First Official Still of THE SACRAMENT

In the past, alternate reality marketing has worked wonders with the found footage concept, whether it was the supposed “dead” crew members of Cannibal Holocaust and The Blair Witch Project or the “news leaks” of Cloverfield and The Devil Inside. However, the first studio film from indie horror maestro Ti West may be getting a whole new level of credentials, thanks to producer Eli Roth and investigative journalism company VICE.

The film, entitled The Sacrament, following an investigative journalism team infiltrating a suicide cult and is told through a found footage perspective. Ti West, formerly known best for The House of the Devil, The Innkeepers and V/H/S, has cast his You’re Next co-stars A.J. Bowen, Joe Swanberg, Amy Seimetz and Kate Lyn Sheil for the film. Eli Roth, who spoke to FANGORIA Magazine for his newest production, Aftershock (in theaters now), revealed that West and himself have secured VICE Magazine’s brand name and support for the docu-horror:

“With The Sacrament, Ti West brought me this idea. He was like, ‘I want to do something docu-style with VICE Magazine, but set in a Jonestown like scenario where everything starts to unravel and you see it from the inside.’ I said, ‘Oh God, I want to see that.’ He already talked to VICE and got permission to brand it as a VICE movie, so that was really, really smart.”

A.J. Bowen, Amy Seimetz and Joe Swanberg

For fans of Ti West, The Sacrament has already begun building anticipation, having been described as “the found footage version of The Wicker Man”, despite a mixed fan reaction from his contributions in V/H/S and The ABC’s of Death. Roth, whose presence in the horror community was subdued since The Last Exorcism, is truly marking 2013 as a comeback year, having Hemlock Grove breaking records as a Netflix Original Series, releasing his first directorial feature film since Hostel: Part II with The Green Inferno, and having Aftershock, Clown, The Last Exorcism: Part II and The Sacrament all releasing this year.

To learn more about The Sacrament, you can check out Fangoria Magazine’s exclusive video chat with Eli Roth here. For updates on The Sacrament, The Green Inferno and more of Roth and West’s upcoming projects, keep your eyes peeled on Diabolique Magazine!

- By Jay Plainsafe

The article “The Sacrament” gets real with VICE branding appeared first on Diabolique Magazine.

A BAND CALLED DEATH

In Issue #15 of Diabolique, there was a focus on the relationship between Rock ‘n’ Roll music and horror culture. The inherent theatricality of Rock music, as well as the primal resonation of the collective sounds within specifically Punk and Metal music, lends itself perfectly to the same psychological reactions as horror culture often extracts from an audience. Names like Charles Manson, Jim Gordon and Varg Vikernes can be associated with real life horror stories better than their actual music, as well. But horror, as with Rock ‘n’ Roll, may come with the images of the dark and aggressive, but also come with an inherent spirituality. After all, what is evil without the element of goodness to battle it? What is a spirit in unrest without the desire for a peaceful eternity? What is death without the life that precedes it?

Such thoughts are, surprisingly, one of the reasons why Death (not the Metal band) garnered it’s name, as late guitarist David Hackney is paraphrased as saying, “Death is reality.” And from that moment on, an already fascinating documentary transcends into something more spiritual and yet, simultaneously, more personal, immersing the viewer into a perception that at once gives gravity to what was formerly three young African Americans playing punk rock in a small room. By labeling the band “Death”, David unintentionally brought a force of fear that would follow the band like a dark cloud, not only intimidating those who were opposed to the band’s music and skin color, but also those who loved the band and could not gamble on a name so bleak and terse. But, by the end of A Band Called Death, out this weekend on Video-On-Demand from Drafthouse Pictures, the name is not much more than a MacGuffin; a catalyst by which the story begins, dies and begins again, birthed out of a struggle to be heard and understood.

But all vague notions aside, there is still much to be said about A Band Called Death in concrete terms. First off, the film, in any light, is a wondrous experience, one likely to enlighten you to new music but also a time and place often experienced through a different lens. The plight of the punk band, seen most often through the predominantly white hardcore movement or the various Sex Pistols pseudo-documentaries, is experienced by three African American brothers (David, Bobby and Dannis), who grew up as influenced by Motown and The Beatles as they were Alice Cooper and The Who. The music of Death is powerful, unique and minimalist, yet it’s more so what the band does not do that makes them so unique. Rarely do we see Death’s original lineup perform in the film, and the brothers, in particular David, refusal to compromise forever alters the course of the band and his family.

As a documentary, A Band Called Death is electric. From the opening guest interviews, featuring such rock and roll icons as Alice Cooper and Henry Rollins to upcoming Maniac star Elijah Wood, to the introduction to the band itself, the documentary provides a “sink or swim” mentality, throwing the audience into a frenzy of the bands music, imagery and legacy, allowing the viewers to piece together the mental puzzle at the pace they choose to provide. However, A Band Called Death benefits the most from having a real life story that’s unpredictable as it is tragic and haunting. Family turmoil, strange premonitions and overwhelming adversity mar the story of A Band Called Death, but also provide a strong, hopeful outlook about passion, recognition and love once the picture becomes clearer. Furthermore, directors Jeff Howlett and Mark Covino offer an incredibly intimate portrait of the brothers, not only as a band, but as good-minded, funny, down-to-earth human beings and siblings, allowing any success or heartbreak in their path to resonate much more powerfully.

The Hackney Brothers

A Band Called Death is not the perfect documentary, by any means. Towards the late second act, there are certain pacing issues, and rarely are you given the perspective of those who stood in the way of the band, albeit that may be an issue of time passed and unavailable resources rather than conscious indifference. Equally problematic is the films misdirection, occasionally focusing on the weaker of two simultaneous stories for dramatic effect. However, the issues within A Band Called Death are minor annoyances at best, paled in comparison by the onslaught of music, emotion and spiritual empowerment on display.

One of the most fascinating elements about A Band Called Death is the psychological function of the documentary itself. There’s no trying to decipher the meaning of punk rock, nor is the film trying to assign Death a martyr’s position of a talent that disappeared, allowing others to succeed in its wake. If anything, A Band Called Death is incredibly reaffirming, bringing to light often lightheartedly the opposition that the band faced, whether it be record executives who despised the name “Death” or their own neighbors, reluctant to accept such loud, volatile music in a time and place that was home to Motown, and then showing how little the band cared in the bigger picture. To the Hackney brothers, Death was more than something that can be shrugged off, and one can tell that no protest could embody that message better than the music itself.

A Band Called Death is not a game-changing documentary, but the balance between brevity and seriousness makes the film just as human as the subjects at hand, and that’s a feat unto itself. The documentary raises questions about the nature of spirituality and God, the breaking point of kinship, and the persistence of good music. In an age where any and all music is being documented on digital devices, Death has been given a second life, something A Band Called Death hopes to reinstate for a whole new generation of uninitiated fans. And even though the appeal of this documentary may be more subjective than objective, it’s undeniable that A Band Called Death is immersive, touching and, yes, punk rock at its most sublime.

- By Ken W. Hanley

A Band Called Death is available now on Video-On-Demand. The film will be released theatrically by Drafthouse Pictures on June 28th. For more information on how/where to rent the film, please visit http://drafthousefilms.com/film/a-band-called-death.

The article A Band Called Death (Film Review) appeared first on Diabolique Magazine.

Ben Wheatley’s A FIELD IN ENGLAND

British director Ben Wheatley is making quite a name for himself as a filmmaker within the horror community. Bursting onto the scene in 2009 with his first feature, a crime thriller called Down Terrace, he won the Next Wave prize at Fantastic Fest in Austin, TX, and Best UK Feature at the Raindance Film Festival in London. The success continued with his next feature, the rapidly growing cult film Kill List, when he went on to be nominated for various awards at the 2011 British Independent Film Awards. The film ended up coming away with one, for Michael Smiley in the “Best Supporting Actor” category, against the extremely fierce competition of Tom Hardy, Benedict Cumberbatch, Eddie Marsan and Ezra Miller.

2012 saw a slight departure from the crime/horror niche he so skillfully crafted with his third feature, Sightseers, a dark comedy which follows a 30-something couple on a road trip and the murderous hi-jinks that ensue. That same year, however, Wheatley snuck back into horror territory as he directed one of the best and most innovative segments of The ABC’s of Death.

Ben Wheatley’s A FIELD IN ENGLAND

However, Ben Wheatley’s newest directorial effort looks to be a strong return to the horror genre. Entitled A Field In England, the film appears to blend psychedelic horror with a period piece film. Set during the English Civil War, A Field in England follows a group of deserters who have fled the battlefield, crossing paths with an alchemist, who enlists their help on a treasure hunt. While searching for food, the deserters feast on hallucinogenic mushrooms, and from there descend into chaos. The film bears a striking resemblance to Nicolas Winding Refn’s Valhalla Rising, as well as slightly to Paddy Breathnach’s Shrooms and Jim Jarmusch’s Dead Man. With crisp black and white cinematography and Wheatley co-writing (with Sightseers’ actress/writer Amy Jump) as well as directing, A Field In England appears to be one hell of a trip. 

A Field in England will be released in the United Kingdom on July 5^th, marking the first time a homegrown title has been released simultaneously in theaters, on DVD, free TV and video-on-demand in the country. Drafthouse Films recently acquired the North American rights to distribute the film at the Cannes Film Festival, with an as-of-yet unannounced release date. Stay posted at Diabolique Magazine for more news and a review to come.

- By Robert Vaughn

The article Ben Wheatley and Drafthouse Films venture into “A Field In England” appeared first on Diabolique Magazine.

News coming out of Cannes Film Festival this week indicates that our friends over at IFC Midnight have acquired the North American distribution rights to the film RAZE,  an action/thriller from writer Robert Beaucage and director Josh Waller. RAZEstars  Zoe Bell, who most will remember from her stunt-heavy meta-performance in Quentin Tarantino’s Death Proof, and Rachel Nichols, who starred in Maniac Director Franck Khalfoun’s P2. The film also features genre heavyweights Sherilynn Fenn (Twin Peaks), Tracie Thoms (Grindhouse) and Doug Jones (Pan’s Labyrinth).

RAZE is a story that begins when Jamie (Nichols) and Sabrina (Bell) are both abducted, awaking in a strange concrete prison also housing 48 other women. They women soon learn that an unknown organization has put them there, and have the ability to kill their loved ones. The only way to protect them? To engage in one-on-one fights to the death.

With Bell in a starring role, it’s guaranteed that the action and fight scenes in RAZE are going to be stellar. It will be quite a trip to see her in a starring role of this caliber, and the film is garnering a lot of buzz from its screenings at both Cannes and Tribeca.

IFC has yet to announce any information about when they will be releasing RAZE in the U.S., but keep your eyes on Diabolique for more information, or visit www.RazeTheMovie.com

- By Matt Delhauer

Check out the official International Trailer for the film below:

The article IFC To ‘RAZE’ Hell appeared first on Diabolique Magazine.

Scheduled to attend Calgary, Alta’s Third Annual Horror Convention, and currently in the process of fundraising for his latest directorial endeavour, Zombificador, via the popular crowd-funding vehicle, Indiegogo, the legendary Godfather of Gore himself, Mr. H.G. Lewis, took some time out of his busy schedule of conjuring ideas for his latest splatter-fest to answer a few questions for DIABOLIQUE, and further pique the horror community’s curiosity by unveiling a few of the finer details of the film and the fundraising project.

DIABOLIQUE: How did the idea to try and raise funds for your upcoming horror anthology, Zombificador, via Indiegogo come about?

H.G. LEWIS: The idea came from the producer, Marc Fernandez, who felt that public involvement from the first instant would increase public involvement in the ultimate produced film.

DIABOLIQUE: Was it a matter of desperate times call for desperate measures?

LEWIS: Desperation is never a successful motivator. Marc regards the Indiegogo approach as a logical way to initiate funding. And with my personal history, I’m not about to be desperate to get a movie underway.

DIABOLIQUE: And why did you opt to use Indiegogo as opposed to other similar crowdsourcing websites?

LEWIS: Indiegogo allowed Marc, who’s not a U.S. resident, to raise funds. Beyond that, Indiegogo was a logical choice because the technique allows the entrepreneur to use the funds raised even if the amount hasn’t reached the intended goal. So we can start the movie with the amount we’re able to raise, assuming it’s at all logical. (With Kickstarter, Marc says, a venture doesn’t get money unless the total goal is achieved; and US residency is required.)

DIABOLIQUE: How much have you raised so far and how much do you need to raise overall to fund the film?

LEWIS: I’m not in a position to say, because the cash flow isn’t static. But to have the cameras grind for even a respectable fragment, we’d need to be in the lower six figures.

DIABOLIQUE: Describe what it was like trying to find the funding to make your movies back in the ‘60s and ‘70s compared to how it is now.

LEWIS: In those golden times, independent distributors would put up advances, covering the right to distribute a movie within their assigned territories. Theatrical release was king. Today, only a splinter of independent productions achieve a theatrical release, and that restriction, added to the flood of films pouring out of digital cameras, can be a mortal wound to any hope of exclusivity.

DIABOLIQUE: How were you funding your movies back then?

LEWIS: Once Blood Feast and Two Thousand Maniacs! had established a reputation for playable pictures that made money for both the production company and the theatre, I could coast from film to film. I self-financed many of my movies, but distributors were ready to supply advances because the theatres that played our movies would give advances to the distributors in exchange for guaranteed exhibition.

DIABOLIQUE: Tell me a bit about the project itself. How did the idea for Zombificador come about?

LEWIS: I hadn’t known Marc Fernandez. He contacted me with the irresistible argument that he wants to produce “the goriest movie in all history.” You certainly can imagine: I was intrigued both by his sincerity and by his astuteness.

DIABOLIQUE: And how did you collaborate with Fernandez on the script?

LEWIS: There were elements in his script I felt were “flat”. Some elements were tedious, some too familiar for comfort and too few that transmitted a component I feel we need for an individualistic image: sardonic humor. Marc quickly accepted my philosophy, and that left me without an argument. Clever on his part, wasn’t it?

DIABOLIQUE: Did you and Marc take a thematic approach to writing the film? What is the underlying theme of Zombificador that ties the five individual segments together?

LEWIS: Within the classic “Monster” framework – and because of that framework we need droll relief to avoid sameness – we have the classic cast: zombies of course, talking puppets, unsuspecting humans transformed into monsters, mutant bugs, and the inevitable psycho-killers. Five separate segments interconnect, all happening the same day in the same town. Understand the creative timing: I’m still schlocking around with the script, making changes as I wake up with new clouds on my brain.

DIABOLIQUE: Have any actors been cast for the film yet?

LEWIS: My understanding from Marc is yes: Bill Moseley, who appeared in Marc’s previous film Mugworth, and Michael Berryman. I don’t want to cry “wolf!” with actors and actresses. So much of the casting awaits a hard start-date.

DIABOLIQUE: As stated on the Indiegogo page for Zombificador, the film is a truly ambitious endeavour as it is promised to be “the ultimate gore movie”. Who will be taking care of the SFX? Hopefully, there won’t be any CGI used…

LEWIS: I embrace your attitude toward CGI. I’ll use it only when no other method is sensible, such as positioning an image inside a TV screen or computer monitor. I may discuss effects with Marcus Koch, who did the effects for my film, The Uh-Oh Show. But the ultimate decision depends both on Marc and on the location where we do the filming.

DIABOLIQUE: Horror anthologies have made a huge comeback in recent years. Did you feel you absolutely needed to jump on board the anthology band wagon to get on par with the rest of the horror filmmaking community, or was it something you had in mind prior to the new wave of horror anthologies?

LEWIS: Zombificador isn’t an anthology. The stories interconnect. Ask me that question again when we’ve shot at least fifty scenes and I’ll give you a coherent answer.

DIABOLOQUE: Have you seen any of the recent anthologies such as Little Deaths, The Theatre Bizarre, V/H/S and The ABCs of Death? What are your thoughts? Which of them have you found to be particularly engaging or well done?

LEWIS: Any answer I’d advance at this point would be regarded as competitive, and too many writer-directors feel ego-threatened whenever somebody else makes a successful movie. I’m trying to avoid that trap.

DIABOLIQUE: It’s stated on the Indiegogo page that Zombificador will be the horror film for fans of old school, traditionally made horror films. Do you think it’s realistically possible to make such a horror film in 2013? How will it be the same and how will it be different?

LEWIS: Take my word, please: Nothing about this movie represents “the old school” except in the broadest terms. You know my reputation. With every film I make, I try to edge the product into a new niche. What the Indiegogo reference intends is assurance that horror traditionalists won’t feel betrayed.

DIABOLIQUE: In other news, you’re scheduled to attend the upcoming Calgary Horror Convention in August. Will this be your first time visiting Western Canada?

LEWIS: Oh, no… but it will be the first time I’m visiting Calgary.

DIABOLIQUE: How did you get on board for the Calgary Horror Con?

LEWIS: I had a direct invitation from James Saito.

DIABOLIQUE: Describe what the Horror Con experience is generally like for you. Do you enjoy attending these events?

LEWIS: I certainly do. I can keep my finger on the pulse of the industry, meet people I’d otherwise never encounter, and even on occasion be invited to sing the theme song from Two Thousand Maniacs! (That’s my voice on the original sound-track.)

DIABOLIQUE: Is there anything you would like to share with DIABOLIQUE readers before we wrap?

LEWIS: Sure! You’re my kind of people – just nutty enough to appreciate off-the-wall screwballs such as I am. I love you all!

Diabolique Digesters, you can buy tickets to the Calgary Horror Con here, and H.G. Lewis’s Zombificador can be donated to here! This film cannot be done without your help, so check out the perks, watch the video (embedded below) and help keep splatter horror alive!

- By Lacey Paige

The article Calgary Horror Con Exclusive: Herschell Gordon Lewis appeared first on Diabolique Magazine.

With Eureka Entertainment’s release of Kaneto Shindo’s ONIBABA (1964) on blu-ray, Steve Head, David Kleiler, and Brett Michel discuss this genre-bending film, which is part horror film, part myth, part samurai epic, part erotic thriller, and part historical drama.

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The article Episode No. 19: Kaneto Shindo’s Onibaba (1964) appeared first on Diabolique Magazine.

Simultaneously with Night of the Hunted, Kino Lorber and Redemption recently released Jean Rollin’s Les Raisins de la mort aka The Grapes of Death (1978) on Blu-ray as part of their ongoing Rollin series. One of Rollin’s most popular and accessible films, Grapes diverts from his series of surreal vampire erotica movies for a moody, atmospheric take on the zombie subgenre.

Marie-Georges Pascal in Jean Rollin’s The Grapes of Death

The Film

Like many of Rollin’s films, Grapes of Death follows the narrative loosely. A young girl, Elizabeth, is traveling by train with her friend through the French countryside, but suddenly, the pair are attacked by a strange, diseased figure. Her friend is killed and she flees through the country, desperate to find help. It is revealed that people are physically rotting and going insane after drinking wine made from grapes contaminated by a deadly pesticide. Through her encounters, she witnesses death-by-pitchfork, explosions, fires, homicidal villagers and a young blind girl who is a likely influence on the blind character, Emily, in Lucio Fulci’s The Beyond.

Jean Rollin’s The Grapes of Death

Though as a whole, I would classify Rollin’s work as an acquired taste, it is undeniable that he excels at atmosphere and visual power. Grapes of Death is no exception to this fact, and the French countryside, shot by Claude Becognee, is at once dreamlike, peaceful and ripe with decay, providing a wonderful juxtaposition to the moments of violence, gore, and oozing sores. This is one of Rollins’ most overtly violent films and has some of the best effects of his career, including some truly stomach churning scenes that I dare not spoil. Rollin approaches zombie mythology differently than any director working in the genre at the time, and it is possibly unfair to directly label this a zombie movie. Perhaps the only film I can compare this to is Romero’s The Crazies, and anyone hoping for a moody French version of Night of the Living Dead or Zombie is going to be sorely disappointed. Though Rollin has made a real zombie film, that being Zombie Lake, Grapes of Death is a much more successful effort because it intentionally subverts genre expectations.

Jean Rollin’s The Grapes of Death

The film sports nice performances from lovely lead actress Marie-Georges Pascal and regular Rollin collaborator Brigitte Lahaie, who has a small part where she predictably though randomly sheds her clothes. This is one of Rollin’s least erotic films, but one of his most cinematically effective. Grapes of Death really benefits from a more robust budget than Rollin typically had, and though it is so thematically different from his other work, it would be a good introduction for those uninitiated with Rollin. Despite the lack of sexy vampires or brash surrealism, there are definitely apparent similarities to his other works. For example, Rollin’s films never follow a substantial, anchored plot and this one is no exception. At times, this feels more like a survival film, as it follows Elizabeth throughout the countryside, desperate to escape the disgusting zombie-like figures wreaking havoc. Furthermore, it should be noted that Grapes of Death also packs in more suspense than most of Rollins’ catalogue.

Jean Rollin’s The Grapes of Death

Video

Grapes of Death is in line with Kino and Redemption’s other Blu-ray releases in their Jean Rollin series. Mastered from the original 35mm negative, the AVC encoded 1080p high definition transfer is framed at 1.66.1 and hasn’t undergone any major restoration. While the print looks fantastic compared to previous versions, there is some grain, scratches, spots, and other signs of age and wear. Though the colors pop and detail is better than ever, there is simply no way to fix the handful of out of focus shots. Fortunately any dark or night-time scenes are significantly improved over the previous DVD and despite some minor issues, Kino did an admirable job cleaning up the print. Personally I think the original print damage adds a certain amount of charm and films from this period suffer from “DNR-glimmer” if they are overly restored.

Marie-Georges Pascal in Jean Rollin’s The Grapes of Death

Audio

The uncompressed Linear PCM 2.0 French language audio track, presented in DTS-HD Mono, is the only audio available, though optional English subtitles are provided. The audio track sounds decent and the levels are well balanced with clear dialogue and only a slight hiss. The age damage is minimal and, in particular, the synth-heavy score from Philippe Sissman sounds great.

Brigitte Lahaie in Jean Rollin’s The Grapes of Death

Extras

As with all their Rollin releases, the Kino disc contains a few nice extras. Beginning with a two-minute video with Rollin himself discussing Grapes of Death and how it differs from his larger body of work, there is also a wonderful 49-minute interview with the director, conducted at the Fantasia Film Festival in 2007. Trailers for Grapes of Death and several other films in the Kino Rollin series are included. There is also a booklet included with the Blu-ray featuring a lengthy essay from Video Watchdog editor Tim Lucas about Grapes of Death and one of Rollin’s most obscure films, Night of the Hunted, which was released on Blu-ray at the same time.

Jean Rollin’s The Grapes of Death

The Bottom Line

Grapes of Death is by no means a perfect film and suffers most from a lackluster plot and overwrought political subtext. Though the pace is quick (especially for a Rollin film), the twist ending is rushed and incoherent. However, there is still plenty in this package to please Rollin fans or anyone else interested in weird, subversive European horror. With the overwhelming amount of zombie films and television shows re-released, remade, and produced in recent years, it is always worth it to go back and visit unique, hidden gems that shuffle to the beat of their own undead drummers. Kino, as always, did an excellent job cleaning up the film, and their joint release with Redemption comes recommended.

~ By Samm Deighan

The article The Grapes of Death (Blu-Ray Review) appeared first on Diabolique Magazine.

With that being said, the horror community is buzzing over news that Evans is in talks to join an adaptation of Stephen King’s short story, The Ten O’Clock People, written and directed by Tom Holland (Fright Night and Child’s Play).  Evans, if he were to take the role, would be playing a businessman trying to quit smoking with an experimental drug. He believes his attempt is futile, but after a single cigarette relapse, he discovers many of the people in prominent positions of power are, in fact, inhuman monsters. Fearing he may be delusional and paranoid, the businessman joins a resistance in an attempt to shed light on their monstrous oppressors.  Holland divulges some information on the short story, explaining “This was Stephen trying to deal with his cigarette jones and the fairly new no-smoking laws back in the ’90s. This film will be a modernization of the original short story, a paranoid suspense piece.”

The original story first appearing in King’s lauded Nightmares and Dreamscapes collection, yet was not featured when that collection was adapted into an 8-episode mini-series for TNT in 2006. The story also appears to draw elements from John Carpenter’s They Live, as well as King’s other smoking-paranoia short Quitters Inc., which was featured in Lewis Teague’s Cat’s Eye film. The last wide-release theatrical King film adaptations were 1408 and The Mist, both released in 2007, although the re-adaptation of Carrie from Director Kimberly Pierce will be released this fall.

James Franco and Justin Long were once attached in the starring role of The Ten O’Clock People, but the production schedule prevented both from moving forward with the film. Evans is a hot commodity now in the film industry, with Joon-ho Bong’s sci-fi film Snow Piercer releasing later this year, as well as just wrapping filming on Justin Reardon’s romantic comedy A Many Splintered Thing, and begun filming for the sequel Captain America: The Winter Soldier, could he too, have to drop negotiations? And would his obligation to The Avengers 2 may complicate his  involvement further for eventual post-production work?

The Ten O’Clock People is currently being shopped around Cannes Film Festival, and is scheduled to be filmed sometime in late 2013. Stayed tuned for more updates here at Diabolique Magazine.

- By Robert Vaughn

The article Chris Evans circling King adaptation “The Ten O’Clock People” appeared first on Diabolique Magazine.

Like many survival horror films, the premise is basic, as three women, all once friends but now distant due to personal issues, reunite for a trip to a desolate island for a weekend of nostalgic camping yet find themselves at odds with a party of mentally imbalanced hunters. The cast is small with mostly six key players at any given moment, and the location is limited, as the island leaves little to the imagination. However, Aselton’s directing style makes the island seem like an almost inescapable jungle, allowing the performances to become more physical and selfless in both appearance and content as the film soldiers on.

Black Rock, which was written by Aselton’s husband, indie actor/director Mark Duplass based on a concept of her own, is unmistakably a mean, violent film, one that sheds layers of sadism and self-deprecation amongst the characters, but wisely (and realistically so) those same characters develop their needs out of the basic desire to persevere, and make it a point to often remind the audience that these women as mismatched and overpowered at any given point. The end result is tremendously immersive and subversively feminist without any attachment of exploitation or preaching of a hidden agenda, hence the use of physical actions of desperation rather than that of secret strategic skills or an undisclosed empowerment.

As you may have picked up by now, the film rarely falls into predictability, with some rather foreseeable plot devices towards the end of the first act as the sole exception. However, following the first third of the film, Aselton removes the power of assumption from the viewer, implementing chaotic yet understandable villains and brutal tactics of “worst case scenario” storytelling to let the film unfold at a logical yet surprisingly revelatory pace. Kudos must be given to Aselton and Duplass, whose script is really the star of the film, pitting believably flawed protagonists while also creating fundamentally misguided antagonists in a disgusting, unfavorable environment with incredible dialogue, with more than few hints to Duplass’s past as a mumblecore sensation.

However, the dialogue, and most likely the story in itself, would not nearly be as strong without the fantastic cast at hand, all of whom are willing to self-debase and go with the film to depraved places yet never feel like they’re overacting or mugging for attention. Aselton herself comes across with a complex performance that is truly impressive, if just for the fact that the character appears so cold and compromised at the beginning of the film only to later become arguably the most sympathetic of the leads during dire circumstances. Lake Bell and Kate Bosworth also perform incredibly well against type, with Bell’s subtle hints at stunted maturation and Bosworth’s emotional shift from optimist to pessimist makes the horror of the situation all the more authentic and tragic. Lastly, Jay Paulson, Anslem Richardson and Will Bouvier are great in their restrained but important roles as the unwilling antagonists, portraying a moral complexity surrounding their actions with a gutwrenching humanity, although the film gives the viewer much more of a reason to support their demise over that of the protagonists.

The moral compass of this film is partially one of the reasons Black Rock is not only horrific but also philosophically fascinating. In the hands of lesser directors, the film would have made an Antichrist-esque allegory of women and the savagery of nature as they defeat trained, tempered men with only their wits and improvised weaponry. However, Aselton makes the film very clear that the characters, good or bad, are somewhat responsible for their own fate in the film, whether or not the actions fall into the spectrum of right and wrong. All-too-human impulses come to the fray, and the consequences lead to physical devastation, which when complimented with threats of hypothermia, rape and torture, inspire dread without evoking a sense of righteousness. The film evokes several questions about the root of feminism, the power of co-dependence and necessity of violence, but never giving a blatant answer as to allow the audience to just experience the film as it plays. It’s the work of a matured, respectful filmmaker, especially rare within the field of genre pictures.

Despite the simplistic notions and philosophical ambiguity of the film, Black Rock will likely play best when taken at face value, allowing the subtext to permeate later with the audience after the lean 80-minute film has left the screen. The chemistry and passion shown on screen by Aselton, Bell and Bosworth allow the stakes to plausibly raise itself as danger draws near, elevating the already superb material over the generic survival horror threshold. And if the ferocious final product is any indication, the world of horror should keep a watchful eye on the eclectic Aselton as a fearless gem of genre directing.

- By Ken W. Hanley

The article Black Rock (Film Review) appeared first on Diabolique Magazine.

The Calgary Horror Con will take place at Hotel Blackfoot in Calgary, AB, Canada on Saturday, August 3^rd and Sunday, August 4^th from 12 p.m.- 7 p.m. In addition to showcasing both short and feature length horror films at the Con, a rogues gallery of horror icons will be making appearances, headlined by none other than the elusive “Godfather of Gore” himself, Herschell Gordon Lewis!

Lewis, currently crowd-funding his new film Zombificador (which the iconic director claims to be his ‘goriest and grossest’ film yet!), will be at the Convention, discussing his experiences in the film business, his reputation as a horror legend and will meeting fans face-to-face. The director of 2000 Maniacs and The Wizard of Gore is not the only cult celebrity in attendance, as Tom (From Dusk ‘Til Dawn) Savini, Tony (Candyman) Todd, Bill (The Devil’s Rejects) Moseley and Patricia (Army Of Darkness) Tallman will appearing for an exclusive Night of the Living Dead (1990) reunion panel! Also participating in the Calgary Horror Con will be Michael (The Hills Have Eyes) Berryman, Jessica (Silent Night) Cameron, Constance and Cleve (Monster Man) Hall, Spawn illustrator Nat Jones and Blade 2 SFX artist Dave Trainor.

Lest you think that Calgary Horror Con would stop the terror there, the event will also host the Canadian premiere of The Black Dahlia Haunting, the new film from Brandon (Area 51 Confidential) Slagle, which stars Jessica Cameron, Devanny (The Lonely Ones) Pinn, Britt (Ghost Hunters) Griffith, Alexis (Kiss Me Again) Iacono, Noah (Mr. and Mrs. Smith) Dahl and Cleve Hall. Also premiering at the festival is Ryan M. Andrews’ Sick and Paul Porter’s slasher homage Rabid Love. And for fans of so-bad-it’s-good films, Calgary Horror Con is proudly presenting a special screening of the Mystery Science Theater 3000-enhanced The Final Sacrifice! The convention will also be the host to several innovative and critically acclaimed short films, including The Post-Lifers, Morgue Street, Stella Buio, Barbie Girl, Nursery Rhymes, Fantasy and The Dump, directed by FANGORIA’s Rebeckah McKendry.

The Convention, which also hosts a Costume Contest on Saturday, August 3^rd, has not yet finalized their schedule for both days, so expect more surprises on the horizon. You can purchase tickets (including a day pass for $15.00, and a two day pass for $25.00 if you order before May 31st) HERE! To learn more about the convention, or submit a horror film of your own, please visit the official website. To learn more and donate to Herschell Gordon Lewis’s Zombificador, please visit the films official Indiegogo Page. You can follow the Con on Twitter (@YYCHorrorCon) and you can check out the trailer for the Convention on Youtube.

- By Ken W. Hanley

The article Exclusive: Herschell Gordon Lewis to appear at Calgary Horror Con appeared first on Diabolique Magazine.