From Fessenden: “I love the idea of improv animation, a kind of run and gun immersion where you are discovering the shots and story as you go and animating in the moment. I knew I had a play on words with my Creepy Christmas prompt SLEIGH, so I wanted a tone that oscillated between menace and merriment, which I guess is how I experience reality anyway. I conceived of a mischievous elf who was either building a sleigh or plotting a murder. I bought a snap-together Lego Star Wars figure and molded the elf-flesh on top and then I sewed his groovy elf-threads. All the other cast members were plucked off the shelves in my lair. What an opportunity to see all these iconic characters in a movie together. Much appreciation to all the artisans who designed the fabulous creatures that haunt and inspire me. Thanks to Will Bates for the music. Thanks most of all to Beck for giving me this assignment and for offering to help and for letting me say “no I want to do it on my own.” 

Catch up on all the festive Creepy Christmas films HERE

Like Me is an indictment of a life spent “extremely” online: a thriller in which the thrill is the threat of empty transgression; a body horror flick in which the body horror is the way social media and Tumblr and Reddit and YouTube transform us, make us grotesque, perverting basic physical functions into scary, dysmorphic representations of the flesh sacks we carry around with us whenever we’re not online. Early in the film, writer-director Robert Mockler introduces us to the online world of our main character, Kiya (Addison Timlin, terrifying), via a disturbing barrage of hyperreal, gif-like images—close-ups of sugary cereal and milk chewed sloppily, of a viscous tongue mid-slurp, of Kiya doing weird kinesthetics in a dirty motel room while the camera capsizes and arises around her, this Manic Pixie Dream Girl who embodies each of those words as literally as possible. Though Mockler implies that these are all curated posts Kiya’s put online, we believe that this is how she sees the world. Aided by some seriously heady opioids and hallucinogens, she can’t help but digest her lived experiences without mitigating them digitally. As Kiya moves through Mockler’s pink-ish, neon dystopia, DP James Siewert shooting Timlin as if she’s stranded in the middle of a Michael Mann joint, everything seems on the table. Kiya lures a motel manager, Marshall (Larry Fessenden, better than excellent), to her room—another room, another motel, somewhere on this stupid planet—with the possibility of sex. Instead, he finds Kiya’s redecorated her room like an outtake from The Cell, testing the lonely guy’s willingness to go along with whatever insanity’s in store. Of course, some icky gastrointestinal calamity occurs, but Marshall never flinches, so Kiya kidnaps him and takes him with her. Gorgeous and gross in equal measure, Like Me is a visual feast. Mockler conjures setpieces out of practically nothing, crafting each frame with a meticulous symmetry that belies the chaos at the heart of Kiya’s impulsive odyssey.

Read Full List HERE

2017, GEP muscle Rigo Garay caught red-handed during company move. 
Rigo graduates to leading man status on tomorrow’s
Creepy Christmas film, posting at midnight.

Jenn Wexler has been working with Glass Eye Pix, producing some of the more interesting genre films lately like Darling, Psychopaths, and Like Me. Her first feature, The Ranger pits punks against The Man, slasher-style. A group of 80s punks flee the city and head out to the woods. They shack up in a family cabin now owned by group member Chelsea, who’s played by Chloe Levine. They encounter a park ranger, played by Jeremy Holm, who is dead set on preserving the sanctity of the woods.

Characters don’t have to make great choices for them to be authentic or real or strong. Which is great for The Ranger, because it’s full of bad decisions and great characters. The movie builds tension slowly until a gunshot rings out and the first body drops, which kicks off a rollercoaster of violence and strange memories and gory horror. Colorful punks battling an insane park ranger is not what I would have thought I needed from the cabin-in-the-woods slasher genre, but god damn. Yes, please.

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Today’s Movie: PRESENCE by Joe Maggio (BITTER FEAST).
Starring Larry Fessenden & Laurent Rejto.

Starring Abby Elliott, Bridey Elliott, Chris Elliott, Isidora Goreshter,
Haley Joel Osment, Paula Niedert Elliott
and featuring Fessenden as “Fan Man”.