GLASS EYE PIX Sizzle Reel The Larry Fessenden Collection PSYCHOPATHS MOST BEAUTIFUL ISLAND LIKE ME 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
March 23, 2017
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DIG TWO GRAVES by Hunter Adams Opens Friday 24 March in Theaters and Streaming

“that rare chiller conjuring eeriness and dread… it bears a haunting ambience as agreeable as it is ephemeral.
Mr. Adams is clearly skilled with story structure, cinematography and his actors.”
NY Times

“Strong performances and atmosphere elevate an intriguing suspense tale”
Variety

“A stylish, haunting thriller…dark, original and chilling…
Ted Levine gives one of the most memorable performances of his career.”
— Chicago Sun-Times

“An inky dose of the supernatural.”
— New Orleans Film Society

“Part moody Stephen King-style thriller, part brooding family drama.” 
— Culture Crypt

“A haunting and darkly beautiful tale of revenge.”
— Horrornews.net

 

March 23, 2017
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Fessenden celebrates 54th year with Death Reel 2017

 

 

March 20, 2017
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Daily Dead talks LIKE ME with writer/director Robert Mockler

A haunting, neon-soaked fever dream that tackles the dangers of viral media and loneliness, first-time director Robert Mockler’s drama, Like Me, was unlike anything else I saw during the 2017 SXSW Film Festival, and features brilliant performances from Addison Timlin as Kiya and indie filmmaking icon Larry Fessenden as a man she kidnaps on her crime-fueled journey.

While in Austin, Daily Dead spoke with Mockler about his approach to the story of Like Me, his experiences collaborating with Timlin, how Fessenden became a mentor to him throughout the process of making his debut feature, and more.

READ INTERVIEW HERE

 

March 20, 2017
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We Got This Covered: LIKE ME “a bombastic feature debut”

“Like Me is a bombastic feature debut for Robert Mockler, benefitting heavily from visual artistry and Addison Timlin’s strong performance.” – We Got This Covered

Read Full Article… 

March 20, 2017
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Variety reviews MOST BEAUTIFUL ISLAND

From Variety: “Ana Asensio’s directorial debut reveals a surprising, strong-willed side to her undocumented New York immigrant character.”

Read full article…

March 20, 2017
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SXSW Photo Round-Up!

SXSW comes to a close! We’ve gathered pics from throughout the festival, including the MOST BEAUTIFUL ISLAND and LIKE ME premieres and the GEP / Dogfish Pictures / Palomo Films party.

Check out the gallery here.

March 17, 2017
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Cut Print Film: LIKE ME “likely to be the most exciting debut you’ll see this year. Or maybe any.”

“What If There’s More To Tell?”
Film synopses are often misleading. To the point that I try not to read them. But when you’re sorting through festival screenings, synopses are usually ground zero. I gave the blurb for Robert Mockler’s Like Me little more than a casual glance and wrote it off as a tween ‘social media obsessed’ drama. Then I found a different movie to see in that time slot. But serendipity is beautiful thing. That other film’s screening was completely booked up. I   Continue Reading »

March 17, 2017
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DIG TWO GRAVES Premiere in NYC 24 March 2017 at Cinema Village


From Dread Central:

Dread Central will be hosting the NYC premiere of director Hunter Adams’ supernatural shocker Dig Two Graves, and you can win a pair of tickets to the star-studded premiere and after party! This special event will take place on Friday, March 24, at 7 pm at the Cinema Village (22 East 12th Street, off University Place), where the movie will begin a week-long run. Dig Two Graves marks the latest genre production from local horrormeister Larry Fessenden (Habit, The Last Winter, Stake Land, Late Phases, I Sell the Dead, The Innkeepers, etc.)

A stylish, haunting thriller…dark, original and chilling…Ted Levine gives one of the most memorable performances of his career.” — Richard Roeper, Chicago Sun-Times

An inky dose of the supernatural.” — New Orleans Film Society

“Part moody Stephen King-style thriller, part brooding family drama.” — Culture Crypt

“A haunting and darkly beautiful tale of revenge.” — Horrornews.net

March 17, 2017
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Gravitas picks up NO WAY TO LIVE featuring Fessenden

GEP pal and co-producer of THE RANGER Andrew van den Houten inks deal with Gravitas for film noir No Way To Live featuring Fessenden…

from Deadline:

Gravitas Ventures also has landed U.S. and international rights (excluding Canada) to No Way To Live, a crime thriller, with plans for a July release.

Starring Freya Tingley and Tom Williamson, the film noir follows an interracial teenage couple in the 1950’s south, during the Jim Crow laws, who rob and steal to escape their town and find themselves in a downward spiral as violence erupts and dark secrets come to light. Larry Fessenden and Timothy V. Murphy also star. No Way To Live was written and directed by David Guglielmo and Nick Chakwin, and produced through Moderncine. 

Andrew van den Houten of 79th and Broadway handled the sale on behalf of the filmmakers.

March 16, 2017
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The Iris: LIKE ME “one of the most refreshing indie debuts in a long time”

SXSW FILM REVIEW: LIKE ME (USA, 2017) IS DISORIENTATING AND BEAUTIFUL

When I was nineteen I spent three straight days without sleeping. I had just moved to Tokyo and couldn’t cope with the light pollution or the sounds from the trains that ran behind my flat. I would spend the nights listening to relaxing music and watch films during the day. On the third morning at around 4AM I made an instant coffee and decided to put on Enter the Void.

The first thing I heard after listening to a recording of Enya’s Paint The Sky With Stars on repeat for some three hours, and not having slept through two slow nights, was the Thomas Bangalter scored opening credits. I’d never again feel as disorientated as I was in those two and a half minutes; but watching Robert Mockler’s Like Me, I came close.

Like Me marks the first time Robert Mockler has been credited as a director and writer of a feature length film. The film, which premiered at this year’s SXSW Film Festival in Austin Texas, is eighty minutes of visual portraits pieced together by tactile transitions, lucid VFX and a millennial journey.

Addison Timlin plays Kiya, a young girl who amasses a huge social following after posting a video of herself holding up a convenience store with a replica weapon. She takes her newfound popularity on the road and begins to film her encounters with a string of unusual characters, eventually taking a paedophile, ‘Marshall’ (Larry Fessenden), hostage, to mixed reactions from the online community. An antagonistic vlogger, Burt (Ian Nelson), begins to take Kiya’s videos apart, and her journey becomes visceral as Burt begins to impact both her content and her psyche.

Kiya guides us through her journey. She tests the humanity of the characters she meets, finding that a vagabond doesn’t want much more than pancakes from a diner, or that a painter who believes there is no age of consent had lost his own daughter at a young age. Kiya studies these characters and presents them to us; but often she seems to be neither a part of the film nor the viewership. She’s more like the kid holding a magnifying glass over an anthill.

Addison Timlin is perfect as Kiya, even if the character is not a strictly formed one with laborious dialogue. She has again shown her ability to completely comprehend the characters she’s becoming. Like her performance in Little Sister, she brings a sense of palpability to the role and becomes so natural as Kiya that the film, in moments, feels kind of like an Addison Timlin vlog, like she’s simply playing herself (with exception of the scenes where she’s forcing food into Marshall’s throat and telling him, “you’re going to eat or you’re going to bleed”).

What makes Like Me so mystifying to the senses is the intense cinematography and editing. Every shot is beautiful. Every background, shadow and light setting progresses the film like a series of paintings, ushering the narrative from frame to frame as if it were an exhibition across a gallery wall. The lighting and colours filter the film in two schemes, the afternoon pink skies and radiant neon signs to moments of moonlight blue and shadow. Both ethereal and at every shot, meticulously thought out.

The experimentation behind the lens continues through to the cutting room floor with disorientating and innovative shots that mess with the audience and remove any limits to the camera’s function. Shots will revolve around rooms and bury through the floor, while actors become stuck in a glitch-like trance, moving in two-second motions, back and forth on loop.

It’s these scenes that make Like Me feel like one long hallucinogenic journey. Although not directing the film, drugs play a part in Kiya’s internal narrative and are managed in a tacitly accurate sense. Ketamine is blue and calm, and doesn’t make a lot of sense, MDMA is sense-altering and intense, where mushrooms give the film its ‘baby on the ceiling’ moment, as a snake slides from Marshall’s bullet wound and into the alternate dimension that has surrounded Kiya.

At times the film does get lost in its own eccentricity, sacrificing the plot beneath the layers of art. The balance between progressing the narrative while constantly combing it to assure its uniform in style throughout, tips slightly through the second half of the film. Scenes like Kiya chasing Burt through the streets of a sunny city before inexplicably arriving at a foggy beachfront leave viewers with a decision to make about the symbolism of each moment, and what’s been done just because it looked good.

The film is still one of the most refreshing indie debuts in a long time. It is an experiment in style and as well shot as any box office film released this decade. While the plot at times fades into its own aestheticism, the acting and the unique style excel the film into rare territory for contemporary cinema.

Review Score: FOUR STARS (OUT OF FIVE)

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