June 20, 2018
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GEP pal Adam Schartoff archives Fessenden interviews.
June 20, 2018
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Hey West Coast: GEP Pal Robert Leaver tours
Glass Eye Pal Robert O. Leaver
(co-writer of THE LAST WINTER
and mastermind behind THE CRAWL and HOLE EARTH)
brings his eclectic music style to West Coast venues.
(co-writer of THE LAST WINTER
and mastermind behind THE CRAWL and HOLE EARTH)
brings his eclectic music style to West Coast venues.
From LA Weekly:
These N.Y./N.J.-based electro punks feature singer/lyricist/performance-art provocateur Robert O. Leaver (aka Birdthrower) and Jim Coleman, an experimental electronic artist known for his work with industrial noise-rockers Cop Shoot Cop and for his albums done under noms de plume such as Phylr, Here, Jim Coleman and J-CO. The duo’s just-out debut album, Sorry About Tomorrow on the estimable Wax and Wane label, features guest spots from ex-CSC and Swans guy Phil Puleo on drums, and is a really fugging spooky kinda thing that hogties pitilessly harsh electronic buzzsaws ’n’ whiplashes to caterwauling animal cries about various grim and dire things — which on paper sounds like not so much fun to have to endure but whose rich atmospheres and buried-deep sense of humor or proportion about it all makes this hybrid of New York punk, folk and industrial vérité a tasty challenge indeed. With opener Chandra Shukla aka Xambuca.
June 15, 2018
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Weekends with GEP: Kelly Reichardt
This weekend, head on over to Filmstruck and stream a collection of Kelly Reichardt’s indie gems,
including a GEP favorite WENDY AND LUCY and RIVER OF GRASS featuring Fessenden.
June 14, 2018
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The Ranger Roams West Coast!
Jenn Wexler’s THE RANGER unspools at the
Portland Horror Film Festival TONIGHT!
6:30 PM @ The Hollywood Theatre
June 14, 2018
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TBT: Travolta and the boys cut a rug!
2014: Between takes on the set of Ti West’s IN A VALLEY OF VIOLENCE
Tommy Nohilly, John Travolta, Toby Huss and Fessenden do the can can.
June 13, 2018
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Attention Satanists! The House of the Devil is for SALE!
Live-in Attic (perfect for Mother)
Spacious Basement for all your ritual needs
Quiet neighbors (graveyard)
State of the Art TV
Pizza delivery zone
June 8, 2018
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HOME IS WHERE THE HORROR IS.
On the occasion of the opening of the new horror flick HERIDITARY, one of GEP’s favorite authors Jason Zimmerman (SHOCK VALUE) writes about a new era of horror in The New York Times.
From the article:
Moving into territory once the preserve of prestige dramas, horror has never been more bankable and celebrated than it is right now. And while evil clowns and serial killers at sorority houses still haunt young viewers (and make tons of money), we’re in the midst of a golden age of grown-up horror. Hushed and character-driven, this mix of indie fare and blockbusters works ferociously on adult anxieties in an age of dislocation.
…
Part of the reason horror has long targeted young viewers is that it’s harder to scare adults. We have seen too much, including other scary movies. But that experience can be used against us. H.P. Lovecraft famously wrote that the strongest kind of fear was that of the unknown. But the older you get, the less unknown there is. Vampires, werewolves and zombies don’t frighten like they once did. But ghosts still do — when they remind us of what we have lost.
…
This weekend, check out HEREDITARY in theaters and then cozy up with Fessenden’s home horror family drama from 2001, WENDIGO
June 7, 2018
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Bloody Disgusting: I SELL THE DEAD “10 Overlooked Modern Horror Comedies”
I SELL THE DEAD
Harkening back to the gothic horror of Universal Studios horror films of the ‘20s and ‘30s, this period horror-comedy follows a grave robber as he recounts his story of crime from prison to a Father (Ron Perlman) as he awaits his execution. The grave robber, Arthur (Dominic Monaghan), tells of his partnership with Willie Grimes (Larry Fessenden) as they turn a profit robbing graves and contend with blackmail by Doctor Quint (Angus Scrimm), before unwittingly digging up the undead. Vampires, aliens, ghouls, and rival grave robbers all contribute to Arthur’s current predicament with often humorous results. Glenn McQuaid’s first outing as director isn’t perfect, Arthur’s story drags on its own, but anytime Fessenden is on screen I Sell the Dead really shines.
Read article HERE
