Holidays are all about great food–everyone knows that. And this Thanksgiving, Ginger Christ, the super sassy and delightfully demented cooking show host, has served up a whopping feast of horror in her Thanksgiving Special! Directed by Alex Napiwocki and costarring a group of hilarious misfits (and a certain critter…), Thanksgiving is transformed into an absolute scream with their Ginger Christ holiday horror series.
I love bizarre horror, and as soon as I watched Ginger Christ’s Halloween and now Thanksgiving Specials, I’m sold. It’s weird, super twisted and will either make you die laughing or turn off the show in disgust! But if you do that, well, then you’re no damn fun. Watch Ginger Christ’s Thanksgiving Special, titled “What’s Eating Critter?” here!
Tasty, am I right? Also be sure to watch her Halloween Special!
Can’t wait Can’t wait what she’s serving up for Christmas…Happy Holidays Horror Lover!
Hey, I’ve been meaning to ask, do you know anyone named Jennifer?
It’s been some time since we’ve had an update, but for great reason, I assure you. I’m excited to announce that LAHorror.com’s first feature film, “2 Jennifer,” has wrapped principle photography and is on slate for completion in August! It’s been a wild ride putting this film together, and fans of murder, violence and horrifying GORE will not be disappointed! “2 Jennifer” is a hard “R” rated sequel to our good friend James Cullen Bressack’s 2013 film, “To Jennifer.” You can read our review of his film here.
“Two filmmakers attempt to make the perfect sequel to “To Jennifer,” however a dark secret threatens the lives of everyone involved. Jennifer, a beautiful actress, now has two options: become the heroine of the film, or face a brutal death.”
Writer/Director Derek Mungor, the filmmaker behind LAHorror.com favorite “Desolation Wilderness,” is back with another creeper, “You Are Not Alone.” This is a super beautiful film is about friendship, memories and revisiting old times…oh yeah, and a totally freaky serial killer. It’s a genuine slice of life turned hyper suspenseful slasher movie, shot entirely from the prospective of one character. The film is co-written by Chris O’Brien.
Natalie is a college graduate visiting her hometown over the 4th of July. The night she arrives, she is stalked by a sociopathic killer.
I always love it when horror movies have a nice slow burn, but it makes me really hope that the filmmakers pull it off in the end. Mungor and his team knock this one out of the park. “You Are Not Alone” is one of the scariest serial killer slashers I have ever seen. It takes advantage of your perception, aided by sincere and welcoming performances by a fun and likable cast and makes you feel as if you’re truly living as one of the characters in the film. This both adds to it’s unique charm and also amplifies the horror when things get rough. And when sometimes slasher movies get caught up in narrative and over explanation, “You Are Not Alone” takes a much different approach. The film isn’t exactly about why these killings are happening, but moreso about the events themselves. It’s the best type of slasher film: one that respects its audience and simply shows you the events of one tragic July 4th weekend.
Do yourself a favor and watch this one with ALL of the lights turned off. I mean that. Hats off to Mungor and Director of Photography Ryan Glover for creating what seemed like constant suspense and anticipation, primarily through the use of light and shadow. A great look accompanied by an amazing score by Jason Aud and some ultra creepy sound design by Jason Neumann, this film is incredibly intense…I cannot emphasize that enough. “You Are Not Alone” is the type of slasher that had me at the edge of my seat, jumping at every turn, and when you see it, chances are you will be too.
And on a side note, it’s really great to see a 4th of July horror movie. I can honestly say that this film has potential to be a once a year favorite for the BBQ holiday, much in the same way that other holiday horror favorites have found spots in our hearts. This movie pays homage to a lot of greats before it, yet it never loses itself. Die hard slasher movie fans, get ready for some fireworks, and remember…”You Are Not Alone.”
There’s a neat magic trick that “Starry Eyes” pulls off. In telling the story of an unknown actress going to great lengths for the lead role in a horror film, it allows a relatively unknown actress to deliver an amazing performance in a horror film.
That it’s able to pull this off without becoming self-referential and overly “meta” is a testament to the directing team of Kevin Kolsch and Dennis Widmyer. They build a seedy, claustrophobic world that allows Alex Essoe to deliver an incredibly focused and committed performance.
Essoe plays Sarah Walker, an aspiring actress who works at Big Tater’s: a Hooter’s-esque restaurant run by Pat Healy, and surrounds herself with hipster frenemies while hustling auditions. She’s obsessed with becoming a star. Not just any kind of star, either. She idolizes old Hollywood leading ladies. Her timid demeanor masks some serious psychological issues: when she’s upset, she goes into fugue states and pulls her hair out in clumps.
Her big break seems within reach when she lands an audition for Astraeus Pictures (also the real-life title of the film’s production company), which is depicted as the decaying remnant of an old Hollywood studio. The audition does not go well, and she has an episode in the studio’s bathroom. The Casting Director sees this and is intrigued. She arranges another audition, where Sarah has one of her fits in front of the camera.
The rest of the film is the study of how far Walker is willing to go to achieve success with Astraeus. Her ambition is the driving force behind the story and pushes her into a Faustian bargain with the Producer of Astraeus.
What’s fantastic is that the film works completely as metaphor for the process and business of acting while still telling a fantastic story. It references great old Hollywood studio pictures such as “All About Eve” and “Sunset Boulevard” without quoting from them. We’re never told exactly who or what the forces behind Astraeus are. We simply see the wonderfully creepy and not quite human performances of Maria Olsen as the Casting Director and Louis Dezseran as the Producer
When Sarah makes her deal with Astraeus, the movie takes a swing into full blown body horror. There’s some great disgusting makeup and gore in the second half of the movie. The climax of the film is delightfully ambiguous, leaving you to decide if Sarah’s sacrifices and choices were worth it in the end.
Alex Essoe is the movie’s greatest special effect. This movie is a showcase for her performance, as she’s in nearly every frame of the film. She delivers a performance that is honestly one of the best I’ve seen this year. Her scenes with Pat Healy are just spectacular: heartfelt and completely real. I haven’t seen a woman disappear into a role this completely in a horror film since Tristan Risk’s Beatress in “American Mary.”
“Starry Eyes” isn’t just a great horror movie; it’s a great Los Angeles movie. It uses a number of great locations around the city, and depicts the squalor and trashiness of modern Hollywood, contrasting the glamour and perfection of the movie version of Hollywood. The lush cinematography by Adam Bricker excels in showing a beautiful environment and then zeroing in on the chaos and decay that lurk at the edges. This is Hollywood by way of Lovecraft and Ligotti.
Finally, the score is perfect. It’s by Jonathan Snipes, who also scored “The Shining“ documentary “Room 237.” It’s due to be released in February when the movie hits DVD and Blu-Ray.
“Starry Eyes“ is currently available on VOD from iTunes and Amazon Instant Video. I was lucky enough to see it in its only Los Angeles screening at Cinefamily. If you’re in the mood for a horror movie in the vein of “Rosemary’s Baby” or “Possession,” you’ll really enjoy this movie. There’s so much creativity in every frame of this film. Seek this one out wherever you can find it.
I hope you’re having a ghoulish holiday, and to sweeten it up just a bit, we’ve got a treat that will really satisfy your appetite for CARNAGE! LAHorror.com is stoked to premiere our new short horror film, “Knife Party”! This little slice of horror is directed by Paul Stephen Edwards and produced by LAHorror.com contributors Mikhail Zakharchuk and Hunter Johnson. It also features a totally dope soundtrack from TeKNOsuicidE! So put on your best outfit and come join Alec James, Chrissy Cannone, Cassandra Jones, Robert Michael Price and myself to the “Knife Party”! I’ll be sure to bring my sharpest cutlery, too…cheers!
These are just a few of my favorite things, and when I’m watching horror I’ve always got my eyes peeled for the grisly money shot. And when it comes to the good stuff, the really nasty and ultra-violent carnage that we all love and adore, Joey Medina’s short horror film “Missing” does not hold back. In fact, “Missing” didn’t just satisfy my thirst for blood, but pretty much dumped a bucket of it onto my face. It’s a brutal, unflinching horror experience that managed to shock me all the way until the very end. I absolutely loved this film!
“Missing” is the type of film for the most depraved horror lover, and those are usually the ones that hit me just right. Essentially, we follow a day in the life of a LA’s most twisted serial killer…dig it?
But what “Missing” succeeds in most is not only the carnage, but also a very stylized and unique viewing experience, as Medina takes a popular concept and gives it his own stylized twist. Without going into too much detail, I will say this: Medina made blood the main character, and oh what a role it plays. There are also some excellent performances by a cast of oddly charming actors who all bring their A-games to a really intense story.
The film is making it’s way into the festival circuit now, so take notice as it should not be missed. There may also be plans in the future for a feature length version down the road. Keep your eyes out for it…
Finding a job these days is tough, especially one that actually pays the bills. The search could even be described as a “true horror story” for some; even if you do land an interview, often you can get beat out by a more qualified candidate. Frank Merle, the writer and director of the new horror thriller, “The Employer,” takes this idea to a whole new level: in this interview, you either get the job or die…
It’s a now classic set-up. Five strangers wake up in a locked room. Before long, they realize they have something in common: they have all recently interviewed for a position at the mysterious Carcharias Corporation, and today is supposed to be their final interview. Unbeknownst to them, The Employer (Malcolm McDowell) has a very sinister way of choosing the perfect candidate for the job. You see, at Carcharias Corporation, having a well-rounded resume is only half the battle. What’s the other half? It’s killing the competition before they kill you first. Last one standing gets the job of their dreams…
The great part about a film like “The Employer” is that it takes a familiar premise and gives it its own unique and rather intelligent spin. Yes, pitting people against each other in a locked room has created some pretty grisly horror films, but “The Employer” isn’t about the gore; it’s about the characters. Merle creates a group of very fleshed out young professionals who have every reason in the world to try to get ahead. It’s more fun to get to know the characters first before they’re brutally murdered as opposed to watching strangers get hacked up; it makes for a much more satisfying viewing experience.
But while Merle crafts characters who are undoubtedly justified in their reasons to despise each other, he also brings out strong performances by five very talented actors. The scenarios he sets up for these interviewees are amplified by their terrific performances. Everyone brings something to the table, and everyone has a secret.
James, played by David Dastmalchian, is our Everyman and is wonderfully naïve and hopeful that in this terrifying scenario maybe, just maybe, nobody has to die. It really feels like at any moment Dastmalchian could break out and become a recognizable face for frequent moviegoers, and a film like “The Employer” certainly allows him to show some great range. Opposite him is the beautiful Paige Howard who plays the kind and caring Sandra. It’s hard not to root for these two; their chemistry is strong, especially when the going gets tough.
Mike (Matthew Willig) tries to silence the trash talking Keith (Michael DeLorenzo) much to the horror of the level headed Sandra (Paige Howard)
Juxtaposed against this optimistic, seemingly level-headed pair are our other three captives: the sexy and ass-kicking Billie (Katerina Mikailenko), the bruising and massive Mike (Matthew Willig) and the loudmouth Kieth (Michael DeLorenzo). Five very different people in one nightmarish interview, “The Employer” creates a tense and unnerving experience that gets to be a real free for all with plenty of twists to keep you guessing who’s going to get the job.
Which brings us to our last and most important piece of this puzzle: The Employer himself, Malcolm McDowell. As the puppet master of this whole scheme, it’s extremely fun to see The Employer get inside of the heads of these characters and find out exactly what makes them tick. It’s always fun to see McDowell play a bad guy, but in “The Employer” he’s even more dementedly charming than usual. Every time McDowell is on the screen he steals the show, which is understandable given his ultra-talent. He embodies the mission of the Carcharias Corporation and adds a level of mystery and intrigue that we can only hope for a sequel (or two) to expand upon.
Only The Employer knows the secrets of the Carcharias Corporation…
And maybe that’s the real reason this movie was so enjoyable: the fact that it asks more questions than it answers. While Merle’s intentions for making this film are unknown, “The Employer” raises a lot of questions not only about its own reality but also our own, and frequently plays with moral questions that we deal with on a daily basis. How often do we see people doing anything to get ahead of the competition, or a massive corporation treating its employees like pawns in its own sinister game? Merle has created a film that is modern, violent and full of nasty twists, “The Employer” grabs you and won’t let you go.
Lastly I’ll leave you with this, the same thing that Merle told me before I watched the movie and the thing that probably intrigued me the most: at the end, only one person walks out of that room alive…
Does life imitate art or does art imitate life? It’s a tricky question, especially when you apply it to the world of horror, given all of the atrocities that happen on a daily basis all over the world. Director Edward Payson‘s “The Cohasset Snuff Film” blends the fictional world and the real world together, giving us an up close and personal look into the mind of a serial killer in a chilling way. At times, it’s hard to determine if what you are watching is real or merely the fantasy of a couple of disturbed but talented filmmakers.
“The Cohasset Snuff Film” is real, or so they say. The film begins with a pair of documentarians as they uncover the secret tapes of Cohasset, Massachusettes best kept secret: serial killer Colin Mason. You see, Mason killed three girls in 2009 and had the good sense to get it all on camera. In a quest for infamy, Mason compiles a series of video diaries plotting, and executing, his plans for inflicting pain and torture. Now you can see the footage for yourself in every horrifying detail.
This film is a tender reminder of just how fucked up this world really is. With murder sprees and serial killers seemingly popping up all the time these days, this film feels relevant. And this is certainly one that will attract the morbid curiosity of both experienced and novice horror viewers. And when I say novice, I mean the kinda of kids that sneak horror movies into their slumber parties, that watch them when their parents aren’t watching or don’t know. I say that because the killer in this film is in high school, and what sort of normal adolescent hasn’t fantasized about murder at one time or another? This film will no doubt be a dirty little secret for many viewers.
But while the idea of this movie hits close to home, our lead character is a little harder to sympathize with. I always like rooting for a killer. It’s fun and makes you feel a little guilty. Yet, the one thing I felt was missing from this film was a strong motive for this killing spree, but that doesn’t mean it isn’t there. Colin Mason is obviously resentful of his fellow humans for the typical reasons – being ignored, abused and picked on, however we never really see any of that on film. While we do learn about the human side of our killer through classmate interviews, psychology studies and the police reports, the face to face time with Mason is long past his days of being “normal.” It’s less of a descent into madness as it is being just thrown into the mix right before shit goes down—and shit does go down.
The great thing about “The Cohasset Snuff Film” is its raw intensity. There are no jump scares or cheesy twists. This film is grounded in reality and the murders are real. Some mad props go to these actors who certainly had trust in director Edward Payson and believed in this project. Their trust will no doubt be rewarded as this film will certainly be getting some pretty big attention in the near future. I say that with no hesitation, because this film has all of the right pieces to be an underground hit.
On a hilarious side note, supposedly some people in Cohasset, Massachusettes are pretty upset that this film has been made. Now, why they are upset is up for debate. Maybe they don’t want their town to have a bad reputation, or maybe they just don’t want to be associated with something as nasty as “The Cohasset Snuff Film.” Or maybe, just maybe, there’s a little more truth to this film than originally thought. That’s why I recommend you check it out and decide for yourself.
If you are living in the Los Angeles area, the world premier of “The Cohasset Snuff Film” is fittingly this Halloween in North Hollywood. You can purchase your ticket here. If you’re not in the Los Angeles area, the film is beginning a self distributed theatrical run in limited cities. If you want to see this film in your area, then visit this page and demand to see “The Cohasset Snuff Film!”
LAHorror.com has previously interviewed director Edward Payson about this film and other horror projects. You can read that here. Be sure to check out “The Cohasset Snuff Film” on Facebook and Twitter.
I knew I was going to have a nightmare about 45 minutes into Dave O’Shea’s film, “Day Job.” It was just one of those feelings I had, and it came true. A couple of hours after finishing the movie, I found myself in bed, startled, after reliving some of the moments in my dreams. It’s now been 24 hours since I watched it, and I’m slightly anxious to go to sleep again.
Nick (Dave O’Shea) is your struggling, lower-to-middle class cable guy. He drives the van, fixes your signal and connects your TV, nothing unusual there. However, its Nick’s hobbies outside of his day job that really make this film an experience, including but not limited to rape, torture and necrophilia. We quickly realize that Nick is certainly not the normal guy he appears to be to his clients, and that his world outside of work is less than savory.
A film like this deserves recognition, and I certainly hope it eventually gets it. Quadruple threat O’Shea (writer, director, producer, actor) has put together something incredibly disturbing and original – a story so flush with true characters, absolute savage violence and unforgettably disturbing imagery throughout. Simply put, “Day Job” is unlike any horror film I’ve ever seen before and completely caught me off guard. This film, much like the main character, invades your space and imposes its will upon you.
Now that being said, a film of this intensity is certainly tailored for a specific audience – this is NOT your average serial killer film and its rawness will no doubt turn off casual horror viewers, but that’s quite all right. This movie was never intended for them anyways. Only the most depraved, disgusting and deeply disturbed horror fans will see this film for what it truly is: an unrelenting tour de force of violent perversion and terror. This was my kind of movie!
Now don’t get me wrong, this is not one of those films that is violent for the sake of violence, and while it is extreme it always serves a purpose to the story, and this story is good. The script for “Day Job” is the film’s biggest strength. Each character, big or small, is relevant to the overall arc of the story, and there is absolutely no fodder in this film. The story plays like a drama, or even a mystery, in the sense that each relationship is important; there are many little things that come back to slap you in the face. There were many “Oh, hell no; how did I not see that coming?!” moments in this film and the ending was simply jaw dropping. I found myself watching re-runs of “Seinfeld” immediately after viewing this film to try to get my mind on something a little lighter.
The only problem with this film, and unfortunately one that may turn off less patient viewers, is its appearance. This is a low budget film, but it’s watchable. In fact, the gritty texture adds to its perverted charm – there are many horror films of similar quality that could only hope to be as good as “Day Job.” But even through all of that, it’s clearly a labor of love for O’Shea and he succeeds where he needs to – you can see every frame and you can hear every line.
Now I say this with the utmost sincerity: I LOVED this movie. I intend on watching it again in the very near future and highly recommend it to anyone who has a morbid curiosity for the filthiest of horror. Given the right opportunities, this film could send an oily shockwave through all those who dare seek it. My challenge to you if you do eventually have the pleasure of viewing this film: watch every single scene and don’t look away. Trust me, it’s not as easy as it sounds. Sweet dreams.
“Day Job” will be hitting festivals this year. For more on Dave O’Shea, please check out his official website. Also be sure to follow “Day Job” on Facebook.
Ahhh, the home invasion film. It’s a popular idea that requires little setup and exploits a primal fear–the violation of our home and shelter. An ugly intruder amidst all things familiar. Our castle turned cage with a single breach.
Horrifying stuff, really. No doubt filmmakers such as James Cullen Bressack seek to expose their audience to these dreadful scenarios. It hits home. Literally. In this case, Bressack takes it one step further in his quest for full, unadulterated immersion and employs the found footage style. Now, home invasion films aren’t for everyone, but found footage films have an even more polarizing effect. For those horror fans who can appreciate both, “Hate Crime” is worth a look. If you’re seeking specifics of the plot, further reading won’t reveal much. A family is taken hostage by masked gunmen. That’s all I’m telling, and that’s all you need to know.
The elements of this story are decidedly simple, and the film wastes no time getting to the good stuff. It moves along at a brisk pace, hardly allowing the viewer to catch his breath, much less let down his guard. And while that may not make for optimal jump scares, this film isn’t interested in petty antics. It wants to exhaust you.
The brutality is less related to physical torture–the most graphic of which takes place off screen–and more a product of sheer intensity. Save a brief introduction to the family, complete with sibling banter, ill tempers and domestic feuding, the film quickly escalates with a healthy offering of heinous laughter, disturbing acts and distorted enthusiasm that is simply unsettling. When the pace finally lets up and allows for some intimate conversation, the dialogue is effectively sinister and not without devastating implications. It is a gripping contrast of wills and emotions: those of the victims pleading for salvation and those of the jolly invaders. And while the monotony of the struggle may be off-putting, I consider it a test of endurance designed with discomfort in mind. It is a horror film.
One interesting facet of this film is the development of the immediately indiscernible antagonists. It takes time, but they ultimately evolve from the raving mad men of first impression. They are passionate in their endeavors, unrelenting yet giddy and actually far more interesting than the family they victimize. Their brand of off-the-cuff terrorism comprises the bulk of the film, and there really is little else to it.
The performances are often satisfactory, improving as the film progresses, and the direction overall impressive. There are few cuts in this film and the host of long takes is a feat for all involved. However, simply put, the selling point of this film is the content… but that is if, and only if, you’re in the market. “Hate Crime” is a constant barrage of brutality projected through the grit and grime of unpolished cinema. It is “Funny Games” without the civility. And, in the end, it is a hard-hitting feature-length Public Service Announcement for a thoroughly unprepared public. They have no idea what lies in store. Enjoy.
“Hate Crime” will be hitting festivals soon. Review by Levi Caleb Smith
LAHorror.com 