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fearsmagazine · 6 months
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Director and co-writer GORDON GREENBERG, and co-writer STEVE ROSEN, discuss DRACULA, A COMEDY OF TERRORS
Currently at the New World Stages, Stage 5, in New York City is DRACULA, A COMEDY OF TERRORS, a pansexual GenZ Count Dracula is in the midst of an existential crisis. When he sets his sights on the brilliant young earth scientist Lucy Westfeldt, he meets his match for the first time – as well as a slew of other colorful characters including vampire hunter Jean Van Helsing, insect connoisseur Percy Renfield and behavioral psychiatrist Wallace Westfeldt, whose British country estate doubles as a free-range mental asylum.
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(LtoR) Andrew Keenan-Bolger, Jordan Boatman, James Daly, Ellen harvey and Arnie Burton in DRACULA, A COMEDY OF TERRORS. Photo by Matthew Murphy
DRACULA, A COMEDY OF TERRORS, is directed and co-written by Gordon Greenberg, and co-written by Steve Rosen. GREENBERG laid the foundation of for his craft at Stanford, NYU Film, and the Royal Academy of Dramatic Art. ROSEN attended NYU/Tisch. The duo has worked together on several projects including on the musical adaptation of “The Secret of My Success,” “Ebenezer Scrooge’s BIG San Diego Christmas Show,” and “Crime and Punishment - a Comedy.” Between the two of them, their awards are so numerous it would compromise the mantel they rest upon. I recently had the pleasure to chat with them about their collaboration on the hilarious off-Broadway production of DRACULA, A COMEDY OF TERRORS.
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(LtoR) Playwrights STEVE ROSEN and GORDON GREENBERG. Dracula, A Comedy of Terrors. Photo by Maria Baranova.
DRACULA, A COMEDY OF TERRORS is now playing a limited Off-Broadway engagement through January 7 at New World Stages, Stage 5, in New York City, thru January 7th, 2024. Vist www.DraculaComedy.com for more information and tickets.
The music heard in the background during this segment is an original composition by Victoria “Toy” Deiorio who composed some of the original music and did the sound design for DRACULA, A COMEDY OF TERRORS .
PART 2 with GORDON GREENBERG & STEVE ROSEN - Listen Here.
Read Our Review of DRACULA, A COMEDY OF TERRORS - HERE
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fearsmagazine · 3 months
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DESTROY ALL NEIGHBORS - Review
DISTRIBUTOR: Shudder
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SYNOPSIS: William Brown is a neurotic, self-absorbed musician determined to finish his prog-rock magnum opus while working as an engineer at a recording studio. He currently faces a creative roadblock, a noisy and grotesque neighbor named Vlad. Finally working up the nerve to confront Vlad to keep it down, William inadvertently decapitates him. But, while attempting to cover up one murder, William’s accidental reign of terror causes victims to pile up and become undead corpses who torment and create more bloody detours on his road to prog-rock Valhalla. In addition, it is causing havoc on his relationship with his girlfriend.
REVIEW: Filmmaker Josh Forbes takes his skills as a director of music videos to serve up an old school horror film with one of the legendary special effects makeup designers, Gabe Bartalos (Basket Case 2/Frankenhooker/Leprechaun). DESTROY ALL NEIGHBORS is a wicked goopy comedy overflowing with practical effects and buckets of blood.
The plot is your basic tale of a stress filled and frustrated aspiring musician who is on his last nerve. A series of events culminates with his new bizarre neighbor moving in and pushing him over the edge. Confronting his neighbor Vlad is the first in a series of unfortunate events that is filled with death and mayhem. There is a quality to the narrative that feels reminiscent of 1985’s “Return of the Living Dead.” The story nicely focuses on William and his spiral out of control. To some degree it feels like a journey to an insane Oz.
The narrative is magically brought to life by a fantastic cast. Jonah Ray Rodrigues’ William is a blend of Joel from “Mystery Science Theater 3000” as he channels a bit of Bruce Campbell. He brings a lot of energy to the performance and seamlessly switches between mental states that showcases a classic mastery of slapstick. Adding his dynamic energy to the film is actor Alex Winter as Vlad. Best known for his role in “The Lost Boys” and the “Bill & Ted” film franchise, the great prosthetic makeup design permits him to create a unique performance. The rest of the cast is an amalgamation of talented actors that deliver unique performances that add to the horror and comedy.
DESTROY ALL NEIGHBORS has a classic look and feel, largely due to the practical effects and special effects makeup. The cinematography, framing, editing and lighting all harken back to the best of the 80’s franchise genre films.There were numerous moments where I found myself nodding my head and uttering “nice” at sequences and gags. Clearly they went through buckets of blood on this shoot. Ryan Kattner & Brett Morris’ score and music for the film nicely adds atmosphere, accentuates the mayhem and gore, and adds this fun take on Wliiam’s musical dreams. FYI, the official motion picture soundtrack will be available digitally worldwide on all digital platforms January 12th, including Spotify, Apple, Amazon, Bandcamp and SubPop.com.
Start 2024 the fright way with an instant genre classic, DESTROY ALL NEIGHBORS. It's a dandy of a gorefest thanks to esteemed special effects artist Gabe Bartalos. Jonah Ray Rodrigues and Alex Winter are among the noteworthy cast members, along with a monstrous score that make this an exceptional viewing experience. The film also makes for a wicked introduction to the bloody era of horror for younger viewers. An excellent reason to subscribe to Shudder this month, among many other reasons.
CAST: Jonah Ray Rodrigues, Alex Winter, Kiran Deol, Christian Calloway, Randee Heller, DeMorge Brown, Jon Daly, Phil Hendrie, Ryan Kattner, and Thomas Lennon. CREW: Director - Josh Forbes; Screenplay - Charles Pieper & Jared Logan; Producers - Russell Sanzgiri, Alex Winter, & Jonah Ray Rodrigues; Cinematographer - Will Stone; Score - Ryan Kattner & Brett Morris; Editor - Hank Friedmann; Production Designer - Kati Simon; Wardrobe Supervisor - Aoife Baker; Special Effects Supervisor - Ben Gojer; Special Effects - Atlantic West Effects; Special Make-Up Effects & Sculpture - Gabe Bartalos; Visual Effects Supervisor - Casey Price. OFFICIAL: www.watchdestroy.com FACEBOOK: N.A. TWITTER: N.A. TRAILER: https://youtu.be/ru1OuYNQDtY?si=yvtiKEj4sz3aMAiM RELEASE DATE: Streaming on Shudder January 12th, 2024
**Until we can all head back into the theaters our “COVID Reel Value” will be similar to how you rate a film on digital platforms - 👍 (Like), 👌 (It’s just okay), or 👎 (Dislike)
Reviewed by Joseph B Mauceri
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fearsmagazine · 7 days
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GHOSTBUSTERS: FROZEN EMPIRE - Review
DISTRIBUTOR: Columbia Pictures
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SYNOPSIS: In the shadow of the iconic New York City firehouse, the Spengler family reunites with the original Ghostbusters. In a new location in Queens they delve into a top-secret research lab, where advanced ghost-busting technology awaits. However, an ancient artifact's discovery unleashes a horde of ghosts, plunging the city into a deathly chill. The only hope for salvation lies in the combined forces of the old and new Ghostbusters as they battle to protect their home and save the world from a looming second Ice Age.
REVIEW: Set after the events of "Ghostbusters: Afterlife" in 2021, "GHOSTBUSTERS: FROZEN EMPIRE" is a compelling addition to the franchise. It deftly blends elements from the original characters, the animated series, and the computer games, resulting in a movie that caters to both longtime fans and newcomers alike.
In the sequel to the Ghostbusters franchise, Gil Kenan and Jason Reitman's screenplay skillfully interweaves original and new characters, allowing each one to shine. The ghostly threat in this film is a formidable and epic menace, similar to a Bond villain. A variety of new and classic ghosts provide diverse challenges. Key locations include the firehouse, Ray Stantz's Occult bookshop, and the New York Public Library on Fifth Avenue.
At the heart of the story is Phoebe Spengler's struggle to balance being a teenager, a Ghostbuster, and her family relationships. This dynamic adds depth and substance to the narrative as the new characters become integrated into the Ghostbusters universe. The film offers a highly satisfying tale and includes numerous Easter eggs that fans will appreciate.
The production values of the movie are superb, featuring a mix of practical and visual effects that bring depth to the Ghostbusters universe. Winston Zeddemore's company offers a blend of old and new equipment, along with Phoebe's unique technological creations. The props are meticulously designed and crafted to enhance visual aesthetics. The ghosts are a well-executed combination of computer-generated imagery and enhanced puppets. The cinematography, framing, and editing contribute to the film's atmosphere and energy. Composer Dario Marianelli delivers a score that pays homage to Elmer Bernstein's original composition while introducing new elements. The music complements the action, creates ambiance, and adds depth to the characters. And of course, no Ghostbusters movie would be complete without the classic theme song by Ray Parker Jr.
The original cast members have aged gracefully, and the screenplay caters to their strengths. Bill Murray remains eternally youthful, embodying an older version of Peter Venkman with the familiar snarky attitude. Dan Aykroyd exudes the wisdom of an old sage, Ernie Hudson grounds the group, and Annie Potts delights as a witty yet mellowed Janine Melnitz. Their combined presence transcends fan expectations.
Contrastingly, the Spangler family—composed of Paul Rudd, Carrie Coon, Finn Wolfhard, and Mckenna Grace—portrays a natural family dynamic. Paul Rudd tones down his performance from his Marvel character Scott Lang, resulting in a more genuine and organic comedic portrayal. However, the spotlight shines brightest on Mckenna Grace as Phoebe Spengler. She portrays a complex teenager grappling with various issues. Her character is fresh, intelligent, and sympathetic, clearly reflecting her lineage as Egon Spengler's granddaughter.
The latest installment in the Ghostbusters franchise, "Frozen Empire," surpasses the accomplishments of "After Life." It reunites the original cast and introduces new characters, resulting in an exciting adventure that also delves into the backgrounds of the characters, bringing them up to date. The movie sets the groundwork for the establishment of the "Ghostbusters Corps" through the character of Winston Zeddmore, broadening the universe and creating opportunities for future narratives. Given the popularity of episodic storytelling, it's plausible that a Ghostbusters spin-off series could emerge on streaming platforms if the fans turn out for this film. If not, there is likely at least one or two more films in the works.
Regardless, it’s an exciting and gratifying ride that I plan to take a few more times while in the theater.The anticipation and excitement that accompanies the thrill ride is palpable from the moment I step into the theater. The atmosphere is electric and charged with a sense of adventure that captivates me. As I settle into my seat, my heart races with anticipation, knowing that I am in for a wild and unforgettable experience.
GHOSTBUSTERS: FROZEN EMPIRE’s twists, turns, action and suspense left me exhilarated. The special effects create a vivid and awe-inspiring spectacle. The sights, sounds, and sensations all come together in perfect harmony, leaving me mesmerized and fully engaged. As the credits came to an end with a final musical touch of the Bernstein score I was left with a mix of emotions – a combination of exhilaration, satisfaction, and a lingering sense of wonder with a touch of sadness. As I left the theater, I carried with me the residual effects of the cinematic experience – a renewed sense of energy and a profound gratitude for the opportunity to have embarked on an extraordinary adventure with Ghostbusters young and old.
CAST: Paul Rudd, Carrie Coon, Finn Wolfhard, Mckenna Grace, Kumail Nanjiani, Patton Oswalt, Celeste O’Connor, Logan Kim, Bill Murray, Dan Aykroyd, Ernie Hudson, Annie Potts, and William Atherton. CREW: Director/Screenplay - Gil Kenan; Screenplay - Jason Reitman; Based on the 1984 film “Ghostbusters” an Ivan Reitman film written by Dan Aykroyd and Harold Ramis; Producers - Ivan Reitman, Jason Reitman & Jason Blumenfeld; Cinematographer - Eric Steelberg; Score - Dario Marianelli; Editors - Nathan Orloff & Shane Reid; Production Design - Eve Stewart; Costume Designers - Alexis Forte & Ruth Myers; Special Makeup & Live Action Creature Effects Designer - Arjen Tuiten; Special Effects Supervisor - John Van Der Pool; Visual Effects Supervisor - Geoffrey Baumann; Visual Effects - Clear Angle Studios, Sony Pictures Imageworks, Industrial Light & Magic, Barnstorm VFX & Territory Studio
OFFICIAL: www.ghostbusters.com FACEBOOK: www.facebook.com/Ghostbusters/ TWITTER: twitter.com/ghostbusters/ TRAILER: https://youtu.be/X7Di42uUaF0?si=sHPmJzSYD7TwLKbn RELEASE DATE: In theaters March 22nd, 2024.
**Until we can all head back into the theaters our “COVID Reel Value” will be similar to how you rate a film on digital platforms - 👍 (Like), 👌 (It’s just okay), or 👎 (Dislike)
Reviewed by Joseph B Mauceri
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fearsmagazine · 8 days
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IMMACULATE - Review
DISTRIBUTOR: NEON
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SYNOPSIS: Sister Cecilia experienced a life-altering event that led her to seek solace in religion—a near-drowning incident in an icy lake. Time passed, and the closure of her initial parish prompted Father Sal Tedeschi to extend an invitation for her to join a secluded convent nestled within the picturesque Italian countryside. This convent serves as a sanctuary for nuns nearing the end of their lives. However, as Cecilia spent more time in this idyllic setting, certain peculiarities in the convent's lifestyle began to unsettle her. A fellow nun named Gwen is a constant shadow, stalking her every move. To Cecilia's shock, a medical examination revealed the unthinkable—she was pregnant despite being a virgin and having never engaged in any physical relations with a man. The warm welcome she had initially received turned into a chilling nightmare as the horrifying truth emerged: the convent concealed a sinister secret, a place where unspeakable horrors took place.
REVIEW: The talented trio of director Michael Mohan, writer Andrew Lobel, and actress Sydney Sweeney collaborate on a captivating narrative that explores a “what if” scenario where Ira Levin and William Peter Blatty join forces to create a contemporary allegory, set against the backdrop of the Catholic church and helmed by the visionary Dario Argento. This film delves into themes that resonate with the zeitgeist, promising a thought-provoking and immersive cinematic experience.
Andrew Lobel has crafted a remarkable screenplay that initially presents itself as a conventional horror film, providing an entertaining experience on its own. However, upon closer examination and in the context of current events, the narrative transforms into an allegorical tale. A pivotal plot point is that Sister Cecilia is an American nun whose journey holds deeper significance. Considering that nuns adopt the names of saints, the reference to Saint Cecilia, a martyr sentenced to death for refusing to worship Roman gods, becomes intriguing when viewed in light of the film's brutal and horrifying climax. The film explores various themes, including women's rights, In vitro fertilization (IVF), abortion, evangelical beliefs about end times, and the patriarchy.
Cecilia's character arc is masterfully written, portraying her as a resilient fighter and survivor. As her faith is put to the test, she emerges as a force of nature, visually depicted through her own rebirth. The film presents a compelling saga that leaves an enduring impression.
The production design and cinematography in IMMACULATE recreate the visual and atmospheric style of great genre films from the late 60s and early 70s. The film evokes memories of classics like "Rosemary's Baby," "The Omen," "Don't Look Now," and "The Exorcist." The costumes are excellent, the locations are fantastic, and the special effects are just gory enough to create a truly unsettling atmosphere. The editing, framing, and lighting combine to create some genuinely scary moments. While the film's darkness can sometimes be excessive, it effectively builds tension without compromising the atmosphere. Composer Will Bates contributes a brilliant score that perfectly complements the visuals and enhances the viewing experience. There are particularly impressive moments where the orchestrations recall the iconic genre scores composed by Goblin. Bates's score for IMMACULATE will be a standout addition to my collection.
Actress Sydney Sweeney leads a magnificent ensemble cast. She creates this innocent Carrie White character that goes on an intense quest of faith and morality that evolves from victim to victor. In the film's climax, the audience is taken on a journey through a primal, gut-wrenching moment, which is enhanced by the powerful performance of the lead actress. The rest of the cast contributes to the creation of a mysterious and unsettling atmosphere, adding another layer to the sense of dread that permeates the convent. Their performances provide a compelling argument against blind faith and highlight the dire repercussions of one's actions. The performances elevate the material, giving it a greater impact and leaving a lasting impression on the audience.
Seldom does a horror film emerge that boldly challenges conventions and elevates the genre's standards. A distinguished genre film, much like great genre literature, seamlessly blends a captivating narrative with insightful social commentary. IMMACULATE masterfully combines an intricate storyline, artistic and stylized filmmaking, and a talented cast to create an unforgettable cinematic experience. Transcending the boundaries of the horror genre, IMMACULATE establishes itself as a timeless and significant cinematic masterpiece that will leave you questioning the supposed altruistic actions of organized religion and politics.
CAST: Sydney Sweeney, Álvaro Morte, Simona Tabasco, Benedetta Porcaroli, Giorgio Colangeli, Dora Romano, Giulia Heathfield Di Renzi, Giampiero Judica & Betti Pedrazzi. CREW: Director - Michael Mohan; Screenplay - Andrew Lobel; Producers - David Bernad, Sydney Sweeney, Jonathan Davino, Teddy Schwarzman, & Michael Heimler; Cinematographer - Elisha Christian; Score - Will Bates; Editor - Christian Masini; Production Designer - Adam Reamer; Costume Designer - Francesca Maria Brunori; Special Effects Supervisor - Paolo Galiano; Visual Effects Supervisor - Victor Perez. OFFICIAL: neonrated.com FACEBOOK: www.facebook.com/neonrated TWITTER: twitter.com/neonrated TRAILER: https://youtu.be/RLxneCiRInw?si=UMDWy43JYJVghw1g RELEASE DATE: In theaters March 22nd, 2024
**Until we can all head back into the theaters our “COVID Reel Value” will be similar to how you rate a film on digital platforms - 👍 (Like), 👌 (It’s just okay), or 👎 (Dislike)
Reviewed by Joseph B Mauceri
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fearsmagazine · 10 days
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TEETH - Review
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SYNOPSIS: “Dawn O’Keefe is an evangelical Christian teen with a powerful secret not even she understands – when men violate her, her body bites back. Literally. From Pulitzer Prize and Tony-winner Michael R. Jackson (A Strange Loop) and Anna K. Jacobs (POP!),TEETH, based on the cult classic film of the same name, is a fierce, rapturous, and savagely entertaining new musical crackling with irrepressible desire and ancient rage – a dark comedy conjuring the legend of one girl whose sexual curse is also her salvation.” - Press Release
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REVIEW: In 2007 filmmaker Mitchell Lichtenstein, the son of artist Roy Lichtenstein, unleashed his tale of a contemporary American female teenager who discovers her body possesses a physical secret when she encounters male violence, vagina dentata; a myth that is found across cultures and eras, about a vagina that has a lethal set of teeth.
In the stage adaptation of Lichtenstein’s vision, Anna K. Jacobs and Michael R. Jackson successfully retain the story's essence while making it fresh for a theater audience. In this adaptation, the lead character, Dawn's home life is restructured, with her father now portrayed as a charismatic preacher and her brother, Bard, still grappling with issues from their youth but influenced by technology rather than as a heavy metal/skinhead. These changes create a more dynamic structure for their dysfunctional family unit. Notably, the myth plays a more central role in the stage adaptation, and the supporting cast of teenage promise keeper girls serve as a Greek chorus. My guest and I both felt that the staging had a feel of Stepehen King’s “Carrie,” his novel, DePalma’s film and maybe the rival of the play. TEETH reaches its climax in a visually captivating and chaotic clash of religious conservatism and feminism, expertly staged in a way that surpasses Frank Oz's never fully realized ending in the film adaptation of "Little Shop of Horrors." Incorporating many of the contemporary social sexual issues in our zeitgeist with satire makes for an extremely entertaining and thought provoking theatrical experience.
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The musical numbers were a delight. The combination of traditional Broadway musical songs and 70's and 80's pop songs in Jacobs' music was excellent. Jackson's lyrics added to the story and provided a splendid blend of humor and drama. While some of the lyrics were risqué, they never felt as shocking as something from "South Park" by Trey Parker and Matt Stone. Jacobs and Jackson provided some magical musical moments that showcased the entire cast's vocal abilities. Choreographer Raja Feather Kelly did a remarkable job in creating dance routines, despite having to work in horrific moments at times.
The production design, set, lighting, SFX, and sound designs are all of Broadway caliber. The stage design employs impressive elements with subtle movements that contribute to the narrative. At certain moments, all of these elements come together to create a truly magical theater experience. The set design takes advantage of every inch of space in bringing the story to life. Most of the play's costumes are effective, they become more creative and interesting in the final act.
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The cast of TEETH is nothing short of brilliant. Lead actress Alyse Alan Louis shines in her portrayal of Dawn. Her performance effortlessly blends innocence, comedic timing, powerful vocals, and a nuanced handling of sensual scenes. Meanwhile, her male counterparts—Steven Pasquale, Jason Gotay, Will Connolly, and Jared Loftin—face a daunting task. Not only do they create memorable characters, but they also navigate multiple roles and costume changes with ease, all the while delivering captivating musical numbers that showcase their talents. This ensemble cast is truly exceptional, and one can only hope that they will grace us with a cast recording of the show.
Michael R. Jackson, the Pulitzer Prize and Tony-winner of "A Strange Loop," has created a show that is consistently selling out. My guest, who was initially unaware of the show's premise and the creative team, was astounded upon learning about it at the end. They were also unfamiliar with the source material, which left them with a strong desire to seek it out. From my perspective, any adaptation that inspires viewers to seek out the original work is a significant accomplishment. "TEETH" ranks among my legendary theater experiences, akin to my cherished memories of attending the original Broadway productions of "Little Shop of Horrors," "Phantom of the Opera," "Les Misérables," and "Hadestown," that come to mind. "TEETH" offers an unforgettable and haunting theatrical experience that should not be missed.
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TEETH contains intense violence, blood and gore, sexual content, and strong language. Age Recommendation: Teeth is appropriate for audiences ages 17+. The play runs approximately 1 hour and 55 minutes with no intermission.. Performances are Tuesday through Sunday at 7:30 PM, with matinees Saturday and Sunday at 2:30 PM. Tickets are $120.00 plus $2.00 fee. Tickets are now on sale at https://my.playwrightshorizons.org/events. For more information, visit www.playwrightshorizons.org/shows/plays/teeth/#play-body.
Review By: Joseph B Mauceri
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fearsmagazine · 9 months
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FEARSMag.com Partners With NOVA ENTERTAINMENT To Bring THE NY HORROR SHOW To RESORTS WORLD NEW YORK CITY September 9th & 10th, 2023
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 NOVA ENTERTAINMENT, the creative minds behind Eternal Con and WinterCon, forms an unholy alliance with the masters of doing the fright thing at FEARS MAGAZINE to reanimate THE NY HORROR SHOW September 9th & 10th, 2023, at RESORTS WORLD NEW YORK CITY, located at 110-00 Rockaway Blvd, Jamaica, NY.
FEARS MAGAZINE’s executive editor Joseph Mauceri brings over thirty-five years of experience working in and covering genre entertainment to help bring to the event exceptional content and programming. Among the highlights FEARS MAGAZINE will be responsible for are:
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The New York Horror Show Film Festival: FEARSmag.com is curating a program of fresh and cutting-edge genre feature films by some of the talented filmmakers in the industry. From the dark and horrific, to the insane and hilarious, they plan to showcase some of the most entertaining future releases. Click For Details & Submissions
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FEARSmag.com’s Killer Shorts Sudden Death Film Competition: Filmmakers will have a unique opportunity to have their submissions judged by the audience in attendance for each program, sending those winners onto a final viewing where ultimately the audience will pick the best of the The New York Horror Show. The number one audience choice short will earn a slot in the programming of the 2024 Winter Film Awards & Festival in New York City, as well as the runners up being entered into the first round of the festival’s judging. C lick For Details & Submissions.
FEARS MAGAZINE (aka FEARSMag.com) & Joseph Mauceri - Launched in June 1999 at the beginning of the internet, FEARSmag.com has been covering the vast multimedia genres of science fiction, fantasy and horror with news, reviews, interviews, and a variety of promotional sweepstakes, as well as a presence and programming at a variety of pop culture conventions. The executive editor and co-founder Joseph Mauceri has over thirty years working within the genres in addition to being a moderator, panelist and programmer for numerous pop culture events such as Monster Mania, NY Comic Con, Wizard World Cons, Big Apple Comic Con, Eternal Con, and WinterCon, to name just a few. Mauceri has also been a judge for The Hampton Film Festival, NY Horror Film Festival, the Woodstock Film Festival, the NYU Tisch Film School, and currently is on the board for the Winter Film Awards & Film Festival. Joseph has written for numerous pop culture magazines, both domestic and international, and continues to participate as a regular co-host on NiteShift, a weekly radio show on WBAI 99.5 FM in New York City, the theme of the show being “life is science fiction.”
NOVA Entertainment - Founded by Frank Patz, Nova Entertainment operates in the Media and Entertainment industry, producing four annual events, the largest pop culture conventions in the NY area. Since their inception in 2012, they have been dedicated to bringing family friendly events. 2023 marks the 10th anniversary of Eternal Con and WinterCon, and they return this September 2023 with the NY Horror Show, which was first held in 2015. The two day event will feature an eclectic array of vendors, music, entertainment, programming, celebrity guests, movie screenings, contests, and so much more!
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fearsmagazine · 4 months
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THANKSGIVING - Review
DISTRIBUTOR: TriStar Pictures
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SYNOPSIS: After a Black Friday riot ends in tragedy, a mysterious Thanksgiving-inspired killer terrorizes Plymouth, Massachusetts – the birthplace of the holiday. The killer dons a pilgrim outfit and a John Carver mask as he begins picking off residents one by one. What begins as random revenge killings are soon revealed to be part of a larger, sinister holiday plan. Will the police or a local high school group of friends uncover the identity of the killer or become guests at his twisted holiday dinner table?
REVIEW: What started as one of the fake trailers created for Quintin Tarantino and Robert Rodriguez’s Grindhouse Double Feature in 2007 comes to realization this 2023 holiday season. From the genre aficionado Eli Roth, THANKSGIVING embraces the vast history of slasher films to deliver a near perfect take on a killer infused holiday tradition.
The narrative never takes itself too seriously as it pulls out all the stops when it comes to slasher films. There are some corny, but not cliched, one liners that are served up as the relationship between the high school friends and the adults feels like a “Scream” film. The film is all about the ride, so you never fully empathize with the characters but there is enough there to hook the viewer. Roth and Rendell weave a fair number of misdirections and red-herrings to keep the viewer guessing, and their reveal features a montage to help the viewer connect their dots. I will say that I thought that there might have been two killers and looking back on the timing after the reveal seems a bit problematic. However, that is probably more a result of the editing than the narrative. The plot is filled with references to many classic slasher films and is sure to have fans comparing notes afterwards.
I enjoyed the film’s production values. Roth is a master of the genre and knows how to craft an energetic film and craft killer effect sequences. He excels at misdirection and plays on the viewer’s expectations like a skilled poker player. Given Roth’s past films, the deaths feel more like gags. There are WTF moments and somewhat gory scenes, but the filmmaker seems to have toned down the blood without compromising on the gore. In contrast to the film’s opening sequence at the “Right Mart,” the parade scene looks a little thin and not as tightly shot, but it is a small town and what floats there are in the sequence look great. I enjoyed Brandon Roberts’s score. There are movements that sound like homages to other films, but plenty of original material to set a unique tone for the film. The production designs are costumes that create cinematic magic to fully immerse the viewer for the entire ride.
I like the cast. Clearly everyone is in for the ride as well and balances the dark comedy and horror with exceptional results. Veteran actors Dempsey, Gershon and Hoffman are excellent and their younger cast members are splendid. It’s a great ensemble cast.
If you’re a fan of slasher films, THANKSGIVING is sure to leave you satisfied. There are some gags that should transcend your expectations, and several surprises along the way. Some are simple, others complex and gorey, and there will be blood but, again, not as much as you might expect from a Eli Roth genre film. Many of the deaths are served up with satire, but I wouldn’t expect less from a killer dressed up like a pilgrim.
THANKSGIVING is well with the wait of these past 16 years since the grindhouse trailer. Roth embraces the current state of the genre as the film focuses on the story and satire without any of the teen sex scenes in some of the classic slasher films. Teen relationships figure in, as does an excellent rave scene. It’s a wickedly delightful film that is sure to be a crowd pleaser and seems destined for a sequel that could only be “Black Friday,” with maybe a third film, “Cyber Monday.” Eli, let's talk!
CAST: Patrick Dempsey, Addison Rae, Milo Manheim, Jalen Thomas Brooks, Nell Verlaque, Rick Hoffman and Gina Gershon. CREW: Director/Screenplay/Producer - Eli Roth; Screenplay/Producer - Jeff Rendell; Producer - Roger Birnbaum; Cinematographer - Milan Chadima; Score - Brandon Roberts; Editors - Michel Aller & Michele Conroy; Production Designer - Peter Mihaichuk; Costume Designer - Leslie Kavanagh; Special Makeup Effects Artists - Joe Badiali, Jason Detheridge & Adrian Stansfield; Prosthetics Designers - Adrien Morot & Steve Newburn; Special Effects Supervisor - Andrew Verhoeven; Visual Effects Supervisor - Berj Bannayan; OFFICIAL: www.thanksgiving.movie FACEBOOK: www.facebook.com/tgivingmovie TWITTER: twitter.com/tgivingmovie TRAILER: https://youtu.be/KbU50SdL8zA?si=-vMIK75E0pFP4at- RELEASE DATE: In Theaters Nov 17th, 2023
**Until we can all head back into the theaters our “COVID Reel Value” will be similar to how you rate a film on digital platforms - 👍 (Like), 👌 (It’s just okay), or 👎 (Dislike)
Reviewed by Joseph B Mauceri
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fearsmagazine · 2 months
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SCALPER - Review
DISTRIBUTOR: Breaking Glass Pictures
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SYNOPSIS: “Psychic Clementine Carter is confronted with a nightmarish reality as everyone around her falls victim to the sadistic reign of terror unleashed by 'The Scalper.' As the body count rises, the burning question remains: Is this the return of the dead psycho Andrew Lubitz, a cunning copycat killer, or something far more horrifying than the human imagination can conceive? In a deadly game of cat and mouse, she must rely on her psychic abilities to stay one step ahead of the maniac's relentless pursuit.” -Press Release
REVIEW: This is my second encounter with filmmaker Chad Ferrin, my previous “Pig Killer,” which also featured actors Jake Busey & Bai Ling. It’s slightly better than “Pig Killer,” but I had issues with the performances, the writing and some of the special effects.
Chad Ferrin is not a bad filmmaker. Technically, SCALPER has solid production designs, cinematography, okay editing and the atmosphere is enhanced by a score by the legendary Richard Band. The special effects are okay, but the mask the killer wears looks plastic at times.
The plot is an amalgamation of ideas we’ve seen in other films of this nature, too many to list here. The plot features thriller, supernatural and slasher elements. Some of it feels a bit unnecessary and could have been streamlined, such as the scenes of Clementine’s father and mother in what is a spiritual plane. The dialogue is okay and the core plot is not half bad, but ultimately SCALPER is say a White Castle slider as compared to a steakhouse burger.
The performances are okay. I liked Susan Priver’s character and it borders on campy, but never steps over the line. He adds a lot of empathy to the role. Jake Busey has several moments where he adds this look or delivery of a line that has you groaning, but it is not bad. Bai Ling’s work here is almost as bad as “Pig Killer.” I’m familiar with several of her older roles and I’ve met her at several conventions, so I’m aware of what she can deliver. I find these stereotypical performances off putting and an impediment to enjoying the film.
Bottom-line, I wouldn’t go out of my way to rent SCALPER on VOD or a digital platform. If it shows up on something you already have a subscription to, you're a diehard genre fan and any of the actors in the film I’d suggest viewing it. However, if you’re a more cultivated consumer of genre entertainment you might be disappointed. I’d be interested in seeing Chad Ferrin directing something he hasn’t written.
CAST: Susan Priver, Jake Busey, Bai Ling, Kate Patel, Scott Vogel, Jon Budinoff, and Robert Miano. CREW: Director/Screenplay/Producer - Chad Ferrin; Producers - Robert Miano & Jeff Olan; Cinematographer - Jeff Billings; Score - Richard Band; Editor - Jahad Frif; Production Designer - Viktoriia Vlasenko; Costume Designer - KerriAnne Savastano; Special Effects Makeup - Joe Castro; Visual Effects - Jeff Billings. OFFICIAL: N.A. FACEBOOK: N.A. TWITTER: https://twitter.com/SKATD TRAILER: https://youtu.be/vP6s6LPOdSQ?si=eSBBizVhW7xyi2Ke RELEASE DATE: VOD & Digital Jan 16th, 2024
**Until we can all head back into the theaters our “COVID Reel Value” will be similar to how you rate a film on digital platforms - 👍 (Like), 👌 (It’s just okay), or 👎 (Dislike)
Reviewed by Joseph B Mauceri
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fearsmagazine · 10 months
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GREMLINS: SECRETS OF THE MOGWAI - Review
DISTRIBUTOR: MAX (formally HBOMAX)
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SYNOPSIS:  GREMLINS: SECRETS OF THE MOGWAI is set in 1920s Shanghai where the Wing family first meets the young Mogwai called Gizmo. Guided by his grandfather’s journal, 10-year-old Sam Wing (future shop owner Mr. Wing in the 1984 “Gremlins” film) accepts the dangerous task to take Gizmo home and embarks on a journey through the Chinese countryside. Sam and Gizmo are joined by a teenage street thief named Elle, and together, they encounter—and sometimes battle—colorful monsters and spirits from Chinese folklore. Along their quest, they are pursued by a power-hungry industrialist named Riley Greene, who has gathered a growing army of evil Gremlins.
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REVIEW: As fans remain hopeful for a third film in the cult classic film franchise birth by filmmakers Joe Dante and Chris Columbus, the animated series GREMLINS: SECRETS OF THE MOGWAI comes to MAX, offering fans an epic origin story for Gizmo and the Mogwais, immersed in Chinese folklore. Having taken in all ten episodes, the series is a blend of family themes, an epic quest of personal growth and a nice collection of bits and gags that offer something for adults and diehard fans.
I enjoyed the plot and the character arcs. The majority of the episodes ended on classic cliffhangers, engaging the viewer’s interest for the next episode. Sam, Elle, and even Gizmo, learn much about themselves and grow as they encounter obstacles in route to the Jade Valley, the home of the Mogwais. The evil gremlins are as scary as Gizmo and his fellow Mogwais are adorable. The colorful monsters and spirits incorporated into the tale from Chinese folklore add a nice touch. Fans of Chinese genre films are sure to be delighted by their presence, my personal favorite the hopping zombies, which works so much better in animation than in live action. The series captures the spirit of the original live action films as it moves into a fantasy realm. Ultimately, the evil gremlins get to unleash their brand of chaos on Shanghai, aided by the power-hungry industrialist Riley Greene. Greene’s addition adds an additional level to the peril and plays off a new aspect to the gremlin mythology. The series comes to a satisfying conclusion as the ten episodes also expand the Gremlin folklore. There is the potential for another season, after all Sam is a young lad and he and Gizmo need to make the journey to America. However, this first installment is so well written I’m a bit nervous where it could go from here.
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I enjoyed the animation style. The human, evil gremlins, good gremlins, monsters and spirits each have a specific design. The evil gremlins have a sharp geometric design, as compared to the good gremlins which have a soft, puppy-eyed, furry design. The humans have some hard lines in their rendering, especially in terms of the adults vs. the children. The folklore characters are a nice blend of styles that give them each a unique feel. I loved the rendering and they would easily make great toys/action-figures. There is an aspect to the animation that was reminiscent of Rankin/Bass stop motion animation process, known as "Animagic.” Numerous times while viewing I was lulled into thinking I was watching stop motion and not flat animation. Scenes vary, but many are filled in with detail and a rich color palette that creates a lavish universe.
I adored Sherri Chung’s compositions for the series. She does an excellent re-orchestration of Jerry Goldsmith’s “Gremlins” theme with some traditional Chinese instruments that maintains the spirit of the composition and adds a fresh take to it. It’s a short piece that plays over the opening credits and I would love to hear her take on the entire piece. She creates magical moments as she adds her music to scenes with the other mystical characters and the action sequences. Her work is a nice blend of a classic style and playful sound reminiscent of the blend of music in the classic “Looney Tunes” shorts.
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The production has gathered a fabulous voice cast. Veteran actor James Hong's performance flows through his character adding so much charm and magic. Izaac Wang’s Sam imparts a sense of wonder and a child’s innocence to the character. Actress Gabrielle Nevaeh voices the street urchin Elle. She adds a lot of depth to her performance that creates an endearing character. Several other Asian-Pacific actors add their voices to the series, including the original Mr. Sulu on “Star Trek,” actor George Takei. I will not spoil the surprise, but it’s perfect voice casting.
GREMLINS: SECRETS OF THE MOGWAI is a delight, and sure to be a guilty pleasure among the viewing adults who don’t have a younger viewer to blame their watching the series on. I am sure there are fans of the films who will have issues with the series. If they give it a chance it has so much going for it that it is sure to win them over. I’m cautiously optimistic to see what they might do for a second season, and wait with bated breath for the toys and action figures based on the show.
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The first two episodes for GREMLINS: SECRETS OF THE MOGWAI premiere Tuesday, May 23, 2023, on MAX, with two new episodes every Thursday. The pilot, “Never Get Them Wet,” is directed by Joe Dante, who serves as consulting producer on the series.
CAST (voices): Ming-Na Wen, James Hong, BD Wong, Matthew Rhys, Izaac Wang, AJ LoCascio Gabrielle Nevaeh, Zach Galligan, Sandra Oh, Randall Park, George Takei, and Bowen Yang. CREW: Series Writers - Peter Chen, Anna Christopher, Tze Chun, Brendan Hay, & Sarah Nerboso; Music - Sherri Chung; Editors - Sheila McIntosh, Ryan Samsam & Mike Williamson; Episodes:
S1, Ep1 - Never Get Them Wet S1, Ep2 - Never Feed Them After Midnight S1, Ep3 - Always Buy a Ticket S1, Ep4 - Don't Drink the Tea S1, Ep5 - Always Stab or Run S1, Ep6 - Always Buy a God a Drink First S1, Ep7 - Never Squeeze a Fox S1, Ep8 - Never Hug a Mogwai S1, Ep9 - Never Give Up S1, Ep10 - Never Expose Them to Bright Light
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OFFICIAL: amblin.com/tv/gremlins-secrets-of-the-mogwai/ FACEBOOK: N.A. TWITTER: N.A. TRAILER: https://youtu.be/WAyemweRRDs RELEASE DATE: Streaming May 23rd, 2023
**Until we can all head back into the theaters our “COVID Reel Value” will be similar to how you rate a film on digital platforms - 👍 (Like), 👌 (It’s just okay),  or 👎 (Dislike)
Reviewed by Joseph B Mauceri
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fearsmagazine · 5 months
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Screenwriter Dennis Paoli talks about his screenplay SUITABLE FLESH, based on “The Thing On The Doorstep” by H. P. Lovecraft.
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Producer and actress Barbara Crampton placed screenwriter Dennis Paolis screenplay SUITABLE FLESH, based on “The Thing On The Doorstep” by H. P. Lovecraft, in the hands of director of Joe Lynch and the trio delivered a cinematic experience similar to 1985’s “Re-Animator.” With a few updates to Lovecraft’s tale we meet psychiatrist Elizabeth Derby who is confronted by Asa, a young man who recounts a strange tale of abuse by his father. Derby's interest is peaked and she becomes obsessed with helping her new young patient, who she feels is suffering an extreme personality disorder. Investigating his bizarre case leads her into a world of necromancy, placing her and her loved ones in danger. Her life spirals out of control as she tries to escape a horrific fate.
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Screenwriter, television writer, playwright, college professor and friend and collaborator with the late director Stuart Gordon, Dennis Paoli has made a career of adapting the fiction of H.P. Lovecraft, and Edgar Allen Poe, taking the horror genre by storm with his 1985 film “Re-Animator” - based on “Herbert West–Reanimator" by H. P. Lovecraft, an instant cult classic that made fan favorites of director Stuart Gordon and actors Jeffrey Combs and Barbara Crampton. He has written or co-written five of Gordon's films and collaborated with Gordon on the stage productions of Bleacher Bums, Re-Animator: The Musical, and Nevermore: An Evening with Edgar Allan Poe, and on two episodes of the Showtime horror television series Masters of Horror.
SUITABLE FLESH will be available in Select Theaters and Rental October 27th, 2023.
The music heard in the background during this segment is by composer Steve Moore, who scored SUTIBLE FLESH.
Read our Review of SUITABLE FLESH - HERE
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fearsmagazine · 4 months
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LORD OF MISRULE - Review
DISTRIBUTOR: Magnet Releasing
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SYNOPSIS: Rebecca Holland, along with her husband, Henry, and their 9-year-old daughter, Grace, has now spent a full year in their new home, the small British village of Berrow, where Rebecca is the vicar of the local church. Berrow’s annual four-day autumn festival approaches, a time when villagers dress up in strange costumes and a masked figure known as the Lord of Misrule leads them in casting out the evil spirit Gallowgog. For this year’s reenactment Grace has been chosen to play the Harvest Angel. As dusk falls, Rebecca loses track of Grace in the throng of villagers in a ceremonial field where bonfires burn. Rebecca searches for her in vain, but Grace has disappeared. A desperate search begins and Rebecca uncovers secrets from the town’s dark past. Soon, she must decide how much she is willing to sacrifice to rescue her daughter from the grip of the evil that dwells in Berrow.
REVIEW: The director of “The Devil Inside,” “The Boy,” and “Orphan: First Kill,” comes a haunting folk tale of a secluded community in the British isles that practices a pagan ritual steeped in a horrific truth. The film is an excellent marriage of narrative and visuals to craft a terrifying tale.
I love Tom DeVille’s narrative. He does a superb job of mixing this pagan tale with contemporary themes and adds in a supernatural element with an evil spirit, Gallowgog, to create a horrifying fairy tale that is every parent’s worst nightmare. The Lord of Misrule is a tale that is found in European cultures, with its origin being traced back to the Roman celebration of Saturnalia, that took place from the 17th to 23rd December. In the film, De Ville anchor’s the legend as part of a harvest celebration. He brings in some of the background of how the Catholic Church and the Church of England forced their religion onto the local people and replaced their festivals with Christian ones. Clearly there is a troubled past brewing at the Holland household. Rebecca and Henry are having issues, and when we first meet Grace we get an idea that something is wrong. Is that a result of the darkness that resides in the town or something the family is trying to escape. Rebecca tightly holds onto her beliefs as she is confronted by the town’s grim history; she demonstrates a strength through her logic that leaves the viewer feeling she might survive this encounter. There is just so much here for the sophisticated genre fan to sink their teeth into given everything DeVille weaves into the story.
Filmmaker William Brent Bell, as with several of his previous films but more so here, has an excellent location that permits him the opportunity to create a visually arresting fairy tale nightmare for De Ville’s story to play out in. Add to that excellent productions designs, costume designs, with arresting visual and special effects that make for a hypnotic tale. He does an excellent job of pacing the film as to allow the viewer to feel Rebecca’s becoming disoriented in the horrors that develop without slowing the film down. Brett Detar’s score adds so much to the film. There is a particular moment in the film when the town folks show up with food and start setting up for dinner where the score underpins Rebecca’s mental state and the insanity of everything that is going on around them. Itadds depth to the visuals and enhances the build ups of terror and suspense.
LORD OF MISRULE features an exceptional ensemble cast. There is an aspect to the supporting cast that I found reminiscent of Rosemary Woodhouse’s neighbors in Polanski’s film. I loved actor Ralph Ineson’s performance as Jocelyn Abney. It is grounded more in a character that feels lifted from today’s news feeds like a Brexiteer or Maga Republican. It makes for a new kind of sinister. Evie Templeton does not have much screen time as Grace, but what she delivers is enchanting and horrifying at times. Tuppence Middleton is someone who you’ll know that you’ve seen before, and clearly her performance here demonstrates why she has appeared in so many projects, from episodic shows to big studio features. Her portrayal of Rebecca is an emotional rollercoaster ride that conveys the intense emotional journey of the character as she navigates this cinematic nightmare.
Filmmaker William Brent Bell and screenwriter Tom DeVille, along with a marvelous cast headed by Tuppence Middleton and Ralph Ineson, tell a rich and haunting tale that is as much an epic horror tale as it is social commentary. This spellbinding cinematic tale is a complex visual and narrative experience that feels like it could be based on a bestselling novel from a master of the genre. LORD OF MISRULE is a film worth going to the cinema to experience. Bell and DeVille are an impressive team who I’d welcome an opportunity to take in something they might again unite on.
CAST: Tuppence Middleton, Ralph Ineson, Matt Stokoe, Evie Templeton, Rosalind March, Jane Wood, Luc Ineson, & David Langham. CREW: Director - William Brent Bell; Screenplay - Tom DeVille; Producers - Nik Bower, Deepak Nayar, Jason Newmark, Laurie Cook, William Brent Bell, James Tomlinson, &Alison Brister; Cinematographer - Simon Rowling; Score - Brett Detar; Editor - Andrew Leven; Production Designer - Alison Butler; Costume Designer - Libby Irwin; Hair & Make-up Designer - Haelwyn Adams; SFX Supervisior - Sean Harland; Visual Effects - KOALA FX; Character Design & Illustrator - Zsombor Huszka; Special Effects - Matter FX. OFFICIAL: N.A. FACEBOOK: N.A. TWITTER: N.A. TRAILER: https://youtu.be/j8MqDwHEPxA?si=6WZFLifU_JUXIGBz RELEASE DATE: In theaters and on VOD December 8th, 2023
**Until we can all head back into the theaters our “COVID Reel Value” will be similar to how you rate a film on digital platforms - 👍 (Like), 👌 (It’s just okay), or 👎 (Dislike)
Reviewed by Joseph B Mauceri
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fearsmagazine · 5 months
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IT'S A WONDERFUL KNIFE - Review
DISTRIBUTOR: RLJE Films & Shudder
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SYNOPSIS: “A year after saving her town from a psychotic killer on Christmas Eve, Winnie Carruthers’ life is less than wonderful — but when she wishes she’d never been born, she finds herself in a nightmare parallel universe and discovers that without her, things could be much, much worse. Now the killer is back, and she must team up with the town misfit to identify the killer and get back to her own reality.” -Press Notes
REVIEW: Michael Kennedy’s screenplay for IT’S A WONDERFUL KNIFE does for “It’s A Wonderful Life” what his script for “Freaky” did for “Freaky Friday.” Director Tyler MacIntyre does a solid job of balancing the satire and horror to create another yuletide terror ride.
The narrative does a nice job of setting up the tale with many elements that deconstructs Winnie’s world once she is transported to the alternate universe. I appreciate that it is a linear mystery that Winnie has to solve unlike a film like “Happy Death Day” where the main character has to keep going back until they get it right. The story capitalizes on a bunch of the concepts George Bailey experiences once he enters Clarence’s alternate world, but by way of a “Scream” film. Clearly Henry Waters is the contemporary Mr. Potter. I thought it was amusing how Winnie’s relationship issues are also resolved by her encounters in this alternate universe. The satire is delightful and much of the tone present in Kennedy’s “Freaky” is here. I appreciate his sense of humor, as he includes such Easter eggs as a character named Gale Prescott.
I enjoyed the production designs and locations. The killer's costume design, the Angel, is a nice homage to Ghostface from “Scream” and the angel reference from “It’s a Wonderful Life.” They found the perfect town in Canada for their location and there was an element to it that was reminiscent of George Bailey’s and Marty McFly’s hometown. MacIntyre does a solid job of balancing character development with action sequences to sustain the film’s energy level. The visual effects are effective, but nothing groundbreaking. The special effects and blood are solid, but not as bloody as in “Scream.” Russ Howard III’s score strikes a nice balance between satire and terror with often a playfulness of a Danny Elfman score. The rest of the costumes are okay and could have used something, maybe a few more ugly sweaters or something.
The film features some veteran genre actors such as Katharine Isabelle from “Ginger Snaps” who plays Aunt Gale and William B. Davis, the ‘Smoking Man’ from “The X-Files” as Roger Evans. Jane Widdop, who plays Winnie, and is Laura Lee on Showtime’s “Yellowjackets,” brings a lot of charm and charisma to the role. She brings a lot of energy to her performance. Justin Long often creates likable characters you want to hate. Here he gives his character this peculiar, annoying accent that just makes him so memorable and unlikable, truly. There are some other nice casting choices that will appeal to a variety of fans. It’s a solid cast that gels together and makes for an entertaining view.
It seems every holiday season another film comes along that adds to the holiday horror cannon. In 2022 it was Adult Swim’s Yule Log. For 2023 writer Michael Kennedy and director Tyler MacIntyre turn their sick and twisted sights on “It’s A Wonderful Life,” as they turn it into demented roller coaster ride for genre fans with IT’S A WONDERFUL KNIFE. Presenting another darkside of the holiday season, once again proving capitalism is a dangerous thing. A solid serial killer satire that is worthy of a place in your Christmas horror film rotation with “Black Christmas,” (good god the original!), “Silent Night,” and anything else that helps you put the red in your holiday season.
CAST: Jane Widdop, Jess McLeod, Joel McHale, Katharine Isabelle, William B. Davis & Justin Long. CREW: Director - Tyler MacIntyre; Screenplay/Producer - Michael Kennedy; Producers - Seth Caplan & Daniel Bekerman; Cinematographer - Nicholas Piatnik; Score - Russ Howard III; Editor - Arndt-Wulf Peemöller; Production Designer - Tiana P. Gordon; Costume Designer - Matea Pasarić; Angel Concept Artist - Francis Lafleche; SPFX Makeup - Nikki Delong; Visual Effects - SUPERCHILL. OFFICIAL: N.A. FACEBOOK: N.A. TWITTER: N.A. TRAILER: https://youtu.be/n1fvBRAPhEM RELEASE DATE: In Theaters November 10th, 2023
Listen to Our Interview with Director Tyler MacIntyre - HERE
**Until we can all head back into the theaters our “COVID Reel Value” will be similar to how you rate a film on digital platforms - 👍 (Like), 👌 (It’s just okay), or 👎 (Dislike)
Reviewed by Joseph B Mauceri
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fearsmagazine · 5 months
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AS WE KNOW IT - Review
DISTRIBUTOR: Buffalo 8
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SYNOPSIS: “Set in Los Angeles in the late 1990s, struggling writer James Bishop grapples with the emotional shrapnel of a recent breakup with his longtime girlfriend, Emily. As James holds up in his Hollywood Hills home with writer's block, his eccentric best friend Bruce shows up with bad news. The city has plunged into chaos by an unusual zombie outbreak, courtesy of tainted soy milk, wreaking havoc on James' semi-charmed kinda life. With the streets of Los Angeles swarming with the undead, James, Bruce, and Emily come together to barricade themselves in the house while reconciling their personal struggles. And occasionally, letting in the only food delivery service still operating, Abracadabra.” -Press Release
REVIEW: Josh Monkarsh’s film feels like a play as James’ home is the main setting and much of the story unfolds in the living room, kitchen and bedroom. The limited locations add to the feel of a 90’s sitcom, from “Seinfeld,” to “Friends” and the late 90’s “Freaks & Geeks.” Clearly these characters are in their mid to late 20’s but their lack of maturity make them seem much younger.
Monkarsh, DePaolo and Francis’s script is jam packed with 90’s references and bits and gags that rely on period as well. One of the jokes between James and Bruce is their love of “Waterworld,” which they watch on a laserdisc (yes, I still have a player and a collection of laserdiscs). It is clearly a love letter to that period of time when life was simpler and complicated in different ways before the advent of the smartphone, tablets and laptops. The absurdity of the zombie plague being caused by tainted soy milk takes a back seat to the relationship between the three characters, and Rory, the delivery person who happens to be an old acquaintance of Bruce, makes for a nice distraction.
The film has a rather dry pacing, and even Bruce’s chaotic moments come at a slower pace. There is an overall malaise that you would expect from the zombies. Somehow it all works and becomes engaging. Each actor brings elements to their performances that make for likable and sympathetic characters, even Bruce. It’s a great ensemble cast, but I have to say actor Danny Mondello creates this memorable character that could have easily been cliched but comes off fresh and memorable, like an early Joe Pesci performance. Actor Chris Parnell received a nice amount of screen time, with an additional scene during the credits, and it would have been nice to see a bit more of Pam Grier.
I enjoyed the cinematography, costumes and production designs that captured the period. The editing sustained my viewing engagement. The zombie make up and designs are simple and effective, as well as the special effects, with nothing too gorey. I liked Michl Britsch’s score. It enhanced the comedic tones of the film and added slightly more energy to the film.
AS WE KNOW IT is a relationship comedy set against the backdrop of a zombie outbreak taking place in Los Angeles. The film is kind of a 90’s American slacker reworking of “Shaun of the Dead,” with a tone similar to Jim Jarmusch’s “The Dead Don't Die,” but without some of the film’s more bizarre moments. A fun and mildly funny trip down memory lane with some likable characters who take center stage over the zombies. Monkarsh does a nice job with the material but given his film credits to date I’m not sure when and if will see Monkarsh venturing into the horror genre again soon.
CAST: Mike Castle, Oliver Cooper, Taylor Blackwell, Chris Parnell, Pam Grier, and Danny Mondello. CREW: Director/Screenplay/Producer - Josh Monkarsh; Screenplay - Brandon DePaolo & Christopher Francis; Producers - Daniel Cummings, K. Asher Levin & Joshua Fruehling; Cinematographer - Stephen St. Peter; Score - Michl Britsch; Editors - Yvonne Valdez & Rebecca Weigold; Production Designer - Lorus Allen; Costume Designer - Zoe Poledouris-Roche; Special Effects - John McConnell; VFX Supervisor - Kevin Vanhook. OFFICIAL: https://asweknowitmovie.com/ FACEBOOK: N.A. TWITTER: N.A. TRAILER: https://youtu.be/-0U1pgXaygk?si=MqlxM792N7xDsdPX RELEASE DATE: Nov. 10th New York City, Chicago, Seattle; Nov. 15th Los Angeles; Nov. 17th Boston; Dec. 1st Calabasas.
**Until we can all head back into the theaters our “COVID Reel Value” will be similar to how you rate a film on digital platforms - 👍 (Like), 👌 (It’s just okay), or 👎 (Dislike)
Reviewed by Joseph B Mauceri
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fearsmagazine · 1 year
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FEARSmag’s TERRORGRAM - Filmmaker Kurt Wimmer discusses his cinematic adaptation of Stephen King’s CHILDREN OF THE CORN.
Filmmaker Kurt Wimmer’s new adaptation of Stephen King’s short story CHILDREN OF THE CORN is set in a contemporary dying Nebraska farm town where a twelve-year-old girl is possessed by a spirit, referred to as "He Who Walks Behind the Rows," recruits the other children in her small town to go on a bloody rampage and kill all the adults and anyone else who opposes her. Boleyn, a bright high schooler, won't go along with the plan and is the town's only hope of survival.
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Director, writer & producer, filmmaker Kurt Wimmer came to the attention of cinephiles with his 2002 film Equilibrium, which he wrote and directed, and starred Christian Bale, Emily Watson, Taye Diggs, and Sean Bean . In 2006 he wrote and directed Ultraviolet starring Milla Jovovich. As a screenwriter he has penned the adaptation of Sphere, Total Recall, and a reimaging of The Thomas Crown Affair & Point Break. His original screenplays include Law Abiding Citizen, Spell, & Salt. Stepping back behind the camera for the first time since 2006, Kurt puts his spin on the King tale and gives the audience a few of "He Who Walks Behind the Rows” based on the details in the short story.
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Filmmaker Kurt Wimmer
CHILDREN OF THE CORN will be in theaters on March 3rd and on demand & digital March 21st, 2023, from RLJE Films.
The music heard in the background during this episode is from the score for CHILDREN OF THE CORN by composers Jacob Shea & Tim Count.
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fearsmagazine · 5 months
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SUITABLE FLESH - Review
DISTRIBUTOR: RLJE Films & Shudder
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SYNOPSIS: Psychiatrist Elizabeth Derby is confronted by a young man, Asa, who recounts a strange tale of abuse by his father. Derby's interest is peaked and she becomes obsessed with helping the young patient, who she feels is suffering an extreme personality disorder. As she investigates his bizarre case it leads her into a world of necromancy, placing her and her loved ones in danger. Her life spirals out of control as she tries to escape a horrific fate.
REVIEW: From short stories to his longer works, the fiction of one of the masters of classic horror, H.P. Lovecraft has inspired the imagination of numerous filmmakers. In 1985 director Stuart Gordon and writer Dennis Paoli raised the bar on Lovecraft adaptations with their horror dark comedy “Re-Animator.” Over the years they worked together on two other Lovecraft tales, “From Beyond” and “Dagon,” good films but not quite capturing the tone and energy of “Re-Animator.”
Prior to Stuart Gordon’s passing in 2020, screenwriter Paoli was working on an adaptation of Lovecraft’s "The Thing on the Doorstep.” With the director’s chair left empty by his passing, actress/producer Barbara Crampton reached out to director Joe Lynch. Lynch read Paoli’s script and offered the screenwriter a few suggestions, including changing the lead characters from male to female. The screenwriter meditated on it, made some changes and the project became SUITABLE FLESH.
The screenplay is quintessential Dennis Paoli. He does a splendid job of creating characters, the focal being Elizabeth Derby. She is drawn into the madness of Asa Waite, and she in turn draws in her friend and colleague Daniella Upton. The plot provides those kinky comedic moments mixed in among the horror that harken back to “Re-Animator.” The plot embraces contemporary elements as it puts a fresh spin on the Lovecraft tale, maintaining the core elements of Lovecraft’s story.
Joe Lynch does an excellent on paying homage to Stuart Gordon as he puts his own spin on the material. The production values are minimalistic and capture a feel of the late 80’s and 90’s genre films. The editing maintains a brisk pacing and the film feels shorter than the 100 minutes. There are some great framing and angles that add to the tone and atmosphere to the film.Lynch creates a sensuality in the film without the exploitation and nudity of Gordon’s films. Composer Steve Moore’s score is perfectly suited to the film. A classic score in its own right but not quite as iconic as Richard Bands work on “Re-Animator” or “From Beyond.”
SUITABLE FLESH is a solid ensemble cast. Everyone has to make bold character swings as they in turn become possessed by this malevolent entity that may or may not be Asa’s father, but something more sinister. Barbara Crampton and Heather Graham have some fabulous scenes together and the duo have an excellent struggle towards the end of the film. The ladies, under the direction of Joe Lynch, are the rock and roll of the film. That’s not to distract from Bruce Davidson or Judah Lewis, who I enjoyed in “The Babysitter” and “The Babysitter: Killer Queen,” but Grampton and Graham are a tour de force.
There is an aspect of Joe Lynch & Dennis Paoli’s adaptation of Lovecraft’s “The Thing On The Doorstep” that also feels reminiscent of Roland Topor’s novel The Tenant that was the basis of he Polanski film of the same name. Both deal with questions of identity, sexuality and the other. Polanski’s is more surreal, Lynch’s is more occult, and both are horrific in their own right. Having viewer several of Lynch’s films and television episodes, he never disappoints. With SUITABLE FLESH he demonstrates his knowledge and love of the genre. He is a talented technician who is equally as skilled at procuring marvelous performances from his cast. He is a unique talent who hopefully will not become corrupted by the study system as he is destined to direct a Marvel or Star Wars film.
CAST: Heather Graham, Judah Lewis, Bruce Davison, Johnathon Schaech, and Barbara Crampton. CREW: Director - Joe Lynch; Screenplay - Dennis Paoli; Based On The “The Thing On The Doorstep” By H. P. Lovecraft; Producers - Barbara Crampton, Bob Portal, Inderpal Singh, & Joe Wicker; Cinematographer - David Matthews; Score - Steve Moore; Editor - Jack N. Gracie; Production Designer - LILY BOLLES; Costume Designer - YVONNE REDDY; Special Make Up Effects - GREG MCDOUGALL. OFFICIAL: N.A. FACEBOOK: N.A. TWITTER: N.A. TRAILER: https://youtu.be/OqbA7fPQf_8?si=Z_laGqayjoZEyvUy RELEASE DATE: In theaters and Rental October 27th, 2023
Listen to Interview with Screenwriter Dennis Paoli - HERE
**Until we can all head back into the theaters our “COVID Reel Value” will be similar to how you rate a film on digital platforms - 👍 (Like), 👌 (It’s just okay), or 👎 (Dislike)
Reviewed by Joseph B Mauceri
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fearsmagazine · 1 year
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UNICORN WARS (animated) - Review
DISTRIBUTOR: GKids
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SYNOPSIS:  “For ages, teddy bears have been locked in an ancestral war against their sworn enemy, the unicorns, with the promise that victory will complete the prophecy and usher in a new era. Aggressive, confident teddy bear Bluey and his sensitive, withdrawn brother Tubby could not be more different. As the rigors and humiliation of teddy bear boot camp turn to the psychedelic horrors of a combat tour in the Magic Forest, their complicated history and increasingly strained relationship will come to determine the fate of the entire war.”
REVIEW: Alberto Vázquez’s UNICORN WARS is a hypnotic and surreal film that is an adult fable in the tradition of Ralph Bakshi’s animated films, most notably his 1977 film “Wizards.”
Vázquez’s screenplay replaces all the religious symbolism with fantasy, unions and teddy bears. There is a teddy bear priest who quotes a sacred scripture about the rise of the bears and the struggle with the unicorns. However, there are no god-like characters or elements, boarding more on something like the legends of Beowulf or King Arthur. Plot points reflect the numerous military conflicts Spain has been a part of, and is still a part of,  and most notably their civil war. As the story unfolds, it becomes clear that there is no specific reason why the bears should hate the unicorns other than tones of species hatred standing in for racism and imperialism. One of the characters suffers trauma during a conflict and it fuels his fanaticism, driving him to destroy the last unicorn in order to take advantage of a legend he has put his faith in. That moment becomes an interesting transition point in the narrative as it is fueled by these insects containing a hallucinogenic drug that are consumed by the bears. It is this “Apocalypse Now” moment that goes full tilt horror.  In contrast, the wounded bear’s brother remains in the forest and comes to his own understanding of the true nature of the unicorns and the role they play in the world. In the background, there is an evil that is seeking form and trying to rise up that the unicorns have managed to keep at bay.
There are a variety of artistic styles employed in the film. These feral, warlike, teddy bears are designed after a fashion that reminded me of “The Care Bears.” The unicorns are not white, They are all black or dark brown, depending on the scene. They feel like these ethereal spirits of the forest. They feel more organic than regal, which is what we might expect from a unicorn. The design of the military base is sparse, utilitarian design that feels like a wasteland. In contrast, the forest has this flowing, magical environment that feels like a subdued version of the forest from the Disney animated feature “Sleeping Beauty.” All of this is enveloped in technicolor. It makes the bears stand out and the battle sequences pop. The graphic nature of the war scenes are more intense. Those scenes are even more impactful due to the epic nature of the sound design. They’re gritty and visceral sounds that transform the visuals. Joseba Beristain adds another layer to the visuals and creates the perfect movement for the hallucination sequence.
Distributed by GKids, this is clearly not their typical animated release. You might think that by dealing with teddy bears and unicorns it would eliminate genitalia, but all these teddy bears, of course males, have genitalia and we see it. In fact, the battle sequences are as gory as 2021’s animated epic “The Spine of Night.” But all that aside, UNICORN WARS is an adeptly constructed allegory that makes a bold statement as to what the loss of magic and innocence will give rise to. I appreciated the satire of an early scene where these ape-like creatures inhabit church-like ruins, upon which resides this unformed, alien evil. It’s indicative of the entire film where there scenes create these visual prophetic gestures, adding to the parable of the narrative. You can view this film as entertainment, and be in for one hell of a mind trip. You can view it as an intense thought-provoking piece. But it is a rare film that allows you to take due paths and come out totally blown away.
CAST (voice): Jon Goiri, Jaione Insausti, Gaizka Soria, Iker Diaz, Estívaliz Lizárraga, Pedro Arrieta, Alberto Vázquez, Txema Regalado, Manu Heras, and Ramón Barea. CREW: Director/Screenplay/Art Direction - Alberto Vázquez; Producers - Chelo Loureiro & Iván Miñambres; Score - Joseba Beristain; Editor - Estanis Bañuelos; Animation Director/Animation Supervisor/Character Designer - Khris Cembe. OFFICIAL: gkids.com/films/unicorn-wars/ FACEBOOK: www.facebook.com/GKIDSfilms TWITTER: twitter.com/GKIDSfilms TRAILER: https://youtu.be/31ee-Ma9NxM RELEASE DATE: Alamo DraftHouse March 6th, in theaters March 10th, 2023
**Until we can all head back into the theaters our “COVID Reel Value” will be similar to how you rate a film on digital platforms - 👍 (Like), 👌 (It’s just okay),  or 👎 (Dislike)
Reviewed by Joseph B Mauceri
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