Tuesday, 29 July 2014

7th Day (2012)


‘7th Day’ is a psychological documentation of a serial killer set over seven days as the title suggests that breaks the fourth wall and is reminiscent in ways to such works as John McNaugton’s Henry: Portrait of a Serial Killer (1986) and Jörg Buttgereit’s ‘Schramm’ (1993). Independently produced on a micro-budget and distributed by Dire Wit Films (international distribution is handled by Beneath The Underground on VOD) the film was released earlier this year in February on DVD.

Tuesday, 15 July 2014

Discopath (2013)


Canada gave us some of the most notable slashers back in the sub-genre’s early 80’s Golden Age: ‘Terror Train’ (1980), My Bloody Valentine and ‘Happy Birthday to Me’ in 1981, ‘Visiting Hours’ (1982) and the more obscure entries ‘American Nightmare’ and ‘Curtains’ in 1983. The first of the bunch though to see the light of day in the wake of the phenomenal commercial success of Sean S. Cunningham’s 1980 slasher template Friday the 13th in the same year was ‘Prom Night’. It memorably featured extended disco sequences during the climax of the prom to capitalize on the then just about still in dance music craze. Now we have ‘Discopath’ the low-budget independently produced directorial debut of French Canadian filmmaker Renaud Gauthier who also serves as writer and producer. It is a retro throwback to this heyday of the slasher film actually using disco for its premise in the period settings of New York City, 1976 and Montreal, 1980. It was actually screened together with ‘Prom Night’ when it had its US premiere at the American Cinematheque in Los Angeles of October last year.

Wednesday, 2 July 2014

Lord of Tears (2013)


Low-budget independent Scottish production ‘Lord of Tears’ is simplistic in its approach and is even more effective for it in executing a chilling psychological supernatural horror defying the sub-genre’s contemporary output of big-budgeted mainstream Hollywood studio fare which is over reliant on CGI and clichéd jump scares. Lawrie Brewster making his directorial feature debut and screenwriter Sarah Daley has successfully created a faithful throwback to the Gothic era that is meticulous in its heartfelt devotion of bringing back. A labour of love not a smug trendy faux take that plays on this as its selling point but authentically looks and feels part of this genre filmmaking of a bye-gone age with genuine enthusiasm and passion for it in its conviction with a strong team effort.