April 17, 2018
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GEP pal Graham Reznick talks “A Quiet Place” with Hollywood Reporter!

From Simon Abrams: I’m pretty thrilled that we’re having this conversation, Graham, mostly because I’ve been a big fan of your work as a sound designer on indie horror films like Automatons and The Roost, two Glass Eye Pix-produced movies that both gave me one of my favorite post-film reactions: Who’s responsible for ____? I have to know more! Even more thrilling: I wanted to know more about sound design, a field of work that I knew — and probably still know — next to nothing about. Your work made me pay closer attention to what both of those films were doing on a completely different level than what I was used to. I started thinking about horror movies in terms of sound and how their sense of atmosphere was developed through the layering of noises on a soundtrack. Basic stuff for you, but something that I know I — and probably some of our readers — often take for granted since we often think of movies as a primarily visual medium.

Read Full Interview HERE

April 17, 2018
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Cracked: THE RANGER “A Park Safety PSA Turned Into A Horror Movie”

You know those hokey old low-budget after-school specials in which Smokey Bear told you that only you could prevent forest fires — which was technically true, if only in the sense that you had no intention of ever stepping foot in a forest? Well, what if you watched a bunch of those in a row while having a bad acid trip? The director and co-writer of The Ranger admitted to being inspired by the former, and we can only assume that the latter was involved as well.

The premise is that a bunch of punk kids on the run from the police decide to lay low in a national park while doing a ton of drugs — a plan we fully endorse, because that’s also how we spend our summers. But one of them has a secret dark past, and all of them find themselves pissing off “an unhinged park ranger with an axe to grind.” It’s a safe bet that the axe isn’t metaphorical.

So if you miss the days when teenagers were slaughtered in forests, unlike all these lazy Millennial horror victims who get haunted by paranormal activity without having to even leave their own homes, or if you want what could be the closest we’ll ever get to an adaptation of our R-rated Yogi Bear fanfiction, this could be one for you.

Read Full Article HERE


April 11, 2018
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Diabolique Magazine: LIKE ME “This is a movie worth buying rather than just streaming.”

From the opening seconds, Like Me (2017) had me in its grip with its mesmerizing splash of color. Even the Glass Eye Pix logo became a mini LSD trip as it flashed across the screen, and not in a cheesy way. Robert Mockler and company were able to capture a hyper-neon reality and ride it for the duration of the film’s slim 83-minute run time. For a debut movie Mockler really makes a visual statement here.

Starring Addison Timlin, Ian Nelson, and Larry Fessenden, Like Me is a meditation on loneliness and disconnectedness in an overly connected world. Timlin plays a sort of YouTube criminal/thrill seeker. You can’t really like her, but you can’t take your eyes off her either. She’s at turns obnoxious, vulnerable, scary, adorable, and broken. Timlin possesses the role to the point you may forget she’s an actress playing a role. Ian Nelson plays an acerbic critic of her work.

Though Nelson gets less screen time, there is a complexity to his character as well. I found myself hating him and agreeing him with within the same video rant. Filmmaker Larry Fessenden is probably the most sympathetic character in the film and it might be my favorite character he’s played since his own film, Habit (1995). Fessenden often shows up in smaller cameo roles, but he really displays his chops as a sad sack hotel owner with an unfulfilled artistic heart that gets sucked into Timlin’s web of deceit and danger.

The shift in color pallets towards the end of the film and the jarring jumps from phone footage – that has a more muted/realistic tone – back to the film’s hyper-color world is used to great effect. This helps Like Me be a movie you experience rather than just view. There are times when the film is obnoxious, too. I think intentionally so to match Timlin’s character and her video experiments. Repeated images, stuttering soundtrack, extreme close-ups of teeth chomping junk food are repulsive. But because she’s eating brightly colored foods, like Fruity Pebbles and gummy worms, it’s also strangely pretty.

Robert Mockler has planted his flag and declared himself with Like Me, and I’m excited to see what he does next. The Kino Lorber Blu-ray is gorgeous and for me this is a movie worth buying rather than just streaming. It includes a making-of documentary as well.

Read Full Article HERE

April 4, 2018
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LIKE ME now on Blu Ray!

Now available on Blu Ray and VOD!

April 4, 2018
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THE RANGER review round-up!

 “a film that has a lot of affection for both the punk community and the history of horror
and wants to be a new entry into both those worlds.”
Rue Morgue

“an off-beat and exciting new icon of horror.”

“Levine and Holm anchor the film, bringing a sort of
anti-chemistry that is terrific fun to behold.”
Daily Grindhouse

“Nostalgia done right.”
Ghastly Grinning

“I absolutely enjoyed this move. Each character’s unique attitudes and personalities making me love
and hate them all at the same time. Not just with the writing, but the cast was great
and were all believable in their roles.”
– Nightmarish Conjurings

March 30, 2018
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Front Row Boston: How Boston’s Punk Scene Influenced Horror Film THE RANGER

A group of teens sit at a table in a graffiti covered club that throbs with music. They experiment with drugs, crash onto the dance floor, and party with the free joy of their youth – until the cops come crashing in. In short order, things go from bad to worse as they attack an officer, steal a van, and hide out in a closed-down state park… only to end up in the crosshairs of an unhinged park ranger. At its core, The Ranger is a film about the clash between self-expression and conformity, of self-determination vs. oppressive authority. About finding yourself in a world that tries to tell you how you should be. Currently making its way through the festival circuit – including this past weekend at our own Boston Underground Film Festival – The Ranger‘s message is loud and clear, not only in plot, but in the blindingly pure punk aesthetic of its wicked cool wardrobe and solid soundtrack.

But unlike a lot of the films that are marketed to us so-called ‘alternative’ folk, the punk scene had always been intrinsic to the film in Director/Producer Jenn Wexler’s mind. First outlined to her by Giaco Furino while the two attended college, the plot was foremost in Wexler’s mind when she decided to take the plunge into directing a feature-length film. The two quickly turned a handful of notes into a script – and it was nearly three years ago, at a bar in Montreal, where she first handed the script to Heather Buckley, a producer known for her leather jackets, spurs and Soo Catwoman hair.

“Right away the characters sounded like my punk friends,” Buckley says. “But what would the music sound like?”

This is where our journey begins.

“As I read the script I put down in the notes what type of punk music would be good from this film.” Heather Buckley, Producer

Buckley grew up in New Jersey; It was at the age of 13 that she first heard “God Save the Queen” the second single from the Sex Pistols: I was transformed,” she recalls. “That was the sound of what was inside me.”

Buckley went to punk shows at CBGB‘s in NYC, and, while visiting her sister at college, Lupo’s in Providence. That’s where she discovered more Boston-based bands. “The Unseen, Darkbuster, The Pinkerton Thugs, the Ducky Boys …”

“Once I made a boyfriend drive up from New Jersey to The Middle East [in Cambridge] in a snowstorm to see The Big Bad Bollocks,” she tells me. “And the first time I saw the Dropkick Murphys was when they opened for Agnostic Front.” She goes on to name other local favorites: “… Gang Green, The Street Dogs, Blood for Blood, The Mighty Mighty Bosstones, The Allstonians, and The F.U.s.”

Buckley’s passion for Boston punk comes as no surprise. The scene has always been connected to the one she grew up around in New York City. “I think the unity between the two scenes has something to do with our direct, hard-edged character and similar senses of humor.” she tells me. I think she’s right. The origins of both can be traced back to Proto-punk and Anarcho-punk; first generation sub-genres from the UK that are known for their stripped-downdo-it-yourselfwork ethic, a concept not lost on those who chose to live and practice art on the East Coast.

But that being said, what you’ll hear used in the movie is decidedly not all East Coast. “The soundtrack had to express the vibe and culture of the kids.” Buckley says. Wexler agrees: “I wanted to underscore the themes with a soundtrack that spans different sub-genres of punk and reminds you of your old favorite mixtape.”

Both wanted to capture the sound and vibe of circle pits (mosh pits/slam dancing) and Skate punk, both younger sub-genres and cultures that did not come from New York or Boston, but California. But for that, Buckley and Wexler were going to need help – and that’s when they started working with promoter Middagh Goodwin.

“That is still one of the most endearing qualities of punk, we are an extended family.” – Middagh Goodwin, Music Supervisor

Goodwin grew up in Southern California, and went to his first punk show in 1981 (he was in the 8th grade). “It was Black Flag at Artesia High School,” he remembers. “It was one of [Henry] Rollins’ first shows with the band. The energy they brought was incredible, and most people had no idea what was going on. Especially at that time, there was no line between the band and the audience – we were all in it together.”

From that moment, it was a done deal – Goodwin has now been booking California-based punk bands for over 30 years. And with credentials like that, it’s no surprise that he was quickly brought on as the Music Supervisor for The Ranger. “I watched it once through with the sound on to get to know the story and the characters,” he says. “After that, I watched the film muted numerous times, just listening to songs to see how they would work. The songs had to fit the mood, the tempo and movement of the scene.”

The audience can expect to hear deep cuts from The Avengers, Authorities, Dayglo Abortions, FANG, The GRIM, and relatively new bands like The Atom Age, The Nerv, The Lobstrosities, The Polyester Wags, and Rotten UK (who also perform live in the film). It’s a great soundtrack, and really helps build the world the characters inhabit. Which makes sense when Goodwin compares a good soundtrack acts to a supporting character in a film.

The Ranger would have been a totally different movie without a legitimate punk soundtrack.” He asks: “Can you imagine, Return of the Living Dead or Repo Man without the soundtrack?”


Like Buckley, Goodwin is also a fan of Boston punk. “I love a lot of Boston Ska, too,” Goodwin tells me. “Bosstones, Big D (and the Kids), Westbound Train, The Allstonians. Boston bands have a unique sound unlike anything else.”

“…the first big thing I went to – maybe at 14 years old – was Bad Religion, in a field somewhere. I was totally transformed by it.” Jenn Wexler, Director/Producer

You’ll be happy to hear that ‘Team Ranger’ is enthusiastically planning on a physical soundtrack release. “The rumor is a limited pressing, double gatefold color vinyl to be released hopefully very soon,” Goodwin says. “I would love to see a new generation being introduced to all these bands, much like I was with the This is Boston, Not L.A. compilation.”

Buckley has a similar goal. “My hope is everyone loves The Ranger – and that the music helps influence and create the next wave of punk rockers.”

The Ranger stars Chloe Levine, Jeremy Holm, Granit Lahu, and Jeremy Pope. It’s currently doing a festival run and will be playing at the Chattanooga Film Festival next week.

Read the entire interview HERE


March 27, 2018
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Rue Morgue: Joshua Leonard on UNSANE, BLAIR WITCH and DEPRAVED


UNSANE, the Steven Soderbergh psychothriller that opened Friday, features as its villain Joshua Leonard, whose horror résumé stretches back to his big-screen debut in the 1999 trendsetter THE BLAIR WITCH PROJECT. We got a few words with the actor contrasting the two movies, and his first words on his next fright feature, Larry Fessenden’s DEPRAVED.

In UNSANE, Leonard plays a stalker who appears to be working as a meds-dispensing orderly in a mental institution where heroine Claire Foy has been committed against her will; see our review here. Like the bulk of BLAIR WITCH, UNSANE was shot digitally—on an iPhone 7. However, Leonard notes, “There are as many differences as there are similarities between BLAIR WITCH and UNSANE,” starting with the fact that whereas the former was improvised, the latter was fully scripted (by Jonathan Bernstein and James Greer). “BLAIR WITCH always felt like a bunch of teenage kids getting together in their mom’s garage and making a punk album. I believe that’s part of the reason the film worked; we were figuring out everything as we went. It’s a very different experience making a movie with Steven Soderbergh—not only because it’s scripted, but you’re working with somebody who’s a master of his craft, with a specificity of vision that I can’t even aspire to having in my lifetime.

“The other big difference was technological,” he continues. “At the time we made BLAIR WITCH, the digital equipment was in such infancy that part of the conceit of the movie had to be: OK, it’s going to look like shit, but it’s going to look that way because these characters are student filmmakers who bought their camera for 300 bucks at Walmart.”

Leonard just wrapped a project with another well-established auteur: DEPRAVED, the variation on the Frankenstein legend written and directed by Larry Fessenden (see first details here). The film also stars David Call as Henry, a former military surgeon who makes a monster (Alex Breaux) in a Brooklyn lab with the help of Leonard’s character. “I play a guy named John Polidori [after the British writer who penned “The Vampyre” during the same Swiss getaway where Mary Shelley wrote FRANKENSTEIN]. It’s interesting, because I just realized that in DEPRAVED, I’m playing a guy who works in the pharmaceutical field, and not a great guy. So it’s another role with the pharmaceutical industry being a backdrop bogeyman for the story, which is an interesting parallel with UNSANE.

“I play college best friends with Henry,” Leonard continues, “who’s really the brains behind the Frankenstein operation. He’s not called Frankenstein in our film, but that’s the riff, and together we come up with a way to ostensibly keep soldiers alive on the battlefield using his skills and my medical technology. So our monster in this movie is a bit of a proof of concept for what could be a medical breakthrough. That’s our way in.”


March 23, 2018
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Check it! Fessenden Birthday Celebration on the Creepy Christmas Instagram

The Creepy Christmas Film Fest is Back!

After a 10 year hiatus, Glass Eye Pix is chilled to no end
to announce the return of the Creepy Christmas Film Festival.

Jingle your bells on over to Instagram and explore our magical cabinet of curiosities

And enjoy today’s post of GEP pal BEN DUFF’S Birthday Card to Fessenden


Originally created by Beck Underwood in 2008 as an advent calendar style online film fest, this year’s fest will be co-curated by Glass Eye cohort, Ben Duff and feature a terrifyingly talented group of artists.

An eclectic potpourri of short films will spice up your holidays with playful animations, dramatic narratives and wacky visual sugarplums as a new and original work premieres each day from Dec. 1st – 25th.

For the original advent calendars and more Fest info, go to:


March 22, 2018
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Entertainment Weekly: First look The Art of Ghoulish Gary

Ghoulish: The Art of Gary Pullin includes posters for Vertigo, Creepshow, and The Big Lebowski — first look


March 20, 2018 AT 02:00 PM EDT

Does artist Gary Pullin deserve the nickname “Ghoulish”? The answer — which, SPOILER ALERT, is “Yes!” — can truly be found in Ghoulish: The Art of Gary Pullin (published May 8), a 228-page, full-color retrospective of the horror-loving artist and illustrator’s career. Ghoulish features Pullin’s alternative movie posters for horror classics like Halloween and A Nightmare on Elm Street as well as cult favorites such as The Warriors and The Big Lebowski, plus a range of Pullin’s magazine covers, special edition Blu-ray packaging, album covers, enamel pins, and monster-based illustrations.

“This book covers it all — from my early years as a budding artist and horror film fan and my thirteen-year stint at Rue Morgue magazine as their original art director to the present day, which finds me owning and operating my own company, Ghoulish Gary,” Pullin says in a statement. “I hope you enjoy reading my story and taking in the artwork as much as I enjoyed creating it. Perhaps it will inspire you to carve out your own path.”

Ghoulish is written by 2017 Rondo Horror Award-winner April Snellings and edited by Rue Morgue co-owner David Alexander. The book features an introduction by director, actor, and all-around horror scene notable Larry Fessenden and a foreword from Mondo co-founder Rob Jones. The regular version of Ghoulish will be available to buy via Amazon and local bookstores. Fans will also be able to buy two deluxe, limited edition versions, one of which is packaged with an exclusive single by the band Goblin while the other, Amazon-exclusive version boasts a 3D print of the film House and special branded 3-D glasses. All versions of Ghoulish are now available to pre-order.

Check out an exclusive first look at Ghoulish: The Art of Gary Pullin, below.

March 19, 2018
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Bloody Disgusting: ‘The Ranger’ Is An Unabashedly Punk Slasher Throwback

From Bloody Disgusting by: Justin Yandell

The Ranger, is – on its surface – a vibrant, vicious throwback to 80’s slashers with a unique visual flair. This is like saying punk subculture is – on its surface – people in leather jackets with a lot of piercings and even more product in their radically dyed hair. It’s an easy label to slap on something that is actively and enthusiastically doing its level best to kick your labels in the face.

The hook on Jenn Wexler’s feature directorial debut is baited well. A handful of teenage punk fugitives flee to a cabin in the woods only to run head-long into a malevolently dedicated park ranger. The line between these kids, who have near-zero regard for anyone in a pressed uniform, and the titular Ranger, a stickler for the rules to the point of gratuitous bloodshed, could not be drawn any clearer.

Working from a script by Giaco Furino and herself, Wexler directs with one of the most interesting eyes I’ve seen in a minute or two, using camerawork, color and pacing to exaggerate the clash between conflicting worlds of chaos and order. This is greatly assisted by Abbey Killheffer, who at times gleefully edits the film like a small child with a straight razor. I mean this in the nicest possible way. Portions of the movie are cut with the rhythm of a punk rock anthem, and it pairs well with the subject matter and soundtrack.

Leading the cast is Chloe Levine, who, with recent turns on Mr. Robot and The Defenders, is deservedly well on her way to going places. Her role as Chelsea is meaty, with plenty of nuances provided in the form of an appreciation for common courtesies her uber-rebellious brethren don’t share. This makes her something of an outcast among outcasts and that’s an enjoyable dynamic to watch.

Jeremy Holm plays The Ranger with a cheerful and meticulous maliciousness reminiscent of Dan Stevens in The Guest, though much of David’s creep factor was embedded in the prospect of such a person being mistakenly invited into your home. The Ranger’s eeriness is instead intertwined with the specter of indifferent, jackbooted authoritarianism violently intruding on your space. In either case, there’s something chilling about a man ending you with a smile on his face and a song in his heart.

The rest of the cast is rounded out with a semi-traditional slasher line-up of People Born to Die. Granit Lahu as Garth, Bubba Weiler as Abe, Jeremy Pope as Jerk, and Amanda Grace Benitez as Amber all range from intentionally unlikeable to genuinely sympathetic as needed, but their individual arcs aren’t as important as what they collectively represent; braggadocious babes-in-the-woods who have spitefully bitten the Powers-That-Be only to discover the Powers-That-Be have sharper teeth.

I readily admit I’m, at best, a tourist of punk subculture. I greatly appreciate the general aesthetic, but I don’t live there. That said, it’s impossible to discuss The Ranger in any meaningful way without also talking about the core ideologies of the punk movement.

To be clear, I’m not talking about the brilliant satire of punk mentality we saw in Return of the Living Dead. Suicide’s hilarious declaration that his attire is “a way of life,” while technically accurate, was a send-up of aggressively defiant counterculture for its own sake, though Wexler does play with that here as well. Chelsea’s too-punk-to-function cohorts revel in casual littering as a sneering finger to The Man, flaunting how little they care so exuberantly they often swing all the way back to walking, talking tropes. They grasp the general idea of punk as counterculture and benefit from its facilitation of familial bonding among the disenfranchised, but they’re also kind of missing the point. In fact, this theme of sheep-in-wolves’ clothing bleating futilely at the moon penetrates the movie to a point that would venture sharply into the realm of spoilers. (There will come a day; I’m not done with you by half, The Ranger)

The spirit of punk and what that means undoubtedly varies wildly from end of the subculture to the other, but to my understanding, it’s the idea of self-empowerment through the total embracement of a personal identity that some people – maybe most people – may not be willing to accept. And where the movie itself is concerned, I think a prime example of this is a homosexual relationship that, for once, is allowed to simply exist. Nobody points at it. It’s not haphazardly exposited in clumsy dialogue or a point of contention. It just is, without bravado or fanfare, with no need for explanation or apology. And when you look at the idea of punk through that lens, it becomes something everyone can relate to because everyone just wants to be allowed to exist in their own unique way. The real horror in The Ranger is the threat of a callous and stringent agent of arbitrary ‘normalcy’ extinguishing that unique existence simply because you’re not following ‘The Rules’.

While The Ranger is indeed a throwback to slashers of yore, Wexler doesn’t strictly adhere to ‘The Rules’ as established by her predecessors. The actual Slasher is not a traditional Slasher. The Final Girl is not a traditional Final Girl. Wexler’s very much doing her own thing here with a reckless regard for whether or not the viewer approves and heed my words, watching her continue to shed the trappings of tradition is going to be something to behold.

For many of the reasons listed above, and a few that would be a little too spoiler-specific, The Ranger isn’t going to be for everyone. But it’s not trying to be. At all. It’s an unapologetic movie fully confident in its own identity and central themes of self-acceptance and empowerment. This probably isn’t the correct nomenclature but, in that way, The Ranger is one of the most punk horror movies that has ever punked. It’s like a hot pink mohawk – if you’re not into it, it’s not meant for you anyway.