EXCLUSIVE DETAILS/ART: LARRY FESSENDEN AND GLENN MCQUAID’S
“TALES FROM BEYOND THE PALE” IS BACK!

By MICHAEL GINGOLD

Glass Eye Pix celebrates its 40th anniversary with a new collection of audio horror.

RUE MORGUE got the first word about the sixth season of TALES FROM BEYOND THE PALE, the homage to classic radio terrors overseen by Larry Fessenden (BLACKOUT, DEPRAVED, WENDIGO) and Glenn McQuaid (I SELL THE DEAD, THE RESTORATION OF GRAYSON MANOR). A teaser for the new lineup titled THE HOST, directed by Fessenden, written and scored by McQuaid and featuring young performers Jaxon Bartok and Leon Barrett can be heard below; the poster was created by TALES regular Brian Level, and the series’ returning theme was composed by Jeff Grace.

A new entry in TALES’ season six will be released every second Thursday of the month, beginning on November 13 and available wherever you get your podcasts. The talent involved includes both TALES regulars and exciting newcomers:

• THE SLAUGHTERED, by Joe Maggio (BITTER FEAST, BLISS)
• ORPHEUS, by Jenn Wexler (THE RANGER, THE SACRIFICE GAME)
• THE NEXT VOICE YOU HEAR WILL BE YOUR OWN, by Emily Bennett (BLOOD SHINE, ALONE WITH YOU)
• SUPER, by Rigo Garay (SIZE UP, actor in CRUMB CATCHER, BLACKOUT)
• THREE RAPS ON THE BUOY, by McQuaid
• MADGE, THE WORLD SPIDER, AND ONE LAST DRINK, by Richard Newby (author, WE MAKE MONSTERS HERE)
• FOX HUNT, by Craig Ian Mann (author, PHASES OF THE MOON)
• EVERYTHING MUST GO, by Ted Geoghegan (WE ARE STILL HERE, MOHAWK, BROOKLYN 45)

Also coming up are new tales from Graham Reznick (I CAN SEE YOU, DEADWAX), Clay McCleod Chapman (author, WHISPER DOWN THE LANE, GHOST EATERS, ACQUIRED TASTE), Roxanne Benjamin (SOUTHBOUND, BODY AT BRIGHTON ROCK, V/H/S) April Snellings (author, FOOD CHAIN), Joe Lynch (SUITABLE FLESH, MAYHEM) and Fessenden himself. The casts are also rife with familiar names and newcomers, such as James Le Gros, Barbara Crampton, Alex Hurt, Bennett, John Speredakos, Jeremy Holm, Garay, Lorraine Farris, Bill Sage, Kareem Savinon, Chloë Levine, Asta Paredes, Clay von Carlowitz, Xero Gravity, David Cardoza, Dante Fiallo, Romanichel and Benjamin Frankenberg.

“Here we are,” McQuaid says, “a little older, none the wiser, and once again trudging beyond the pale with a brand-new collection of TALES. This season gathers some of the sharpest, strangest, and most brilliant writers we’ve ever had the pleasure to work with. The mics are hot, the celery’s snapping, and the tape is rolling.” Adds Fessenden, “It’s delightful to be back making mischief with artisans old and new. In a time when mounting a movie is so arduous, it’s fun and essential to be able to tell stories in a more spontaneous format.”

Also part of the TALES team is producer Jordan Gass-Pooré, with primary recording and mixing by Matt Rocker of Underground Audio. Musical collaborators Reznick, McQuaid and Dave Eggar also make multiple contributions. You can check out the first five seasons of TALES on iTunes, Audible, Spotify, Amazon and at the official website.

Read at Rue Morgue

One of the best Horror Movies of 2024

by Richard Newby

Chris Skotchdopole’s Crumb Catcher delivers a clever take on what I affectionally refer to as the “weirdos just showed up at your house” subgenre. It sifts through the tensions of class, career, race, gender, capitalism and ownership.

By the time newlyweds, Shane (Rigo Garay), a writer, and Leah (Ella Rae Peck) stay at a remote house for their honeymoon, tensions are already high between the two over Shane getting blackout drunk on their wedding night, unable to remember what transpired. Shane’s reservations over the book deal Leah helped him secure, Leah’s decision not to invite Shane’s father to their wedding, and her feeling over shared ownership of Shane’s career drives a further wedge between the two.

Tensions boil over when a knock at the door finds the pushy waiter John (John Speredakos) from their reception on their doorstep, with a one-of-a-kind invention in tow. Accompanied by his girlfriend, Rose (Lorraine Farris), a bartender who also worked the reception, John attempts to blackmail Shane and Leah over what transpired during Shane’s blackout. Without them as his business partners, there will be no money or names to generate interest in his revolutionary invention, The Crumb Catcher.

While John and Rose’s appearance initially results in an uncomfortable and absurd comedy of manners, tensions grow, and the situation devolves into unhinged lunacy as Shane and Leah are forced into a bloody fight for their lives. Deranged, topical, and surprisingly tender, even in its moments of violence, Crumb Catcher is a highlight of indie filmmaking, showcasing just what can be accomplished with an original idea, talented collaborators, and a vision that finds honesty in the messes people can make of their lives.

Read full list at The Hollywood Reporter

oh sh*t, here we go.
Coming in 2025

New album by Just Desserts
New Tales From Beyond The Pale
New releases hitting theaters
New Physical Media of Old Titles
New productions getting underway
and 40th anniversary shenanigans…
stay tuned…

By Andy Crump

Directed by Chris Skotchdopole; written by Chris Skotchdopole, Larry Fessenden, & Rigo Garay; starring John Speredakos, Rigo Garay, Ella Rae Peck, & Lorraine Farris

The last eight years of American political cinema contains its share of movies adapted from history and headlines, with little mystery about intent left to the imagination. Chris Skotchdopole’s unhinged debut Crumb Catcherheads the opposite direction: the film doesn’t betray itself by declaring outright what, or who, it’s “about.” You have to work that out yourself.

Honeymooners Shane (Rigo Garay) and Leah (Ella Rae Peck), plagued by implied, stewing tensions, put their friction on pause when their rental house is called on by uninvited guests: John (John Speredakos), a waiter at their wedding reception, and his wife, Rose (Lorraine Farris). They’ve stalked the newlyweds to offer them a once in a lifetime opportunity to get in on the ground floor of the next consumer craze — or else. Crumb Catcher is a nail-biting ode to American failure, where side-hustle-and-grind entrepreneurship synthesizes with the insecurities wrought by our bootstraps mentality; it’s a chiller about entitlements and unearned outrage that’s attuned to our times through black comic plotting.

Read Full List at POP HEIST

Larry Fessenden is among the most fiercely independent filmmakers working in the American genre cinema today—and, not coincidentally, one of its chronically undervalued. Even as his New York-based Glass Eye Pix has backed filmmakers like Ti West, Jim Mickle, and Kelly Reichardt in breaking through, Fessenden himself has continued to operate at a low-budget level, where his chillingly atmospheric features—all monster movies, to some degree—have for decades observed the philosophical struggle of people to know themselves in the face of larger socioeconomic and environmental collapse. Together, films like vampirism-as-addiction allegory “Habit” and climate-change reckoning “The Last Winter” comprise a singular, deeply personal body of work; individually, they’re all striking, emotionally resonant studies of the beast within.

“Blackout,” released quietly to VOD this year, is perhaps Fessenden’s most haunting and poignantly hand-crafted creature feature to date—a werewolf film where an existentially afflicted outsider (Alex Hurt), having contracted the curse amid grieving his father’s death and separating from his partner, falls back into an old drinking habit and enters a downward spiral. With his liberal upstate New York community besieged by politicians who exploit voters’ fears of the Other for their own financial gain, exposing a rot in the heart of small-town America, our protagonist is caught between skipping town and standing up for what’s right — even as his efforts to suppress his animalistic instincts, and the self-loathing he’s felt all his life, make “Blackout” blurrier than a study in good and evil. That our protagonist is a painter, specializing in nature scenes that grow more violent and abstract as he transforms, gives “Blackout” an ingenious device through which to explore art as an outlet for anguish, as a mirror to the soul.

Fessenden’s long been fascinated by perversions of the psyche, and by the sorry state of a world filled with such damaged individuals; his “Blackout” is personal and political in the way of all enduring horror. – Isaac Feldberg 

Read article at rogerebert.com

BLISS by Joe Maggio premieres at Slamdance 2024
coming to theaters in 2025: a Glass Eye Pix co-production

BLACKOUT by Larry Fessenden releases in theaters and on Blu-ray
through long-time collaborator MPI

CRUMB CATCHER by Chris Skotchdopole; a Glass Eye Pix Production
releases in multiple theaters and Drive-Ins through Doppelgänger Releasing
Coming to Blu-ray on Arrow in 2025

Ti West’s MAXXXINE opens wide across the US through A24
Featuring Fessenden

Fessenden and Graham Reznick-scribed Bafta-Winning Video Game UNTIL DAWN
Re-released for PS5 and PC

Ilya Chaiken’s documentary PRETTY UGLY unspools at international Festivals.

Glass Eye Pix releases 3 WENDIGO collectable figures sculpted at Monsterpants Studios.

Thanks to fans old an new for the support. Can’t do this without y’all.

Good Luck in 2025. The struggle continues.

JOHN MITCHELL MIND OF AN ARTIST documents the years-long collaboration between painter John Mitchell and filmmaker Larry Fessenden that resulted in Fessenden’s werewolf movie BLACKOUT. Mitchell describes themes and influences and the lifelong artistic journey that lead him to create over 100 paintings and drawings for the film, drawing parallels and connections between seemingly disparate art forms and traditions from Bernie Wrightson, Vincent Van Gogh, Martin Scorsese, Francis Bacon, Rembrandt, Goya, and THE TEXAS CHAINSAW MASSACRE. Interviews and Camera by Rigo Garay; Producer and Edit by Larry Fessenden; Glass Eye Pix 2024.

By Jonathan Klotz

Halloween may be in the mirror, but a bonkers horror comedy has been part of Netflix’s top ten for most of the month of December, and it might just be the strangest success story of the month. The Dead Don’t Die isn’t a straightforward zombie comedy like Shaun of the Deadand manages to go even further than the absurdist zombie film Fido with twists that are impossible to see coming. Granted, they’re impossible because the director, Jim Jarmusch, upends everything that’s expected from a typical zombie film and replaces it with the type of bitter, sardonic black comedy you don’t expect from such a star-studded celebrity cast.

Trying to describe the actual plot of The Dead Don’t Die is futile. It starts off normally enough, with two police officers investigating a report of missing animals, and then they start to notice strange things, like how a watch has suddenly stopped working. Background news reports hint at what’s happening before zombies start to rise from the ground and begin feasting on the living residents of Centerville. 

From that simple beginning, The Dead Don’t Die quickly spirals wildly out of control, shattering the fourth wall for one brief, well-earned hysterical moment. The two Centerville officers, Cliff and Ronnie, are played, respectively, by Bill Murray and Adam Driver, in a film pairing I never knew I needed to see before this film, but now consider it one of the greatest cross-generation pairings of all time. No matter what’s going on around them, Murray and Driver maintain the same deadpan delivery from start to finish, like how Farmer Miller doesn’t deserve to be warned about the zombies or how Ronnie has an affinity for Mexicans. 

…

Netflix’s top ten usually includes the latest original movie that’s getting pushed hard by the algorithm, a major new release or two, and usually a seasonal film. What it typically doesn’t feature, and especially not in the top five for over a week, is a film like The Dead Don’t Die that would be described by your average moviegoer as “weird.” The reason I mention a fourth wall break is because that’s not even the weirdest thing that happens during the film, and after watching it again, I’m even more impressed that it’s enjoying such a surge of popularity since it means that there’s hope that your average Netflix subscriber actually has good taste. 

A Rare Original Movie 

The Dead Don’t Die is an easy recommendation for anyone who’s seen more than one zombie movie or if you want to watch something that dares to be different, takes chances, and is the exact opposite of the movies seemingly designed by focus groups that have plagued theaters for the past decade. Bill Murray and Adam Driver’s zombie flick won’t make you scream in terror, but it will make you laugh, and a few of the kills might make you cringe, but it will surprise you.

Read full article at giantfreakinrobot.com

Since 1989, various New York artists gathered annually to entertain guests during
a Holiday Party in the East Village with a performance of A CHRISTMAS CAROL by Charles Dickens,
a favorite of Fessenden’s right up there with FRANKENSTEIN.

During the Covid shutdown Beck Underwood, Jack and Larry Fessenden made
a video facsimile of the show to get us through the pandemic
though nothing quite captures the unhinged chaos of the actual performance,
which continues again to the present day.

If you need a chuckle to get you through the holiday,
might we offer our presentation of SCROOGE

Chadd Harbold, James Siewert, Tilson Allen-Merry, Kyle Mumford,
Jenn Wexler, Fessenden, Skotchdopole and Rigo Garay