) by Jo Horn to Barcelona, Spain (Happy Birthday 2 You). The first film of the second Short Film Program was even from Gothenburg, Sweden that journeyed here to haunt the fans with Bad Dreams.
Wednesday wickedly kicked off the night with a similar format as the previous night, seven short films in differ categories, with Dear Sweet Emma, a six-minute film that will have you rethinking about sweet old granny in the neighbor. Ben an audience member stated after this movie, “He never be short tempered with a senior citizen again.” Half Price $ale was one of the hometown favorite created by Mike Zaleski, this short of 7 minutes came up ‘short’ in the category of best screenplay. Maybe the Dancing with Stars (television show), may take notice and cringe!
Next was the first of two full length features of the night was Satan’s Whip, this was not only my personal favorite but also one of the crowd’s favorites, The mixture of stylish tones and the material made for a colorfully entertaining film that pushed the boundaries. Pete Barker was truly the star of this film that played a one eyed priest, Father William; he was the audience’s favorite character in all the films of the festivals. His serious deadpan remarks and sinister humor was a change pace. Many in the audience thought he should have been nominated for the best actor award, but he was not to displeasure of many in attendance. The director, Jason Maran, was one of the few filmmakers on hand most were not presented even those were very local did not attend, but we were thankful that their glorious films were on hand for our ghastly delights.
The second feature of the night was highly promoted and praised by fans on MySpace, which was, The Murder Game, though its story line had been before it was clever and entertaining. It also, have the most ingenious murder scene that one has witness in while and that was with a fire extinguisher and it not how you would ever think – great special effect, for this low budget film.
Thursday was as thrilling as possible, with the format that was dead on for a repeat of Tuesday with to be slashing fun, with four films that clocked in just over an hour. Project: Adam was in the same vein as television series, Twilight Zone, yet it was very entertaining film and intriguing screenplay, by my friend and drinking mate Jacob Buchheit won multiple awards. It won for the best sci-fi film and won for the Writer’s Boot Camp Six Week Online Class and for Writer’s Boot Camp Script Consultation; he was on hand for the event and an extensive Q&A session.
The feature film of the night was They Must Eat!, which was a black humor and horror mixed together and great gore scenes. This film was big crowd gathering which really showed the word-of-mouth of the Terror Film Festival’s potential growth. This film had no CGI or other computer enhancements like most of films at the festival, just incredible and talented actors being hellish monsters without corny masks and just minor costumes mixed with a minimum makeup tricks. It was shot on DV (digital video) as were most of the other entries in the fest.
The night finished with four more shorts and the big draw of the night, which was Penny Dreadful (not the same film from the After Dark festival or After Dark distributors). This film starred the legendary actress Betsy Palmer (of Friday the 13th) and went on to win the fest’s Claw Award for Best Actress for her minor but significant role. Also, in the second segment of the short film program of the night it contained the fest’s shortest short, of one minute, which was gruesome and bloody, and known as The Butcher, Baker and Nightmare Maker.
On the final night Claw, displayed his personal talent as a filmmaker, it was shown in between the two short film segments as a feature film, even though it was not a full-length feature. The showing of this film came with much prompting and dedicated fans, it was a horror spoof that honored Alfred Hitchcock’s Psycho and to the slasher genre of the greats of Freddy, Jason, Michael Myers, Leatherface, Lector, Norman Bates and of course Janet Leigh’s role. The film was highly enjoyable and funny as a fan film; it had won several awards at other film festivals many years ago.
This Friday was fiendish and was filled with eight shorts and one trailer, another big winner was the movie Steves true homage to the movie The Shining, and the most experimental film called Room 101 from Hirakata, Osaka, Japan. The festival made every effort to impress with no tricks just treats for the audience to enjoy. The trailer that was eerie and left everyone wanting to see it was named The Séance created by Arun Vaidyanathan from New Jersey.
The final film of the night was the second hometown favorite, Of Darkness, and it was no finer a film to end with making the audience leery to venture into the city’s darkness which is always scary and making sure we known to fear the unknown. This film’s storyline was great and true to the horror genre with a great cast directed by Gary Irwin, who had also a fantastic killing soundtrack. The screenwriter, Matt Casale, of local fame, of this film won honors with Writers Boot Camp 6 Week Online Class.
The only downside of the, Terror Film Festival was the starting time 4:30 in the afternoons and the festival itself had to end, many new bonds were created and smiles abound all – from the fans to the filmmakers to Claw, Princess Horror and her fiendish crew. But fret not it was announced at O’Sheas – a local bar that held after party events each of the festival – that the festival would resurrect itself again and devour the living in October 2007.
For more information including a full list of the previous nominations and winners and to stay update, visit the Terror Film Festival’s website. www.terrorfilmfestival.net
Note JULY 2007
The film Penny Dreadful that starred Betsy Palmer was added to Fangoria’s DVD Chopping List found in issue # 265, with a summary and had an image of the film published in that it issue.
SEPTEMBER 2007
The Murder Game released on DVD by Warner Home Video and Light Year Entertainment. www.murdergamemovie.com
In late October 2006, for four days, a building of ethical foundation, was transformed into nightmarish delights, and hellish pleasures, while the buzz of Halloween swirl in the night air, this event called the Terror Film Festival unleashed itself to spread the toxics of horrors unto the public.
Philadelphia, Pennsylvania has now entered into the realm of horror film festivals joining the prestigious grounds of the elite in such cities of New York and Los Angeles, with their respective events. Yes, the Terror Film Festival did not have the big stars there, or the press, in fact any major press, well except me – one who found out about the event on MySpace. Nevertheless, what it the event organizers did bring to the forefront was integrity and talent.
The event organizers were, Claw and The Princess of Horror, with help from their friends and family, combine with their dedication and talent the Terror Film Festival shown at the Ethical Society Building in Philadelphia, was a success on many levels and will continue to be one.
One hundred and forty-four films were submitted for this festival, they came from all across America and from, Poland, Spain, Germany, and even South Africa. This was not a festival of any small proportion, nor was it limited to any individual or nationality, but rather to the best independent film production. Among the countless films, Snoop Dogg’s Hood of Horror was submitted to the festival, but alas, it was also declined… Why? “It did not fit into the fest’s definition of an independent film and with its large budget, [which dwarfed the competition,]” stated Claw. While the film would have guaranteed a larger turnout and most likely more press coverage, it did not warrant the festival’s acceptance, nor that of the event judges. Again, the event organizers were passing on guarantee dollars and their own acclaim to fame.
Nevertheless, the Terror Film Festival style is an intimate film festival personal and enjoyable for all who attended setting itself apart from other festivals by not limiting the films to certain years or to MPAA ratings, though they did still offer a shot at cash prizes and award known as ‘Claw Award’.
However, one can argue on the definition of independent films and the quality of those said films with regard to budgets. Yet, it cannot be argued about the talent that was showcased here in Philadelphia, thanks to Claw, a man who decline to be interviewed except to state that the event is for the filmmakers, the fans, and those who aspire for greatness and not himself.
This event was very hauntingly special. Instead of attending a haunted house and ghost, tours it was a friendly and fiendishly enjoyable time that started on October 17th highlighted six short films all nominated in various categories. Among which was entertaining animated short called Teddy Scares if sound familiar it should be it was made the same company that produces the collectible toy bears of the same name. This independent production highlighted the talent voices of Clive Barker and Linda Blair (of Exorcist fame) just to name 2 stars of cast. This film’s screenwriter, Jim Hankins, went on to win in the category: Writers Boot Camp 6 Week Online Class. After, a short intermission break which allowed for a question and answered session with any of the filmmakers that were presented, the first full length feature of the festival played it was, Under Surveillance, a quirky film that lived up to a Hitchcockian style. This film also won best screenplay.
The first night, Tuesday of the four - day festival ended with a second short films program of five programs. It was wonderful to see the talents and how wide reaching this festival was as films presented here were from Johannesburg, Gauteng, South Africa (The Mamtsotsi Bird) by Jo Horn to Barcelona, Spain (Happy Birthday 2 You). The first film of the second Short Film Program was even from Gothenburg, Sweden that journeyed here to haunt the fans with Bad Dreams.
Wednesday wickedly kicked off the night with a similar format as the previous night, seven short films in differ categories, with Dear Sweet Emma, a six-minute film that will have you rethinking about sweet old granny in the neighbor. Ben an audience member stated after this movie, “He never be short tempered with a senior citizen again.” Half Price $ale was one of the hometown favorite created by Mike Zaleski, this short of 7 minutes came up ‘short’ in the category of best screenplay. Maybe the Dancing with Stars (television show), may take notice and cringe!
Next was the first of two full length features of the night was Satan’s Whip, this was not only my personal favorite but also one of the crowd’s favorites, The mixture of stylish tones and the material made for a colorfully entertaining film that pushed the boundaries. Pete Barker was truly the star of this film that played a one eyed priest, Father William; he was the audience’s favorite character in all the films of the festivals. His serious deadpan remarks and sinister humor was a change pace. Many in the audience thought he should have been nominated for the best actor award, but he was not to displeasure of many in attendance. The director, Jason Maran, was one of the few filmmakers on hand most were not presented even those were very local did not attend, but we were thankful that their glorious films were on hand for our ghastly delights.
The second feature of the night was highly promoted and praised by fans on MySpace, which was, The Murder Game, though its story line had been before it was clever and entertaining. It also, have the most ingenious murder scene that one has witness in while and that was with a fire extinguisher and it not how you would ever think – great special effect, for this low budget film.
Thursday was as thrilling as possible, with the format that was dead on for a repeat of Tuesday with to be slashing fun, with four films that clocked in just over an hour. Project: Adam was in the same vein as television series, Twilight Zone, yet it was very entertaining film and intriguing screenplay, by my friend and drinking mate Jacob Buchheit won multiple awards. It won for the best sci-fi film and won for the Writer’s Boot Camp Six Week Online Class and for Writer’s Boot Camp Script Consultation; he was on hand for the event and an extensive Q&A session.
The feature film of the night was They Must Eat!, which was a black humor and horror mixed together and great gore scenes. This film was big crowd gathering which really showed the word-of-mouth of the Terror Film Festival’s potential growth. This film had no CGI or other computer enhancements like most of films at the festival, just incredible and talented actors being hellish monsters without corny masks and just minor costumes mixed with a minimum makeup tricks. It was shot on DV (digital video) as were most of the other entries in the fest.
The night finished with four more shorts and the big draw of the night, which was Penny Dreadful (not the same film from the After Dark festival or After Dark distributors). This film starred the legendary actress Betsy Palmer (of Friday the 13th) and went on to win the fest’s Claw Award for Best Actress for her minor but significant role. Also, in the second segment of the short film program of the night it contained the fest’s shortest short, of one minute, which was gruesome and bloody, and known as The Butcher, Baker and Nightmare Maker.
On the final night Claw, displayed his personal talent as a filmmaker, it was shown in between the two short film segments as a feature film, even though it was not a full-length feature. The showing of this film came with much prompting and dedicated fans, it was a horror spoof that honored Alfred Hitchcock’s Psycho and to the slasher genre of the greats of Freddy, Jason, Michael Myers, Leatherface, Lector, Norman Bates and of course Janet Leigh’s role. The film was highly enjoyable and funny as a fan film; it had won several awards at other film festivals many years ago.
This Friday was fiendish and was filled with eight shorts and one trailer, another big winner was the movie Steves true homage to the movie The Shining, and the most experimental film called Room 101 from Hirakata, Osaka, Japan. The festival made every effort to impress with no tricks just treats for the audience to enjoy. The trailer that was eerie and left everyone wanting to see it was named The Séance created by Arun Vaidyanathan from New Jersey.
The final film of the night was the second hometown favorite, Of Darkness, and it was no finer a film to end with making the audience leery to venture into the city’s darkness which is always scary and making sure we known to fear the unknown. This film’s storyline was great and true to the horror genre with a great cast directed by Gary Irwin, who had also a fantastic killing soundtrack. The screenwriter, Matt Casale, of local fame, of this film won honors with Writers Boot Camp 6 Week Online Class.
The only downside of the, Terror Film Festival was the starting time 4:30 in the afternoons and the festival itself had to end, many new bonds were created and smiles abound all – from the fans to the filmmakers to Claw, Princess Horror and her fiendish crew. But fret not it was announced at O’Sheas – a local bar that held after party events each of the festival – that the festival would resurrect itself again and devour the living in October 2007.
For more information including a full list of the previous nominations and winners and to stay update, visit the Terror Film Festival’s website. www.terrorfilmfestival.net
Note JULY 2007
The film Penny Dreadful that starred Betsy Palmer was added to Fangoria’s DVD Chopping List found in issue # 265, with a summary and had an image of the film published in that it issue.
SEPTEMBER 2007
The Murder Game released on DVD by Warner Home Video and Light Year Entertainment. www.murdergamemovie.com
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