Revolving around an intrusion-turned-trippy nightmare of blackmail, lies, and delusion on the night of a newlyweds honeymoon – 2023’s feature film from Chris Skotchdopole, “Crumb Catcher,” is an intoxicating comedy thriller that cannot be missed. It is an incredibly impressive feature film debut from Skotchdopole who also wrote, produced, and edited the film. This debut presents him as a jack-of-all-trades filmmaker with a film that itself slips between genres. Fluctuating between moments of comedy, drama, and on-your-toes suspense, “Crumb Catcher” has something to offer for fans of any genre of film. It is particularly notable for fans of directors such as the Safdie Brothers, and of stories about normal peoples’ descent into madness

The film begins at the wedding of Shane and Leah, a couple with the intricate power dynamic that comes fromhaving met through work; Leah works at the publishing house that represents Shane and is publishing his autobiography. Despite some nerves, which might normally arise during such a major event, the wedding passes uneventfully. The next morning, the couple is leaving the venue when they are stopped by a seemingly innocent albeit annoying waiter, John. After rambling on about their older car, he apologizes for a mix-up regarding the cake-topper and gifts the mildly irritated couple a bottle of champagne. They assure him it wasn’t an issue in the first place and are finally able to escape the entanglement of his conversation and begin driving to their honeymoon destination, unaware that their lives are about to unravel in ways they could never guess.

En route to their destination, Shane receives a text from an unknown person named “Rose” saying they need to speak about last night. He ignores this and says nothing to Leah. Once the couple arrive at the lavish vacation home they’ll be staying at for their honeymoon in the beautiful, secluded mountains, a gift from one of Leah’s high-ups, they settle in and all seems well: too well. Especially considering Shane’s supposed unresolved rendezvous with a “Rose.” Out of nowhere, as internal tension is arising between the couple, a force that could make or break them and that they could have never imagined knocks at their door; the aloof waiter, John. He has shown up wanting to pitch to the newlyweds the creation that he believes will sweep the nation: the Crumb Catcher. What unfolds after the door is opened changes everyone involved forever.

The remainder of “Crumb Catcher” is pleasantly twisty, and while the titular invention and its eventual reveal is front and center, the film is heavily reliant on its alluring performances and the interactions of the characters to bring the unease and have you on the edge of your seat. It delivers the thrills and drama in more of a character study: they are peeling the story back in layers and the audience gets to watch it all unfold. The actors are well-cast, and their performances are truly the anchor of “Crumb Catcher.”

Available on Youtube, Apple TV, and Amazon Prime among other streaming options, “Crumb Catcher” is not a film to miss. Skotchdopole has put forth a fantastic feature debut and is definitely a director to keep on the radar. Its blend of genres offers an enjoyable experience to a range of viewers, even those diving into film for the first time.  Grab some friends, grab some snacks, and throw on “Crumb Catcher:” you won’t regret it. Oh, and just make sure to sweep up after yourselves…

READ Review at The Luna Collective

It’s December 1, time to start your ritual screenings of one (or two) film/s a day
counting down to Dec 24! Or Binge all 50!

50 movies curated by GEP Pal BECK UNDERWOOD,
from the CREEPY CHRISTMAS FILM FESTIVALS of 2008 and 2018
are worth screening again!
featuring filmmakers and artisians including

The Andujar Twins, Ilya Chaiken, Devin Febbroriello, Larry Fessenden, Anthony Galante,
Susan Kae Grant, Jessica Grindstaff, Mickey Keating, Sydney Clara Brafman, LES Girls Club, Joe Maggio,
James F McKenney, Glenn McQuaid, Joy + Noelle, Bryan Papciak, JT Petty, Christine Pfister,
Graham Reznick, Melissa G. Shepherd, Chris Skotchdopole, Beck Underwood, Unwanted Houseguest, Jenn Wexler, Michael Vincent, Aurelio Voltaire, Annie Nocenti, Ti West, Peter Sis, Sara Driver,
Brahm Revel, Maud & Sammy Brown, Heather Sinclair, Isabel Samaras, David Leslie, Mary Harron,
David Golden, Devin Febbroriello, Janet Kusmierski with Greg & Calder Singer,
Oliver Noble and Sam Falconi, Brandon Taylor, Eric Branco, Jim Mickle

CHECK IT:
www.CreepyChristmasFest.com

SHOP GLASS EYE PIX products TODAY
for that special someone in your life (who might just be YOU)

WENDIGO TOYZ
BLACKOUT Blu-ray
TALES FROM BEYOND THE PALE 9 TALES

Visit the Glass Eye Pix Store for T-Shirts, Posters, Merch and Physical Media

Glass Eye Pix invites you to count down 25 Days till Christmas with this 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? @spellboundattic

Warning: This product may be unsuitable for children who expect Christmas cheer served up without a taste of the macabre!

ORDER by Monday Nov 25 to get in on the holiday cheer!

Behold, the first trailer for the upcoming film, The Demonatrix!

A priest comes to the aid of his good friend and neighbor,
a dominatrix when she accidentally summons an incubus demon.

Starring Hannah Fierman (VHS / Siren) and Aurelio Voltaire (The Velocipastor / Nosferatu),
with Doug Bradley (Hellraiser), Larry Fessenden (Killers of the Flower Moon / Jacob’s Wife),
Nivek Ogre (Repo-The Genetic Opera) and Jeff Ferrell (Ghostlight).

Written and directed by Aurelio Voltaire and Jeff Ferrell.
With make up effects by Norman Cabrera (Hellboy / Ghostbusters: Afterlife / Star Trek Beyond)

Be sure to check out GEP pal Motell Foster twice before the
Thanksgiving holiday in 2 different works:

Alonso Ruizpalacios’s LA COCINA unspools today & tomorrow at Angelika Village East. Starring Raúl Briones, Rooney Mara, Anna Diaz, Oded Fehr and Motell Foster. Get your tix!

Amy Berryman’s WALDEN at the Tony Kiser Theater in NYC. Catch the performance before it’s gone! On stage until Nov 25. Get your tix.

Glass Eye knows Foster well, lending his talents in Jack Fessenden’s FOXHOLE
and Larry Fessenden’s BLACKOUT. Now streaming and available on Blu-Ray.

Posted 10/15/24
From the intro:

Larry Fessenden is a producer, director, and the founder of Glass Eye Pix. Above all, he is a lover of cinema and not afraid to get involved in the technical process and do the work. In fact, he prefers it. A performer in his own right, when Larry isn’t making films, he’s starring in them. In many ways, Larry is a local legend and icon of the horror genre. His career spans over 40+ years and 20+ films throughout which he has earned a spirit award and acknowledgment from the Criterion Collection. His production company Glass Eye Pix, has not only been a film school of sorts for successful directors like Ti West, he’s even invested in their earlier work. Larry is a fascinating case study of what it takes to make your film when you’re up against all the odds. His process is his and he doesn’t claim to have the right one either but he’ll fight you tooth and nail for it. Literally.

Thanks to the folks at Wrap Drinks for having me on— LF

by Sharai Bohannon for Dread Central

On Sunday, October 20, Brooklyn Horror Film Festival honored Larry Fessenden with the Leviathan Award. The ceremony took place before a screening of his 1997 film Habit and a post-show Q&A. The award is BHFF’s only tribute award, created in 2023 to honor the luminaries of horror for their contributions to the genre. The event was moderated by filmmaker Jennifer Wexler. Wexler previously worked at Fessenden’s Glass Eye Pix and fell into an effortless rapport with the man of the hour.

Upon receiving his award, Fessenden explained what it meant to be recognized by the festival. He said, “It is a struggle making these movies. My films are not quite horror, and they are not quite fancy indie movies. They have never been to fancy festivals. So what matters is you guys…the audience, and the fans. It means a great deal to be recognized by the Brooklyn Horror Festival. It is really meaningful to me.” 

He joked, “I am not really getting emotional, but in concept, I am very touched by this.”

Always one to share the spotlight, Larry Fessenden told the packed theater that he accepted the award on behalf of all the great people he has worked with over the years. He explained, “The word mentorship is thrown around a lot, but what really happens is I find people with great passion, with a vision of what horror can be.” 

Fessenden cited Wexler’s seven films made at his company. He then continued, “I accept [this] for all of the people who have come through our pipeline. We are there to celebrate individual voices in the arts. The individuality to go up against the sort of corporate blandness…and get everyone out the door so they can go make some money.” Fessenden and Wexler were then handed Blood Bags, the specialty drink Nitehawk Cinema conjured up for the event, before leaving the audience to watch Habit on the big screen.

Habit sees Fessenden step up as writer-director-star, which is not uncommon in his work. In the film, he plays a down-on-his-luck guy named Sam who just lost his dad and is still navigating a recent breakup. As he self-medicates at a party, he meets a woman named Anna (Meredith Snaider), and sparks begin to fly. However, it soon becomes clear that Anna wants Sam’s body in more ways than he bargained. This sets Sam spiraling even further as he realizes love bites, and that he might be hooking up with a vampire. 

This indie movie set in 1995 New York has all the markings of a Larry Fessenden project. It’s a no-frills film that feels personal and is unafraid to explore sexuality and violence. To further set it apart from most movies, it denies the audience the traditional boring happy ending. Habit also has a monster that is a person first and foremost, which is another signature of the filmmaker’s work. Instead of going for over-the-top creatures, Fessenden is known for using monstrous traits to investigate the human condition. 

Jennifer Wexler brought clips of the 1984 short Habit to compare with the feature-length version, allowing the audience to see how they differed. She used the short version as a jumping-off point to ask Larry about his knack for using monsters to explore real-world issues. He acknowledged that the short film was not great, but it was the seed he needed for what has become his personal mission. Fessenden explained, “It was the beginning of my instance that you can make monster movies, in the every day, in a personal way about personal problems. I have been on that mission ever since.” He elaborated, “My films are philosophical horror movies dealing with some of the old questions through a modern lens.” 

Because Wexler has known Fessenden for years, she knew how to get the good stories out of the beloved horror icon. Between the two of them laughing like kids who snuck into the adult table at a holiday meal, he told the packed theater scandalous stories. For example, Larry shared that they saved filming the scene where he dangled from a window for the last day. Just in case it was the last thing he ever did. 

He also joked, “I really want to stress, I never wanted to exploit anyone. So, we did not pay anyone one single penny because I never wanted them to feel they were being underpaid.” However, when he won an award that gifted him $10,000, he gave it to the crew that made Habit possible.

Wexler also asked Fessenden how advertising Habit landed him and a friend in jail. This is when Larry Fessenden told possibly the funniest story of the evening. He began, ”We’re postering, as you do, on the street, and the cops come up. It was illegal to do that. So, they grabbed us and said, ‘Is there anything you want to get rid of before we bring you into the station?’, and I’m like, ‘What the fuck is he talking about? Oh shit, the reefer in my pocket.’”

Fessenden continued, “We were already handcuffed, but they kind of [knew]. So, we are driving around, and they say, ‘So…we have an idea for a Sundance movie.’” When the laughter died down he continued, “They threw us in jail, and at the time, I had Habittrading cards, which was my way of promoting the picture. I gave them to all the inmates, as we were all in the cell together. I even got the cops to do a selfie.”

As a fan of Larry Fessenden’s movies and video games, I love hearing him talk about his work at festivals. This time was extra special because I finally crossed Habit off my watchlist. He’s worked in the genre since 1979, so many millennials are playing catch-up with his back catalog. I know I’m not the only one who was geeked to see it for the first time with Fessenden in the building to talk about the process of making the film. Because Fessenden has never been afraid to lay bare his personal feelings in his art, the film holds up. It is also still remarkably timely and relatable all these decades later. I highly recommend you catch Habit, which is currently free to stream on Sling TV and is available to AMC+ subscribers.

I am still riding the high from this evening with Jennifer Wexler and Larry Fessenden. However, you can catch me at @misssharai if you watched Habit for the first time this year and have also been changed for good.

Read at DreadCentral.com

Ti West’s MAXXXINE opens TODAY

By Jeannette Catsoulis

With a framing device reminiscent of Tom Holland’s “Fright Night” and a hyperactive score, “The Roost” is a minimalist horror movie with more ambition than resources. Lovingly written and directed by Ti West, a novice filmmaker drunk on splatter and decomposing flesh, the movie treads a well-worn path as four friends (Karl Jacob, Sean Reid and real-life siblings Wil and Vanessa Horneff) find themselves stranded at a farmhouse in the middle of nowhere. There are bats in the barn, zombies under the floorboards and more agitated strings on the soundtrack than on a Celine Dion album. But the rules of the genre are clear: form a line and prepare to be slaughtered. Though the premise is rough, and the acting rougher — most members of the cast improve enormously as soon as gore is substituted for dialogue — “The Roost” proceeds with such youthful enthusiasm that its rawness is more charming than annoying. (Less appealing are the television-friendly breaks that halt the action at crucial moments.) Creatively shot and framed by the cinematographer Eric Robbins, who constructs gorgeously lighted centerpieces surrounded by strips of menacing black, the movie almost overcomes its low budget and threadbare plot. Almost.

Read at The New York Times