- David Goulet on THE EDITOR: WORLD PREMIERE TONIGHT AT TIFF MIDNIGHT MADNESS
- David Goulet on Monsters and Mysteries: The Blackburn Files
- David Goulet on FESTIVAL OF FEAR 2014: ANNABELLE
- Feedback on Episode 167: WINSTON’S MUSICAL MELTDOWN MASSACRE
- Pirate of the Seven Seas on Episode 167: WINSTON’S MUSICAL MELTDOWN MASSACRE
At their heart, the best horror movies aren’t really horror movies at all. It may sound like an odd assessment, but even a cursory glance of the classics of the genre will turn up films that are, both literally and figuratively, about child abuse and neglect (A Nightmare on Elm Street and Friday the 13th), infidelity and betrayal (Les Diaboliques), post-traumatic stress disorder (Peeping Tom), the urban/rural culture clash (Deliverance), and the role of violent media in modern society (Videodrome). Horror is merely the medium in which these unsavory topics can be openly addressed and discussed; there’s only so much that polite society wants to acknowledge about itself, at least within the confines of normal, everyday human interactions. Rare is the mainstream film that can honestly, brutally acknowledge the worst that the human experience has to offer without flinching or tacking on an uplifting ending to give audiences the false hope that they too can ride off into the celluloid sunset. Dramas, romances, comedy, and even the majority of science-fiction films demand a dollop of optimism when discussing even the most pessimistic of concepts; and, more often than not, there’s no honesty to that. Horror, though… audiences expect a downbeat ending with a horror film. They embrace it. Horror is the one genre where there are no pretensions, only the cold, brutal truth — unfiltered, undiluted.
Horror musicals are typically hit-or-miss, which isn’t surprising for such a specific genre, as musicals are generally assumed to be considerably more lighthearted than your average horror flick. Typically, they tend to fall into the realm of pure campiness, for instance the more recent Evil Dead: The Musical and Silence! The Musical, and while Carrie the Musical didn’t exactly intend for that kind of label, it has achieved cult status for the level of flop that it became. Based on the Stephen King novel and Brian de Palma film of the same name, Carrie the Musical was denounced by theatre critics (following its 1988 Broadway opening), who labelled the show “trashy,” “schlocky,” and getting “more giggles than screams.” We talked with Linzi Hateley, who gained the few positive reviews of the show with her performance in the title role in both the Broadway and Stratford productions, just in time for her Carrie-centric, one-night-only concert that will premiere in New York City next month.
Time to announce the winners of Rue Morgue’s 30 DAYS OF DARK HORSE contest. Thanks for everyone who entered and re-Tweeted, regramed or reposted our daily Dark Horse Comics image for the month of April. The response was so great that Dark Horse decided to pick a grand prize winner for each platform, plus four secondary prize winners.
We Are What We Are (USA)
Dir: Jim Mickle
Toronto After Dark kicked off last night with Jim Mickle’s latest, the highly anticipated We Are What We Are, a re-imagining of Jorge Michel Grau’s Mexican film of the same name. The plot follows a reclusive, poor, rural family that partakes in an unusual tradition: cannibalism. After a brutal storm results in a family tragedy, eldest daughter Iris (Ambyr Childers) finds herself responsible for the yearly ritual. But as the investigation of a number of missing people in the area brings the local authorities to their property, the lives of the family members begin to unravel.
The folks at Millennium Entertainment have given us an exclusive clip from Spiders 3D, full of creepy crawly, flesh-eating arachnid goodness. The latest film from Tibor Takács (The Gate) is getting its Toronto premiere at tonight’s CineMacabre movie night (9pm, Bell Lightbox Theatre in Toronto), complete with 3-D glasses, prizes and a Skype interview with the director! More details on the screening and a trailer here: http://www.rue-morgue.com/events/cinemacabre. Time to get creature feature crazy!
Brian Kirst, who runs the Big Gay Horror Fan blog, interviews director Chuck Russell on behalf of Rue Morgue, in advance of his appearance at this weekend’s Sci Fi Spectacular 5.
Enthusiastic writer/director Chuck Russell has made a name for himself making enjoyable popcorn films for genre film lovers. From his debut feature Nightmare on Elm Street: Dream Warriors to the Jim Carrey break-out hit The Mask, Russell has also proven himself to be a champion of his hometown, Chicago. He will be in back in the city this Saturday for a showing of his well-regarded 1988 remake of the cult classic The Blob. He recently sat down with Rue Morgue to talk about his life and films.
Horror fans will best know author Tony Burgess for the book Pontypool Changes Everything, which was adapted for film by director Bruce McDonald (Hardcore Logo, This Movie is Broken) back in 2008 as Pontypool. Now the fine folks at ChiZine Publications have reteamed Burgess and McDonald for a book trailer promoting the author’s newest novel People Live Still In Cashtown Corners. Check out the result…
This Friday, October 22, Rue Morgue presents a ZOMBIE BOOK LAUNCH PARTY for Andrea Subissati’s WHEN THERE’S NO MORE ROOM LEFT IN HELL: The Sociology of the Living Dead at Cherry Cola’s Rock ‘N’ Rolla Cabaret & Lounge (200 Bathurst St., North of Queen). Hosted by Rue Morgue’s own Managing Editor Monica S. Kuebler, NIGHT OF THE LITERARY DEAD includes a book reading and signing, a zombie photo shoot (photography by ShareTheAction) and creepy catering compliments of The Indulgent Herbivore. Doors are at 9pm and you can snag tickets from any of these fine retailers: Cardinal Skate Co. (2142 Bloor St. W.), Culturshoc (1205 Queen St. W.), Suspect Video (605 Markham St.), Silver Snail Comics (367 Queen St. W.) and Rotate This (801 Queen St. W.) Check out our online guest sign-up at zombiebooklaunch.info!
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