Monthly Archives October 2018

CINE-WEEN: 86ed’-ALIENS and the Music of the USCM

1986 may be one of the greatest years for film and music in recorded human history.  A year that saw the release of such highly lauded records as Bad Brains’ I against I, Cro-Mags’ Age of Quarrel, Metallica’s Master of Puppets, Beastie Boys’ License to Ill, The Smiths’ Queen is Dead, and so many more that I could write a separate piece on how 1986 is the reason why I think music is good.   This was also a year that saw an incredible run of genre films such as Big Trouble in Little China, The Fly, Labyrinth, Highlander, Texas Chainsaw
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CINE-WEEN – Martin: The Only Vampire Film That Really Matters

Admittedly, I’m not a fan of vampire films (okay, Let Me In was tight), but one staple of every October horror list for me is George A. Romero’s often-overlooked 1978 film, Martin; the film that the director himself credits as being his favorite of his movies. At this point in Romero’s career, he’d already churned out Night of the Living Dead (the film that launched a thousand imitators), The Crazies (the remake does not hold up) and Season of the Witch (solid, but fairly forgettable). Later that year, Romero would go on to release Dawn of the Dead, another near-perfect entry in the
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Escape Through Lunacy: Philadelphia’s Dark Music Pioneer Releases New Album

Forever wars engulf entire regions of the globe. The braindead zombies of fascism are rising from the grave and again infecting political life with their noxious bite. Scientists predict we have less than 20 years to avert a worldwide climate apocalypse. In short, the world as we know it is coming to an end. Hailing from Philadelphia, Lunacy is a project about “being isolated in the world as it is, as we know it, and the demise of that world.” As with the outside world, a thread of apocalypticism runs through the project. The video for their song “Nail in
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Brooklyn Horror Film Festival: CAM

The nature of identity is a tricky thing. How do we begin to quantify what makes us who we are? For a start, we’re all physical, material beings, with biological drives and senses through which we process information. We’re also, at least in part, a construct informed and shaped by our circumstances and experiences as we stumble through life, attempting to make sense of the world we live in. And yet, our identities can’t be solely defined by the material, either; after all, if we suddenly stop perceiving, we’d still be fully aware that we’re us. Add technology to the
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CINE-WEEN: Death And Decay In The Heartland

October and Halloween are synonymous to many horror fans, and I can’t argue with their passion. The holiday is the tentpole of their spooky existence, the celebration that branches out to support a whole universe of strange stories and legends that provide thrills and chills year round. The pull of Halloween is strong, but for me it’s not nearly as alluring as the promise of October – a month when the world around us often feels like the personification of the macabre. Having grown up on a Midwestern farm, I’m very confident saying that October, to put it bluntly, represents
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CINE-WEEN: DEAD & BURIED – Digging Up the Goods

Horror as a genre can be both unrelenting in its ability to relegate a piece of art to obscure wings of public consciousness, and endlessly forgiving in the opportunity for a film to enjoy a second chance at immortality. Many horror movies that flopped or were critically panned on initial release are now cult favorites with passionate fan followings or genuine icons of cinema, and the experience of hearing about a film for the first time and finding it scratches an itch you weren’t even aware of is an endlessly intoxicating experience. Which is why we’re going to talk about Dead
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Brooklyn Horror Film Festival: An Interview With THE CLOVEHITCH KILLER’s Duncan Skiles

“A shocking revelation turns a teenage boy’s world upside down in this chilling look at the evil that can lurk below even the most wholesome surface. Tyler Burnside (Charlie Plummer) is a Boy Scout, a volunteer at his local church, and the dutiful son of an upstanding, community leader dad (Dylan McDermott). Only one thing troubles the quiet Kentucky town he lives in: the unsolved murders—in which ten women were brutally tortured and killed by a psychopath known as Clovehitch—that rocked the community more than a decade ago. When Tyler discovers a cache of disturbing images in his father’s possession,
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Cinematic Sounds: Spun Out of Control’s Gavin Stoker

A great number of micro labels have popped up parallel to the soundtrack resurgence. While Death Waltz, One Way Static, and Giallo Disco do a lot of soundtrack reissues and releases, they’ve also begun branching out into original releases. These acts — Videogram, Antoni Maiovvi, Metavari, and Espectrostatic — are all inspired, in one way or another, by synthy horror and thriller scores. These labels and artists represent the next step for those who have gotten into soundtracks but want something that works more as a musical experience, rather than one tied directly to a film. Rue Morgue magazine’s free
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Brooklyn Horror Film Festival: CANNIBAL CLUB

“Life is a dream for Octavio and Gilda. Residing on Brazil scenic waterfront coast, the rich-as-all-hell couple spends their non-work hours sipping fancy drinks, basking in the sun, and eating the finest of meats. The only problem? That’s human meat, pulled from the bodies of young, financially strapped victims that Gilda lures into their home. They’re part of a secret society of wealthy flesh-eaters, all of whom answer to a charismatic yet dangerous leader. And when Gilda starts getting cold feet about eating, well, cooked limbs, she and Octavio’s marriage, as well as their lives, are put in jeopardy.” It
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CINE-WEEN: Confessions of a Former Fraidy Cat

The house I lived in during senior year of college was a two-story joint, and one day my buddy Pete leaned over the balcony and said, his voice aghast, “What are you watching?” Actually, thinking back on it, it was more like, “What are you watching?” The answer was Peter Jackson’s seminal gore-tastic Dead Alive (aka Braindead), and the scene in particular was that film’s infamous climax which finds Lionel (Tim Balme) our schmucky protagonist strapping a lawnmower to his chest and wading into a cramped parlor filled with zombies. Limbs fly and blood pours by the gallons, at one
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