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BROOKLYN HORROR FILM FESTIVAL: A Review Of THE SHED

Contrary to popular belief, horror films tackling social issues is nothing new. George Romero was unabashedly open about the social commentary of his films, and John Carpenter did little to veil his criticism of Reagan-era politics during the ‘80s. Recently, filmmakers such as Jordan Peele have taken the reins of such a movement, but not all the movies serving as allegory for a deeper message are such mainstream hits as Get Out. Frank Sabatella’s The Shed is one such entry in the long, storied history of horror being used as a vehicle for social criticism. The Shed is, at its
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RED LETTER DAY: A Review

The concepts of ‘morality under duress’ and other people being essentially unknowable have a long and storied history in horror. After all, what could be scarier than not knowing for sure how everyday people, your friends, your family, your coworkers, or even yourself, would act when the chips are down and whatever checks that keep us adhering to the social construct are done away with, and nothing is quite black and white, but a murky gray. Stories like Shirley Jackson’s “The Lottery” have persevered over time because they revolve around one simple concept: is the morality that keeps civilization together
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Cine-Ween: UNIVERSAL’S HALLOWEEN HORROR NIGHTS AND CLASSIC FILM TO MAZE ADAPTATIONS

Halloween is my favorite time of year. I love to see the spooky decorations and costumes come out. I don’t need an excuse to watch horror movies, but I love to see the 31 Days of Horror challenges that my friends post on social media. This is the one time of year that I actually enjoy going to the store. One event that I never miss here in Los Angeles is Universal Studios’ Halloween Horror Nights (HHN). What makes HHN unique among all the haunts around town is the multitude of intellectual properties that the studio has in its library.
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DEMENTER: A Review By Justin Lore

Trauma can be a difficult thing to escape, and even if we remove ourselves from the environment it occurred in it can follow us and affect us long after the trauma itself is gone. Dementer is a stark examination of the lingering wounds that result from past trauma, and how those wounds never really heal. Dementer is the story of Katie, a woman with something of a secret past. We never learn the exact details of her life prior to the events of the film, and all we do know is told through brief and chaotic flashbacks, but we see
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Reviving METAL NOIR: Talking to SOVHorror.com’s Tony Masiello

Tony Masiello is a busy guy. Aside from being an accomplished visual effects artist and director, he’s devoted much of his life to the celebration of shot-on-video films through his website, SOVHorror.com, as well as the documentary series S.O.V. The True Independents, which provides a visual history of shot on video horror films of the ’80s and ’90s. So, when he stumbled on a tape of the entirely unavailable 1990 body horror SOV film Metal Noir, you could have forgiven him for celebrating his good fortune in a low-key way. Maybe write it up for his website, or pass it
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This Guy Is Like The Terminator: THE MARINE Franchise

  When WWE Films released The Marine in 2006, it failed to even earn back its modest $20 million budget at the domestic box office. It was by no means great cinema; even as a generic B-grade action picture, it had its shortcomings, mostly due to the restrictions of its unfortunate PG-13 rating. But it earned an audience on home video — much like the films it attempted to emulate did decades prior — due to its famous wrestler star, John Cena, and some good, old fashioned jingoism, which was in fashion in the mid-2000s. Flash forward thirteen years later
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FRANKENHOOKER: Camp, Sex Work, and Toxic Masculinity

Frank Henenlotter’s 1990 comedy horror cult classic, Frankenhooker, is a campy spin on Mary Shelley’s Frankenstein in which Jeffrey, a failed med student, reanimates his recently beheaded fiance, Elizabeth, after a freak accident. Jeffrey, who is part mad scientist and part obsessive lover, concocts a plan to build Elizabeth a new body, attach her severed head and revive her so they can be reunited. After making a deal with Zoro the pimp, Jeffrey chooses his desired parts from branded prostitutes, hoping for a big payday. After they literally explode from super crack, he’s able to rebuild and revive Elizabeth. Elizabeth
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CINEPUNX Episode 98: Summer Fun! (SUMMER SCHOOL, BOOKSMART)

http://media.blubrry.com/cinepunx/p/www.cinepunx.com/wp-content/uploads/2019/06/Cinepunx_ep98.mp3Podcast: Play in new window | DownloadSubscribe: Apple Podcasts | Android | RSSSCHOOL’S OUT FOR-EVER! Hey friends and welcome to a piping hot new episode of your favorite film and chaos podcast, CINEPUNX! On this illustrious new episode we talk two summer fun time films, SUMMER SCHOOL and BOOKSMART!   To be fair, this is much more of an episode about Summer School but honestly Booksmart just connected thematically, and not enough of y’all when to see it. GO SEE BOOKSMART YOU DINGLES! Anyway, think of this as our summer kick off, which is admittedly a little late but here
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CINEPOCALYPSE 2019: THE SWERVE is a ‘Lovingly Crafted and Punishing Affair’

The Swerve is the striking — and strikingly depressing — feature debut from New Jersey-based director Dean Kapsalis, and it’s best appreciated as it was envisioned: as a suburban update on a classical Greek tragedy. While actions, and the catastrophic results of those actions, are often telegraphed well in advance, it plays out in such a bleak and uncompromising fashion that you’ll inevitably be left emotionally drained by the end. While some viewers may find the slow, occasionally ponderous, pacing to be a detriment, this portrait of a housewife’s steady mental decline proves to be a lovingly crafted and punishing affair.
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CINEPOCALYPSE 2019: MOPE is ‘Utterly Sticky Nihilism’

Do not, under any circumstances, think that Lucas Heyne’s Mope is going to be a comedy. The title card, reading “this actually happened,” might give the impression — a la Fargo’s famous epigraph — that this is a fictional tale masquerading as a tragicomic reality. In truth, Heyne’s story of Steve Driver (Nathan Stewart-Jarrett), Tom Dong (Kelly Sry) and their sad experiences and dire end as part of the low-budget fetish porn world of Eric (Brian Huskey) and his company, Ultima DVD, is real. You can read all about it at various “holy shit” clickbait websites, but the tagline sums
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