Devour The Podcast Episode 60: The Lords of The Dead

 

It’s gonna be a fight!

 

Welcome back to another episode of Devour the Podcast.

 

News:

Ben Wheatley’s new film picked up by Drafthouse Pictures

Dominic Cooper to play Dracula

Luke Evans also in Dracula and now The Crow

Apparently we’ve got 3 Cabin Fever sequels coming

Three more coming to The Town that Dreaded Sundown

I Spit on Your Grave 2: Spit Harder coming this fall

RIP Ray Harryhausen

 

It Came From The Instant Queue:

Hold Your Breath

Bo- Fuck this Movie

David-1/5

Jamie-1/5

 

Bonus Review:

The Lords of Salem

Bo- B

David- C+

Jamie- A

 

Our Feature Presentation:

The Dead

Bo-A-

David- F

Jamie- A+

 

Next Week:

We’re taking on Paranorman for our Instant Queue selection and kicking off our series on Clive Barker with Book of Blood.

 

Email us at : Cenobitedave@gmail.com

or maven1974@gmail.com

 

Call Us: 760-661-7280

 

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@Ddellamorte or @maven1974 or

@LastBlogTweet

 

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Review: The Dead (2010)

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Synopsis: When the last evacuation flight out of war-torn Africa crashes off the coast, American Air Force Engineer Lieutenant Brian Murphy (ROB FREEMAN) emerges as the sole survivor in a land where the dead are returning to life and attacking the living.

Fuck You Howard and Jonathan Ford, just Fuck You.

I can’t remember the last time I’ve been as disgusted with a film as I was watching The Dead. On paper, the idea of a zombie film set in Africa sounds interesting and original, but that originality is quickly thrown out the window when the hero of the film is a white American, and not the native African Daniel (Prince David Oseia) who should have been the lead.

First and foremost, the story is derivative and dull. Zombie outbreak has started, we follow a couple of characters as they try to survive and come back to their families, and everything ends badly for everyone.

If that was the film’s only major flaw, I don’t think I would be as angry about it as I am, but the fact that I sat through an hour and forty five minutes of what can best be described as a “White Savior” zombie film is not only infuriating, it’s disgusting.

Why in the hell would you bother to make a zombie film set in Africa and then make the hero of the film A WHITE AMERICAN? I’d be willing to say “Well, you’re making some commentary” if he’d been a white South African, but he’s not, he’s just another White American Male saving minorities, and one scene toward the end of the film, after I was starting to be relieved that I only had about ten more minutes of this tripe to deal with, we’re given the perfect summation of exactly what this film is all about.

The White Man is the savior.

(What you can’t hear is the angelic choir singing on the soundtrack.)

This movie is derivative, racist and painfully long.

F

Pros: None

Cons: Everything.

Press Release: Musician Voltaire to direct adaptation of his comic Oh My Goth!

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Aurelio Voltaire to direct film version of his comic book OH MY GOTH!: an irreverent, comedic trip through horror and science fiction

Monsters, rock and roll, comedy and sex

(May 7th, 2013 – New York City, NY) – On behalf of musician and filmmaker Aurelio Voltaire, we’re excited to announce his upcoming full-length film as director: an adaptation of his comic book OH MY GOTH! featuring his musical talents.

Synopsis:

When the reanimated skeletons of Necronus, a cemetery planet across the dark expanse of space, decide they need Earth paved into a landing strip, they send, possibly the worst of their agents to undertake the task. Arrogant, pompous and not the brightest laser in the arsenal, Heironymous Poshe , takes on human form and travels to Earth aboard his Black Spire, a space ship that could easily pass for a giant, black cathedral. However, Poshe has plans of his own, namely to avoid a desk job on the Necrid home world and live a life of leisure in a fixed orbit above Earth. For centuries, Poshe (along with his robot slave and an imprisoned midget) has avoided his prime directive. Instead he has spent his time abducting Earth women, celebrities and bands for a non-stop, nightly party above the Black Spire.

But Poshe’s days of care-free, hot-babe abduction are coming to an end. Tired of Poshe’s lack or results, Lord Krom Wrath, supreme ruler of the Necrus, launches a full scale invasion of Earth. Poshe bands with the only people on Earth who understand his cause (a group of Goth kids, a cadre of ninja priests and a small army of Hasidic Rabbis- ironically, all of them people who wear all black!) to repel the oncoming armada of Necrid ships. The final space battle is the “Jews in Space” Mel Brooks promised us and never delivered!

After performing worldwide onstage, directing commercially, and following the film festival circuit with his stop-motion animated films, Voltaire will now direct a feature film based on his own comic work. The feature version of OH MY GOTH! will have that strange brand of dark comedy and music that he has been performing at Goth clubs and sci-fi and horror conventions across the land.

“It was time to finally unite my storytelling, my music, my twisted humor and filmmaking sensibilities all into one project,” says Voltaire. “It has all the things I love: monsters, rock and roll, comedy and sex mashed into a giant ball of awesome.”

Producer Keryn Thompson is very excited about the content: “There’s loud music. There’s scantily clad girls. There’s Satan,” she says.

 

James Morgart, also producing, says that he joined the project because “Voltaire’s material stretches across so many genres that he sort of encompasses every bastardized sub-genre to be associated with the Gothic tradition since Walpole’s Castle of Otranto.  His plans for this film are to give his fans all of their favorite aspects of his work: music, animation, and subversively witty humor.”

OH MY GOTH! the film is currently in pre-production and will shoot in the New York City metro area.

Genre: Horror/Musical

Directed by: Aurelio Voltaire

Screenplay by: Aurelio Voltaire, Based on his comic book OH MY GOTH!

Produced by: James Morgart, Keryn Thompson

About Voltaire

Aurelio Voltaire is a media personality and respected authority on all things Gothic, Horror, Sci-fi, Steampunk and involving “geek” culture. He is often referred to as a modern day renaissance man having achieved success in the fields of animation, music, comics, books and toys.

Voltaire’s career began in the 1980s as a stop-motion animator and director, creating some of the award-winning, classic MTV and SyFy channel station IDs. He worked in television, animating and directing commercials for nearly twenty years when he realized it was time for him to tell his own stories. Finding comic books to be a vastly more economical tool than feature films Voltaire told his first epic tale, “Chi-chian” in comic book form. This dark, Cinderella story set in Manhattan’s future, was published and led to a 14-episode animated web series directed by Voltaire for the SyFy channel’s website. His success in comic books also led to several underground hits including the comic book series Oh My Goth!, Human Suck! and most recently Deady. The latter featured collaborations with some of the biggest names in horror and comics including Neil Gaiman, Clive Barker, James O’Barr, Roman Dirge, Gris Grimly and many others. It also spawned a long list of toys including plush toys for Six Flags, Hot Wheels cars for the Japanese market and over a dozen vinyl toy releases including collaborations with Disney and Skelanimals.

In yet another career swerve, 1995 saw Voltaire took the stage at a New York City club where he launched his music career. His songs are a strange brew of murder ballads, tongue-in-cheek exercises in the macabre with just enough bawdy Star Trek and Star Wars songs to keep convention audiences rolling in the aisles. Many in the mainstream know Voltaire as the writer and performer of the songs Brains! and Land of the Dead from the Cartoon Network show, The Grim Adventures of Billy And Mandy. Almost constantly on tour, he has played his music around the world and released eleven full length CDs to date.

Voltaire also wrote the popular books What is Goth? and Paint it Black: a Guide to Gothic Homemaking (Weiser Books) and has appeared on numerous television shows and documentaries as an authority on Goth, Horror and Steampunk. Appearances include Fox News, Biography, MTV News, Fearnet, IFC, PBS and others.

When not touring, writing books or designing toys, Voltaire teaches stop-motion animation at the School of Visual arts and continues to make short films. His “Chimerascope” series of stop-motion shorts are perennial film festival favorites. The five shorts have won a combined 31 awards and feature the voice talents of Deborah Harry, Richard Butler, Gerard Way, Gary Numan and Danny Elfman.

More on Aurelio Voltaire can be found on his official website: http://www.voltaire.net

Review: Maniac (2012)

 

Synopsis: The owner of a mannequin shop develops a dangerous obsession with a young artist.

 

If you’ve never seen the 1980 William Lustig film Maniac, you’re missing out on some of Tom Savini’s best early 80′s effects work.

 

But I’m not here to talk about that Maniac, I’m here to talk about the Franck Khalfoun directed, Alexander Aja/Gregory Levasseur penned remake.

 

First and foremost I’m an fan of Alexander Aja and Gregory Levasseur, and have been since seeing High Tension in 2004. I loved The Hills Have Eyes remake, and I loved Piranha 3D more than I probably should have, however when I first heard that Maniac was up to be remade with Aja and Levasseur writing I was giddy. Don’t get me wrong, I like the original Maniac, but there are some serious problems with it on a story level that I’m willing to forgive because the rest of the movie is good.

 

This Maniac is the kind of remake I love to see, one that takes into account all the good things about the original, while patching up and fixing the problems as well as adding its own new twists and spins on the subject.

The story is very similar to the original, Frank (Elijah Wood) is a man with severe mental problems with a decidedly homicidal bent, but when the right woman comes into his life, it seems like everything could change for the better……

 

The first thing that stands out about Maniac is that it’s shot all from Frank’s perspective, and while this at first can be a bit jarring and almost annoying, it actually ends up working in the films favor as we are forced, as the audience, to see the world as Frank sees it, to experience things through his eyes and his twisted mind. There are a few scenes where the camera does give us a more traditional third person perspective, but they are very few and far between, and when they happen, I felt as if they were meant to be a sort of out of body experience for Frank.

 

Elijah Wood’s performance is perfection, as he’s just handsome enough to be non-threating, but it’s those same good looks that hide the…Maniac within, and while we tend to only get glimpses of Wood on screen through mirrors and reflective surfaces, as well as the couple of third person shots, his delivery of lines and the reactions of the actors he’s talking to help to pull every scene together.

 

Without getting too deep into spoilers of this film, or the original, I will say that I appreciated what Aja and Levasseur did in clarifying Frank’s past, which in turn, leads to some fantastically unsettling flashback sequences and one of the single most disturbing murder sequences in the entire film near the end.

 

And what an ending! With all due respect to Lustig’s original film, the ending of Maniac (1980) doesn’t make a hell of a lot of sense. It’s a fantastic bit of special effects work, but it doesn’t make a lot of sense in the context of the film, and thankfully Aja and Levasseur kept most of that ending, while making things more clear.

 

Franck Khalfoun deserves just as much credit as Aja and Levasseur do because he directed the hell out of this film, from the opening with the two women coming out of the club and the tiny details of our first victim being harassed by random stranger on the street, to the vicious brutality of the ending, every scene was gorgeous to look at and the visual nod to the original film’s poster in one scene was excellent.

 

The score by the artist simply listed as Rob is exquisite, a throwback to 80′s synth driven scores that still feels contemporary and has been in heavy rotation for months even before I had a chance to see the film. Easily one of the best modern horror film scores of the past ten years.

 

Maniac is everything I hoped it would be and more, delivering a genuinely uncomfortable, beautiful remake that improves upon the original.

 

A+

 

Pros:

The Score

Elijah Wood’s performance

Aja and Levasseur’s script

Khalfoun’s direction

Special Effects

 

Cons:

Review: Rob Zombie’s The Lords of Salem

Synopsis: Heidi, a radio DJ, is sent a box containing a record — a “gift from the Lords.” The sounds within the grooves trigger flashbacks of her town’s violent past. Is Heidi going mad, or are the Lords back to take revenge on Salem, Massachusetts?

Rob Zombie and I have a bit of a strange relationship, such as it is. I’m a casual fan of his work with the band White Zombie, but I loved Hellbilly Deluxe as an angsty teen, and so when I first heard about House of a 1000 Corpses all those years ago, I was excited.

Anyone who’s ever brought that film up knows I hated it. I’ve seen it at least three times and I hated it every single time. It’s a dull, overly long music video with only one really impressive shot in its entire running time.

The Devil’s Rejects was much more in line with what I expected from Zombie as a director, grittier, more vicious, sleazier, more 70′s.

Then he took on Halloween and its somewhat misguided sequel, H2, further dividing the horror community on whether or not Zombie was a director to keep an eye on or just a hack.

Finally, the much talked about The Lords of Salem has arrived, Zombie’s big return to original storytelling, and while it certainly has elements I enjoyed, it also feels too much like a step backward.

Lords is visually fantastic, blending the flashback scenes of Salem’s past with the modern city, visual references to any number of bands and other films, and somehow making it all sort of work, at least on the visual side.

The story on the other hand can best be summed up as Rosemary’s Baby, and while Polanski managed to wring every last drop of tension and believability out of his premise, Zombie just isn’t that strong of a writer or director. The dialogue is wildly uneven, at times jaw dropping in how bad it is, at other times strangely perfect, but the film always seemed to keep me at arm’s length. I never felt drawn into the story, as it seemed like every time I would start to be drawn in, some incredibly silly bit of dialogue would be throw out or something just plain dumb would take place.

The pacing surprised me, as the film unfolds at a slow, deliberate pace that kept my interest throughout.

Unfortunately, the story itself just isn’t that good, and the ending is almost laughably bad. That shot of Sherri Moon Zombie riding on a goat like it’s a mechanical bull is real, and it’s set in what is supposed to be a great trip out sequence that for the most part came across more like the youtube video of a high school Satanist than the final act of a feature film.

The Lords of Salem feels too much like a bubblegum pop approach to the “Devil among us” films, and while it was fantastic to see Ken Foree working in something that isn’t a direct to video piece of shit, and Dee Wallace and any number of other recognizable actors (including a blink and you’ll miss it scene with Barbara Crampton) none of them is really able to elevate the poor writing, though the team of Wallace, Judy Geeson and Patricia Quinn steal every scene they’re in and manage to add some gravitas to the nonsense they have to say.

I didn’t hate Lords of Salem but I also wasn’t particularly impressed with it either. For all the promise the visuals have, the story just never rises to match, and when it was over, I was left with an overwhelming sense of wanting to see what Zombie could do as a director with someone else’s script.

C+

Pros:

Fantastic casting

Great Visuals

Good Score

Cons:

It’s Rosemary’s Baby but with Sherri Moon Zombie instead of Mia Farrow.

Some truly dreadful dialogue.

59

Devour the Podcast Episode 59: The Scream Retrospective Part 4: Scream 4

59

We’re still watching this shit?

Welcome back to another episode of Devour the Podcast!

 

It’s been a long break, but we’re back now with a triple review episode!

 

Spoiler Warning: We spoil Audrey Rose, Evil Dead (2013) and Scream 4.

 

 

It Came From the Instant Queue:

Audrey Rose:

Bo: 2/5

David: 2.5/5

Jamie: 3/5

 

Evil Dead (2013)

Bo: B+

David: C+

Jamie: A-

 

The Scream Retrospective part 4: Scream 4

Bo: D-

David: F

Jamie: D-

 

Next Episode:

We’re covering The Asylum flm Hold Your Breath and The Dead for our feature presentation.

Press Release: Velvet Vengeance

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The original Velvet Vengeance short revolved around Alice, a young woman on a quest to prove once and for all that her brother’s death was the result of more than one killer. After a year of visions and dreams guided by her brother’s ghost she sets out to revisit the area where he died. Accompanied by her friends, a new nightmare begins that pits her against a psycho sister act with a masked axe wielding sister as the co-antagonist.

The short went on to get strong reviews and be nominated for multiple awards at various film fest. It eventually won best short film at The San Antonio Horrific Film Fest. Jeremy Campbell is setting out to bring the story to life with even more action and horror in a the feature version.

The film is in the late stages pre-production and the two pivotal characters that make this project so exciting have already been cast. Those two roles feature very strong female characters on opposite sides of the equation. There is the determined, innocent spirit driven by a need for justice that transforms into a sort of modern day warrior princess and then there is the dark soul that embodies true evil set out on an endless, vicious bloodlust in classic slasher fashion. This clash of forces is what sets at the core of  Velvet Vengeance and the fact that both characters are played by two strong female actors as forces to be reckoned with is what makes the story fresh in horror cinema.

Dani Bliss Gavit is set to take on the role of the ax wielding, brutal slasher wearing a baby doll mask and racking up a sick body count. The killers name is Dolly. Gavit is a true fan of horror with a love of independent. Dani had the privilege of being a judge at the Phil Anselmo (Pantera) Housecore Horror Film Festival in San Antonio as well as being a avid competitive runner and burlesque performer. She also has a thing for duct tape. Now Gavit can add the gorific title of homicidal psycho killer to that ongoing list of awesome! There is a lot about this young newcomer that is both fascinating and inspiring to any generation both in and out of the horror community.

Playing the girl next door that becomes the killer of killers is Andee Martin. Jeremy Campbell stated that Andee Martin really is Alice which is why the director could only see the feature film adaptation happening if Andee agreed to reprise the role. It is something that the young actress was more than willing to do noting with enthusiasm her excitement toward revisiting the character in a broader, more intricate story.

The feature will take a more action driven approach focusing stronger fight sequences while holding on to the classic horror based atmosphere. She is currently training in the art of Maui Tai, Boxing and Grappling, which is pretty awesome in and of itself! There is also plans for intense weapons training all of which should come in handy when forced to confront homicidal maniacs whose “mascot” comes in the form of a brutal ax wielding psychopath who finds comfort behind a baby doll mask.

Press Release: Dark Carnival International Film Festival

THE DARK CARNIVAL INTERNATIONAL FILM FESTIVAL
New Venue and Call For Entries

Columbus, IN – Ladies and gentlemen, boys and girls – join us August 30-31, 2013 in Columbus, Indiana for the Greatest Show Unearthed!

Founded more than seven years ago, the Dark Carnival International Film Festival strives to be the premier event for screening the best independent horror, sci-fi, and dark fantasy films. Our mission is to put fans and filmmakers first and present fantastic films from the four corners of the globe. Many of the movies at Dark Carnival have been picked up for distribution by major players in the industry, and our event has provided numerous networking opportunities for visiting filmmakers who have traveled from as far as Spain, the UK, Toronto, New York and LA.

Since 2007, Dark Carnival has screened nearly 200 films from more than a dozen countries all over the world, and from almost every state in the US. In the past seven years we have gained a reputation as a festival that values indie filmmakers and that loves genre films as something much more than a business niche.

As a result, we’ve gained the attention of some of the most highly regarded publications, film distributors, and sponsors including Avid, R2 Entertainment, Diabolique Magazine, HorrorHound Magazine, GeekTyrant, and Final Draft. The festival has also been featured multiple times in MovieMaker Magazine, which recognized Dark Carnival as one of the “13 Horror Film Fests to Die For” (Fall 2011) and one of the top “25 Film Fests Worth the Entry Fee” (Fall 2009)

New Venue

While other similar film festivals often screen their movies in hotel conference rooms, from the very beginning we’ve been proud to showcase festival films in some amazing theater venues. During our first six years, Dark Carnival was held at the Buskirk-Chumley Theater, a restored, 1930s era movie-house. 

For 2013, we’re excited to move to our new location – the historic Crump Theater in downtown Columbus, Indiana. Originally opened in 1889, the Crump is the oldest theater in the state – and is also recognized as one of the most haunted places in the midwest.

The Crump began its own restoration project in 2001, and since then has hosted a variety of shows and events, including benefits for the victims of Hurricane Katrina and the tsunami in Japan, as well a live performance by John Mellencamp.

Call For Entries

The Dark Carnival International Film Festival is currently accepting submissions for 2013 and festival organizers are looking for original, cutting edge independent films in the horror, fantasy and sci-fi genres. Both short and feature-length films are accepted, as well as documentaries, animation, experimental, music videos, and trailers. The early-bird deadline for submission is June 30, 2013. (Filmmakers should visit www.darkcarnivalfilmfest.com for more information.)

The Dark Carnival International Film Festival is a different show every year. Screenings showcase a mix of 25-30 short and feature films. Events have included outdoor drive-in film screenings, filmmaking seminars, panel discussions, VIP award banquets, and filmmaker Q&A. The festival has also offered a variety of after-hour events, including costume contests, dance parties, carnival sideshows, horror hosts, burlesque dancers, live fire shows and more!

2013 promises to be a special year for the event. This year’s festival theme will take advantage of the Crump Theater’s spooky reputation as a favorite location for ghost hunters from around the country, and festival organizers are hard at work planning our best show yet!

Festival passes go on sale spring 2013, and a limited number of vendor tables are available.

Visit www.DarkCarnivalFilmFest.com for more details.

Press Release: Women In Horror Month

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WHY FEBRUARY IS THE MOST HORRIFIC TIME OF YEAR

Los Angeles, CA, February 1, 2013 – The third annual Women in Horror Month is now upon us with dozens of ambassadors and events! WiHM is a part of the Viscera Organization, a 501(c)3 not-for-profit, and aims to simultaneously support and celebrate underrepresented female artists in the horror genre across the globe while educating the public on the impediments that female artists face.

While the festivities culminate in February of each year, Women in Horror Month also spotlights the creative endeavors of female artists all year long in articles, social media, and its brand-new podcast. Guests on the first episode include filmmakers Jovana Dimitrijevic, Rebekah McKendry, Rebekah Herzberg, and Tonjia Atomic, Sandra Katsuri from ChiZine Publishing, musician Ghettosongbird, Fem Furry and Meredith Widnoon of The Whorer Podcast, as well as Chelsea and Ava of La Petite Morgue.

Women in Horror Month February 2013 events take place both online (podcasts, interviews, blog series and discussions) and at actual venues, and include giveaways, artist gatherings, film screenings, and more. Women in Horror Month donates all proceeds to charity and all events feature the “pink kiss” WiHM Seal of Approval, created to ensure that all events, media, and online material are official and philanthropic. The WiHM Seal was graciously donated by Rue Morgue Magazine.

The full roster of 2013 sponsors include: ChiZine Publications, NikytaGaia Photography, Hot Chick Physics, Sourpuss, Diabolique Magazine, Rue Morgue Magazine, Too Fast Apparel, The Dark Art of Mike Vanderhoof, Ghettosongbird, Matt Orsman, Irene Langhorn, and Fangoria Magazine.

For more information about Women in Horror Month, including a schedule of events and a list of Ambassadors, please visit:
www.womeninhorrormonth.com

The Women in Horror Month Podcast:
http://womeninhorrormonth.podomatic.com

Find Women in Horror Month on Facebook, Tumblr, and Twitter:
womeninhorrormonth.podomatic.com
www.facebook.com/WomenInHorrorMonth
womeninhorrormonth.tumblr.com/
twitter.com/WiHMonth

For more information about the Viscera Organization, please visit:
www.viscerafilmfestival.com

Flip the Script

Flip the Script: A New Column

Flip the Script

 

Flip the Script

 

In my experiences as a Horror reviewer for blogs, columns and podcasts, inevitably, someone lobs a question at me that is both obnoxious and a little absurd whenever I don’t like a film:

 

                “Well what would you have done differently?”

 

This question is obnoxious because it’s not my job to come up with a way to make the movie I just watched better, I’m just critiquing it and saying whether I liked it or not.  But recently this question was tossed my way with regard to my distaste of the recent Texas Chainsaw 3D. And so I started to think about it.

 

What would I have done differently? So I figured I’d take a stab at it with this column entitled Flip the Script.

My rule is simple: I have to take at least one element from the film, be it a cast member or idea and make sure that it goes into my re-imagined treatment

Oh yeah, that’s the other thing, I’m not going to waste the time and effort on completely re-writing these films, I’m just going to come up with an outline of what I would have done differently.

 

I’m not trying to imply that my take on these films is/would be any better than what came out, it’s just what I would have done had the project been handed to me.

DTP turns 50

Devour the Podcast hits 50th episode

Today was a special day. For most people, it was just another Wednesday  but for myself and my co-hosts of Devour the Podcast and the listeners it was the day we recorded our 50th episode.  It’s still a little surreal to me that I can say that I’ve produced fifty episodes of Devour, and with episode 52 we will be celebrating a year, but before we get to that point I wanted to take a moment to reflect on this first truly impressive milestone.

 

Fifty episodes equaling out to 77 hours, 55 minutes and 47 seconds, roughly 5.55 gigs of memory, and that includes the Halloween special in its audio format.

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