Glass Eye Pix invites you to count down 25 days till Christmas with GEP’s Creepy Advent Calendar. What better way to celebrate the holiday season than with a daily peek behind the doors and windows, nooks and crannies of this mysterious doll village assembled by artist and stop-motion animator Beck Underwood? See vintage dolls and Santas, stuffed critters and misfit toys, all to delight and tease in this merry celebration of Christmas mischief.
Also check out the Creepy Christmas Film Fest, featuring 25 shorts by a variety of GEP pals.
This is officially on our top horror picks for 2015! From what we have experienced, Until Dawn forces you into emotional and moral hell and we love it! We’ve all seen the movies now it’s time to experience it for real. This gameplay pushes gaming to another level of interaction. Playstation continues to raise the bar for 2015.
Supermassive games wrote the story in collaboration with horror auteurs Larry Fessenden and Graham Reznick (Stake Land, Habit, The Last Winter) who’ve been bringing great independent horror movies to the big and small screen for decades. That story challenges you to unravel the terrifying mysteries of Blackwood Pines. Look out for clues whilst your emotions are torn limb from limb but remember, things aren’t always as they seem!
LATE PHASES, GEP’s new werewolf film directed by Adrian Garcia Bogliano and starring Nick Damici, hits theaters and VOD TODAY. And the web is howling about it…
From The Village Voice:
Two key elements in horror movies are anticipation and pacing, with the latter simply the heightening and lowering of the former.
With Late Phases, Adrián García Bogliano artfully engages with those tools, crafting a narrative whose close feels a touch underwhelming only in relation to the impressive buildup. In the most entertaining tough-old-crank turn this side of Gran Torino, Nick Damici stars as Ambrose, a blind Vietnam vet who has no sooner moved into the placid retirement community of Crescent Bay than he becomes auditory and olfactory witness to a murder committed by a werewolf.
After the beast also kills Ambrose’s seeing-eye dog, Shadow, the vet vows revenge. (And how! Wait Until Dark this isn’t — file Late Phases as the best film in which a blind individual gets trigger-happy with a series of firearms.) The filmmakers wisely reveal the werewolf early, as this shifts the source of suspense from an obvious question (Will there turn out to be a monster?) to a more mystifying one (Why is there a monster?).
In addition to the careful parceling-out of information and anticipation, the film benefits enormously from Damici’s lead performance: gruff, funny, aggressive, and, of course, commanding sympathy, the character compellingly entices the audience to board this ride.
The narrative ends up working in a smaller scope than one might expect given the premise of a beast plaguing a community, but the journey getting to the finish is exhilarating all the same.
From the New York Times:
A blind Vietnam veteran is all that stands between a hungry werewolf and the frail residents of a retirement village in “Late Phases,” a sprightly horror movie about finding new purpose for old bones.
Our gruff hero is Ambrose (Nick Damici, far from geriatric), a brusquely independent widower who’s closer to his service dog, Shadow, than to his harried son. Deposited in his new home, he quickly deflects a delegation of glammed-up grannies scenting fresh meat. They’re not the only ones: A terrifyingly gory first night will leave poor Shadow flayed and Ambrose’s closest neighbor chomped to bits.
Working in English for the first time, the Spanish director Adrián García Bogliano forgoes the veiled menace of his 2013 mystery, “Here Comes the Devil,” for something altogether less subtle. Skipping critical narrative beats — Ambrose instantly decides that “Werewolf!” is the answer to “What just happened?” — the plot favors simplicity over rationality with a cheerful insouciance that’s hard to dislike. Much of this good will is inspired by Mr. Damici, whose testy line readings and credible sightlessness give Ambrose’s neighborhood perambulations an oddball intensity. I didn’t see him blink once.
Matching the movie’s homely feel, Robert Kurtzman’s old-school effects produce an endearingly shaggy creature that’s pleasingly tactile and beholden to the laws of physics. And if the central transformation scene strains fruitlessly for the sky-high bar of Rick Baker’s groundbreaking work on “An American Werewolf in London” (1981), it’s no matter: “Late Phases” is really concerned with change of a different sort. Before, Ambrose was resigned to death’s waiting room; now, he has a reason to work out.
LATE PHASES CLIPS on Bloody Disgusting
WHERE TO SEE IT
November 21-27 New York IFC Center
December 5 Minneapolis, MN Mall of America
December 12 Los Angeles, Cinefamily
January 2 & 3 Phoenix, AZ, FilmBar
January 2-4 Columbus, OH, Gateway Film Center
Blockbuster On Demand
Fessenden, JT Petty, Travis Stevens and more discuss the biz of genre filmmaking in the Fall 2014 issue of MovieMaker Magazine, on newsstands Nov 25th.
“A decade ago, the primary focus of independent horror moviemakers was making a good horror movie, knowing that if they did their job well, they were virtually guaranteed to find an audience and make their money back (and then some). Horror was the Teflon genre—or so it seemed.
“In the last decade it’s gotten cheaper to make movies, and harder to make money off of them,” says J.T. Petty, writer-director of horror features The Burrowers (2008) and Hellbenders (2012). “The ‘guarantee’ most people took for granted was the DVD market, and that’s all but gone.” Today, the business of independent horror moviemaking has changed dramatically, and while making a good movie is still paramount, the moviemaker of 2014 must wear other hats just as well in order to survive: branding expert, distributor, producer, publicist, sales agent. “And,” as Eduardo Sanchez, director of 1999’s game-changing The Blair Witch Project and the upcoming Exists, says, “most of us didn’t get into this to become distributors.”
According to Larry Fessenden, director of Wendigo (2001) and producer of Stake Land (2010), “Executives often say, ‘Do you have anything in the Blumhouse model?’ The thing to understand is: Blum’s films have name actors (Ethan Hawke, Patrick Wilson) who work at scale, the films are made relatively cheaply, and there is a distribution scheme that gets the movies onto 3,000 screens on opening weekend. This is not the same as making an independent haunted house movie on the Canon 5D and hoping it makes a lot of money. You can’t guarantee your investors that your $15,000 movie will earn $200 million at the box office.”
“Horror used to have that whiff of danger and discovery,” says Fessenden. “That is why the remakes don’t excite the fans, because there is no discovery there, just studios cashing in. Blum’s films are original stories, even as he franchises them, and that alone makes his approach more compelling than the studio approach.”
Stevens is philosophical, though optimistic. “Your perspective shifts a bit. Maybe there isn’t more money coming in, but what are the upsides? Our film played around the world in festivals, which gave us opportunities to meet more filmmakers, financiers and distributors. It played globally in cinemas and was easily available in retail outlets. This meant we were building an international audience and international distributors see value in that. It allowed us to secure more money on our other projects. Your definition of ‘profit’ expands a bit, working in this space.”
Fango’s got an exclusive on Glass Eye Pix’s newest film, DARLING, written & directed by Mickey Keating and starring Lauren Ashley Carter, produced by Fessenden, Jenn Wexler, Sean Fowler, Keating and Carter, in association with Illium Pictures.
Glass Eye Pix’s new werewolf movie, LATE PHASES, directed by Adrian Garcia Bogliano and starring Nick Damici, premieres theatrically, On Demand and on streaming services THIS FRIDAY, November 21st.
“(Late Phases) has delivered a true love letter to ’80s monster-movie buffs and all those hankering for a good old-fashioned werewolf picture.” – Tony Timpone
“Nick Damici is the Charles Bronson of blind, senior-citizen werewolf hunters.” – The Hollywood Reporter
“A return to the heyday of hairy, blood-splattered werewolf cinema” – Geeks of Doom
“Do not miss Late Phases or your eyeballs will never forgive you” – Bloody Disgusting
“It’s elevated the werewolf film to a whole other level.” - Hammer To Nail
November 21-27 New York IFC Center
December 5 Minneapolis, MN Mall of America
December 12 Los Angeles Cinefamily
January 2 & 3 Phoenix, AZ FilmBar
January 2-4 Columbus, OH Gateway Film Center
Crescent Bay is not the best place to live out one’s golden years. Once an idyllic retirement community, the secluded neighborhood has been beset by mysterious and deadly attacks. When grizzled war veteran Ambrose McKinley (Nick Damici, Stake Land) moves in, the residents immediately take offense to his abrasive personality. But his take-no-prisoners attitude is just what he needs to survive as it becomes clear that the increasingly violent and patterned attacks are being caused by beasts that are neither animal nor man, and the tight-knit community of Crescent Bay is harboring something truly sinister in its midst…
James Felix McKenney’s episode for TALE FROM BEYOND THE PALE Season 3 wraps recording with Scrimm and Peck
Angus Scrimm (Phantasm, I Sell the Dead) and Mizuo Peck (Night at the Museum) star!
Stay tuned for more news on Season 3!
On Friday night, the great Angus Scrimm was honored with a Lifetime Achievement Award, and saluted by Fessenden and James Felix McKenney, at the 13th edition of the New York City Horror Film Festival, taking place at Tribeca Cinemas.
Glass Eye Pix Pal ANGUS SCRIMM to be honored at the 13TH ANNUAL NYC HORROR FILM FESTIVAL on FRIDAY 14 November.
Get all the details about the festival running November 13—16 at The Tribeca Cinemas Site