GLASS EYE PIX Sizzle Reel The Larry Fessenden Collection The Ranger LIKE ME PSYCHOPATHS MOST BEAUTIFUL ISLAND Stake Land II STRAY BULLETS Darling ABCs of Death 2: N is for NEXUS Until Dawn Until Dawn: Rush of Blood LATE PHASES How Jesus Took America Hostage — “American Jesus” the Movie New Doc BIRTH OF THE LIVING DEAD Explores the Impact of the Ground-Breaking Horror Film NIGHT OF THE LIVING DEAD BENEATH THE COMEDY THE INNKEEPERS HYPOTHERMIA STAKE LAND BITTER FEAST THE HOUSE OF THE DEVIL I CAN SEE YOU WENDY & LUCY Liberty Kid I SELL THE DEAD Tales From Beyond The Pale Glass Eye Pix Comix SUDDEN STORM: A Wendigo Reader, paperbound book curated by Larry Fessenden Satan Hates You Trigger Man Automatons THE ROOST THE LAST WINTER WENDIGO HABIT No Telling / The Frankenstein Complex Impact Addict Videos
January 15, 2018
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Bloody Disgusting: ‘LIKE ME’ Images Are As Trippy As the Trailer

LIKE ME opens in select theaters January 26th

IFC Center  •  New York, NY  •  January 26 – February 1, 2018

Arena Cinelounge  •  Los Angeles, CA  •  January 26 – February 1, 2018

Alamo Drafthouse Yonkers  •  Yonkers, NY  •  February 2 – 3, 2018

Harkins Valley Art  •  Tempe, AZ  •  February 2 – 8, 2018

Alamo Drafthouse Omaha  •  Omaha, NE  •  February 7, 2018

Full article and images HERE
January 12, 2018
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MOST BEAUTIFUL ISLAND opens in Spain! Reviews from international press

“Así es ‘Most Beautiful Island’, la película ‘indie’ española que arrasa en EE UU”
EL PAIS

“La ciudad araña”
– EL PAIS

“Ana Asensio estrena su ópera prima, ‘Most beautiful island’:
“El sexismo es una circunstancia y no la raíz del problema”

LA VANGAURDIA

“Crítica de The Most Beautiful Island: Sorprendente Ana Asensio”
PLAYCINE

“Ana Asensio: “Vivir en Nueva York exige un precio muy alto”
EL MUNDO

‘Most beautiful island’: distopía a pie de calle
EL PERIODICO

“Ana Asensio, la cineasta española más ‘indie’ estrena su premiada ópera prima”
MARCA

La directora, guionista y actriz Ana Asensio triunfa en Estados Unidos
con su opera prima ‘Most Beautiful Island’

CRONICAS DE LA EMIGRACION

Ana Asensio: “Nueva York cuesta, te hace sentir pequeña”
EL PERIODICO

January 5, 2018
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EPIC podcast on TALES warrants second posting!

Horror Happens Radio Podcast

Listen on Soundcloud when you have 4 hours to spare.
A celebration of the fantastic collaborators
who have graced the series with
thoughtful analysis by Jay Kay 

TALES FROM BEYOND THE PALE

January 3, 2018
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TALES on Horror Happens Radio: special guest interviews

From Horror Happens: 

The Horror Happens Radio Show presents our 2nd full episode focused on Glass Eye Pix’s radio dramas for a digital age in Tales From Beyond The Pale! We talk season 4, previous seasons, the locations, sound magic and much, much more… joining my observation of the various aspects of the new season we welcome Creators Larry Fessenden & Glenn McQuaid and contributors April Snellings, Graham Reznick, A.J. Bowen, Douglas Buck, Clay McLeod Chapman and Daniel Noah plus full conversations with Filmmakers Joe Maggio and Simon Rumley talking their previous episodes and Tales Journey.

Listen to the episode HERE

January 2, 2018
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NOW STREAMING: Mickey Keating’s PSYCHOPATHS

Psychopaths (2017) REVIEW – Trashy Horror Done Right

Mickey Keating has crafted an experimental exploitation film that’s well worth the watch.

Mickey Keating, 27, has made six features in seven years. Not only that, but he produces, writes, and directs his own material. And yet there’s a great sense of collaboration about his movies, with his actors, sure, but also in things like the cinematography and sound design. He has an acting ensemble that he draws from, which almost always includes genre icon Larry Fessenden in at least some sort of role.

His latest, Psychopaths, is conflict without resolution. Nothing is wrapped up at the end, and we’re left with a hell of a lot of questions. This goes against one of the fundamental “rules” of screenwriting and seems to have left quite a few reviewers flummoxed. But I liked it a lot. You don’t see a ton of aesthetic experimentation in genre films, horror films especially.

A lot of why I liked the movie comes from the style choices, especially the near-schizoid visuals, which are sometimes black and white, sometimes neon, sometimes neo-noir looking. Its constantly changing style becomes emblematic of the minds of the characters as they go on a one-night killing spree on the evening after the execution of serial killer Henry Stalkweather. The script is a launching point, not the centerpiece. The movie is a symphony of sadism where the deranged unconscious of some very bad people acts as the conductor.

Is Henry Stalkweather a metaphysical force that actually causes all this chaos the night of his execution? Or is there a more earthly explanation? Perhaps the psychopaths go on their killing sprees because they are inspired to carry on his legacy? The four main killers are certainly already disturbed, so it might all be chalked up to coincidence. The question is never answered, but who needs it to be anyway?

I should certainly mention the sound design. It’s as experimental as the visuals, though quite a bit more subtle. Well, most of the time. Every now and again the film will lull you with silence or near silence and then there’s some big burst of sound, an all-audio jump scare.

 

All this adds up to a very personal vision, the kind that one doesn’t see much in genre films anymore. Some of the imagery reminded me of Lynch at his most surreal, like Lost Highway and Mulholland Drive. What the movie lacks in structured narrative (and who really needs that anyway?), it makes up for in atmosphere, abstraction, mood, vision. I’ll take it. I could watch this kind of stuff all day. But I’ve noticed quite a few critics, instead of judging the film by what it’s trying to accomplish, judge it by a pretty rigid set of rules, rules which make sense when applied to a traditional narrative, but don’t make any sense when dealing with experimental stuff like this. The script is more thematic than narrative. That’s the whole point. But why let a filmmaker’s intention get in the way?

Though Psychopaths is kinda-sorta set in the present day, there’s no cell phones. Also, most of the characters have a retro mode of dress, scattered across various time periods. Psychopaths is a kind of movie out of time, or rather something that could take place any time, or even better, a time, a reality of its own.

And the title is quite appropriate. Everyone is a psychopath, from the killers to the victims and even the police. You wouldn’t think this kind of thing would lend itself to a whole lot of audience sympathy, but the torture these folks go through is so brutal that, terrible people or not, you still feel for them. And maybe that’s part of the point, here.

Psychopaths was a risky film, but it completely works. It doesn’t hurt that it hits a sweet spot for me: trash cinema that intersects with an arthouse aesthetic. Really, I was the perfect mark for this flick.

go to article

December 30, 2017
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FILMMAKER MAGAZINE: Top Ten Films Directed/Co-Directed by Women of 2017

From Filmmaker Magazine: by   Dec 29, 2017

Many might see 2017 as a tumultuous year for women in film, but it wasn’t. I see it as the year that women in the industry began the long journey towards ending the tumult, starting with the huge artistic risks they have taken in their work. Each film I chose for this list holds a purely individual voice, each voice starting a conversation about the future of not just women in film but the future of film as a whole. 2017 was only the beginning of hearing our stories, and we have a lot more to say…

1. Most Beautiful Island
Luciana, an undocumented immigrant, flees her homeland after a tragic accident, thrown into a sea of New York bodies churning for a better life. Regulated to Craigslist gigs, she finds herself descending into a Manhattan basement where a chilling, high-stakes game of terror unfolds. Loosely based on true events experienced by writer, director, actress Ana Asensio with hints of Polanski’s Repulsion and the highest class of B movie/social-issue thriller (think Get Out), the film hovers in a strange space of the wildly fantastic but also asphixatingly real. The garishness of the crowded streets, the saturated Super 16mm film and the somewhat overblown characters give the film a reserved cartoonish-ness that makes it even more sinister when darkness looms. The unmoored life of an illegal immigrant in the United States striving, yearning, trusting and hoping that things can improve is laid bare in this eerie narrative delivered with utmost control and perfectly sustained suspense. Winner of the SXSW Grand Jury prize for narrative feature, it is a balanced, relevant film that captures a strange unease that will forever remain synonymous with 2017.

Read whole article

December 27, 2017
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Entertainment Weekly: Watch the exclusive trailer for psychedelic thriller LIKE ME

From Entertainment Weekly:

In the new SXSW-screened thriller Like Me (out Jan. 26), Addison Timlin (Little Sister) plays a reckless loner who sets out on a crime spree that she broadcasts on social media. After releasing a video of herself robbing a convenience store, she amasses a huge following. While traveling along the coast, she encounters a drifter, an Internet troll, and a paint huffing outsider who are all pulled into her circle of chaos, junk food, and drugs.

Like Me is written and directed by first-time filmmaker Robert Mockler. The movie is executive-produced by indie-horror legend Larry Fessenden, whose own movies include 1995’s Habit and The Last Winter and who also costars in Like Me.

Like Me arrives in theaters on Jan. 26. Watch the exclusive trailer for Mockler’s film.

December 25, 2017
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Dead Air Podcast dissects THE LAST WINTER

December 24, 2017
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Oldie But Goodie Dept: “You Better Watch Out…”

December 21, 2017
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LIKE ME by Robert Mockler — Coming to cinemas JAN & VOD FEB from Kino Lorber

ALL THE LATEST NEWS ON LIKE ME IS AT LIKEMEMOVIE.COM