The Love Witch (Fantasia Film Fest)


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"The Woods" was Actually "Blair Witch," Because of Course it Was (Trailer)

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Take note, Gatorade and Doritos--essentials on the grocery list of a loner who intends to conjure the devil in the middle of the woods. So it seems anyway per Joel Potrykus' latest, The Alchemist Cookbook, which stars Ty Hickson as Sean, the aforementioned loner who has taken residence in a trailer in the woods conducting various DIY experiments. The youngster's mind seems to be fracturing as he's gone on his sabbatical in hopes of gaining wealth from mystical and evil forces.

As long as there are movies, there will likely be remakes, reboots, and sequels. And as long as Hollywood continues to deal in retelling existing stories and retreading well-known properties, people will debate the merit of these movies. In a summer that has seen its share of blockbusters bearing the moniker of old favorites (Ghostbusters, Finding Dory, Purge: Election Year) the debate has come back in force.

At the turn of the 21st century France made a huge push towards dominance in the horror community with what became known as the New French Extremity; named for its trademark grisly violence and shocking gore.  What made this wave special is that often times this came complimented by high minded political or philosophical ideas woven into the core. Frontier(s) especially lacks in this regard, especially when viewed some 10 years later.

Maybe it's just me, but most of the horror genre's best efforts as of late seem to be coming from first timers. Maybe it's just that the field is congested with first timers that the sheer amount is bound to trip into something great. Geoff Redknap isn't new to the industry, having an impressive background in makeup effects, but The Unseen marks his first time in the director's chair--and what a first impression it is. 

It’s time for another addition of Book Vs Movie—and this time we are taking on the granddaddy of “true” horror fiction, The Amityville Horror. Both the book and the subsequent film marked a new turn in horror and both are remembered fondly for their impact to the haunted house genre. Without The Amityville Horror we most likely never would have Poltergeist and we certainly would not have The Conjuring or The Conjuring 2 which has racked up dumpster trucks of cash at the box office, or the seemingly impending universe of Warren films to come.

The Girl with All the Gifts Trailer

Proving that movie studios love the old adage "You can never have too much of a good thing", the trailer for The Girl with All the Gifts is here and it's full of zombies. The trailer lets us know that the film is based on a bestselling book, and it apears to be about kids who are immune to zombies. Plus, there are army guys, zombies biting people, army guys shooting zombies, zombies grabbing people, zombies biting army guys, and army guys shooting zombies grabbing people.

While the recently launched Pokémon GO is giving nerds a reason to get out and be active, at least one Canadian filmmaker is making a case for why you should never get out of bed. Well at least this one particular emporer sized bed with a cursed emblem carved from a tree that hung countless brutally murdered souls. Bed of the Dead is a stonedfaced approach at telling an inherently silly story, but with a gleefully violent backbone. 

Did you hate It Follows? Bored by The Witch? Then The Blackcoat's Daughter (originally titled February) is not the film for you. Oz Perkins' directorial debut is not some unholy combination of those two aforementioned indie films, but it follows suit with the trend of moody horror flicks that turned heads on the festival circuit. Similarly it may drive audiences to claw at its metaphorical throat.

Since the moment it was announced, the 2016 Ghostbusters reboot, and everyone involved in the project  have been under intense scrutiny. In a world where the YouTube comments section--a generally unfriendly place full of people screaming into the void--and MRA trolls can be easily whipped into a frenzy, it is no wonder that movies featuring female characters that are even marginally competent face criticism.

David F. Sandberg has gone from director of an effective and passed around three minute short to potentially one of the hottest genre directors out there, seemingly overnight. Sandberg's 2013 short, Lights Out drew all the right attention landing him a plum gig adapting his own short into a full length 80 minute flick with the producing power of James Wan at his side. The question remains, how can a three minute short stretched to over 26 times its original length retain its effective chill.

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