Fans of horror, prepare for a real treat in the form of Steve Harris’ Retrospective on Return of the Living Dead. For those that remember this the first time around, please join us for a journey down memory lane, and for those yet to become accustomed with Return of the Living Dead, join us, it’s going to be a blood and laugh-filled journey.
Take one ex-music video director, add one rain lashed city, two cops and a race against time to prevent a serial killer from fulfilling his gruesome masterpiece, and you have Seven. Correct? Well yes and yes and possibly no, if you happen to be thinking about this grisly little offering and not Fincher’s step up to the big time.
Found footage horror films are ten-a-penny these days. Since The Blair Witch Project did so well at the box office, over a decade ago, it has been a cost effective plot device that is constantly reused to belie a meagre budget.
Simon Rumley’s latest feature is a tricky and troubling beast. It’s also one of the most memorable DVD releases of the year. Ostensibly Red, White & Blue takes on your typical revenge scenario beloved of so many violent, exploitative B-Movies and twists this familiar trope until it snaps. The film’s been called a ‘slacker revenge movie’, and that phrase sums up best how it works. There’s certainly a lot more going on than a simplistic plot and graphic bloodshed.
Resident reviewer, Gareth Jones, spent his Halloween weekend in West End Vue cinema for Frightfest’s annual Halloween all-nighter. He returns, sleep deprived, terrified and with an unnatural fear of exoskeletal insects. But were the films any good? Read on for the definitive verdict.
Lieutenant Brian Murphy (Robert Freeman) is on the last evacuated plane out of an unnamed African city, following what appears to be a worldwide zombie apocalypse. The plane crashes and he’s the sole survivor, washing up on a coast and facing a long trek across unforgiving landscapes to get to safety. Along the way he meets up with Sergeant Daniel Dembele (Prince David Osei), a soldier whose village has been torn apart by zombies and who is now on the trail of his son and they decide to join forces, heading for a military base in the north.
Having previously served as the inspiration for Mario Bava’s La Maschera del Demonio, Nikolai Gogol’s short story The Viy receives a more faithful adaptation here. The Bava connection is an important one, as Georgi Kropachyov and Konstantin Yershov’s film has a look that brings to mind the Italian’s attempt at another Russian tale, namely Aleksey Tolstoy’s The Wurdalak from his portmanteau feature I tre volti della paura (Black Sabbath).