It takes a lot to survive in the living dead apocalypse, and it takes even more to find true love. With an un-extinguishable spirit, Luciana Galvez (Danay Garcia) has accomplished both on AMC's Fear The Walking Dead, and with season 3 of the series coming to Blu-ray and DVD on March 13th from Lionsgate, Daily Dead had the great pleasure of speaking with Garcia about her character's heart-wrenching journey in the third season, as well as what she's looking forward to in the fourth season. [Spoiler warning for those who haven't watched season 3.]
For around 15 years, producers Brad Fuller and Andrew Form of Platinum Dunes have made an indelible mark on the landscape of modern horror, with their latest project, John Krasinski’s A Quiet Place, quite possibly being their most ambitious endeavor to date. Daily Dead sat down with the duo after the film’s world premiere at the 2018 SXSW Film Festival, and they discussed the challenges that came along with producing the ambitious monster movie, collaborating with Krasinski, and the difficulties of getting audiences into theaters these days.
When it came to choosing an opening night film for the 2018 SXSW Film Festival, you couldn’t ask for a better start to the fest than John Krasinski’s A Quiet Place. This writer has attended nearly one hundred screenings at SXSW since 2011, but I’ve never experienced anything quite like the audience reception of A Quiet Place, with nearly 1,200 people in attendance in a hushed silence, holding their breath alongside the film’s family, who must fend off alien creatures that hunt their prey using hyper-auditory senses.
I sure love me some witches. I especially adore the satanic kind, pentagrams, candles, and the whole shmear. Welcome to Bay Coven (1987), where the tropes are oh so familiar yet warm and snuggly like a quilted comforter.
Earlier this weekend, this writer had the opportunity to check out two wildly different films that enjoyed their world premieres as part of SXSW’s 2018 Visions slate: Fritz Böhm’s Wildling and Prospect from the directorial team of Zeek Earl and Chris Caldwell. Even though both movies feature a coming-of-age tale that centers on the relationship between a father and daughter, they are vastly different from each other, with Wildling going for more of a modern fairy tale approach, and Prospect being something of a scrappy yet wonderfully ambitious sci-fi western.
If necessity is the mother of invention, as the saying goes, then Roger Corman is the dad of opportunity; swooping in and throwing around minimal coin but expecting maximum return (or at the very least, something in focus). But the King of the B’s has always attracted the hungry and talented, and so it was when a youngster by the name of Francis Ford Coppola was afforded the chance to helm his first (soft core flicks aside) official feature, Dementia 13 (1963). Part Psycho, part semi-Gothic psychodrama, it served as a stepping stone between Hitchcock and Bava, eventually leading to a slasher formula that is still impossible to kill.
For his latest time at bat behind the camera, John Krasinski has crafted one of the most boldly innovative and stellar monster movies in years with A Quiet Place, a movie that terrifies and thrills just as much as it hits you right in the gut with an emotionally driven narrative that never sacrifices its story for scares (or vice versa).
If you would have told me back when the sequel was first announced that The Strangers: Prey at Night could potentially end up as one of my favorite films of 2018, I would have told you that you were completely off your rocker. And yet, here we are, with Johannes Roberts’ sequel defying all of my (admittedly low, but more on that later) expectations to deliver a more than worthy sequel to Bryan Bertino’s The Strangers that captures the unsettling nature of the original, and yet puts in some extra effort that makes Prey at Night still feel like it’s doing its own thing at the same time. As far as modern slashers go, Roberts has confidently crafted one wickedly fun thrill ride that reminds us that it is never wise to answer your door for unknown visitors, especially late at night.
“Because you were home.” Even after 10 years, those chilling four words still wield so much power, and I don’t know that there’s another phrase uttered in the last decade of modern horror that has had the same impact that this simple statement from Bryan Bertino’s The Strangers had had on our psyches, on our imaginations, and on the genre as a whole. It’s that randomness of the violence inflicted in The Strangers that has made it endure as a modern horror classic, but it’s the film’s emotional core that also makes it one of the most emotionally devastating genre films to have ever graced the big screen.
A woman prepared to take her own life finds herself fighting for it instead after crossing paths with sinister strangers in Eat Me. An adaptation of Jacqueline Wright's play of the same name, Eat Me is out now in theaters and on VOD platforms from Blue Fox Entertainment, and to celebrate the movie's release, we caught up with actress and writer Jacqueline Wright to talk about adapting her play for film, living on the movie's set until filming wrapped, and re-teaming with director Adrian A. Cruz to bring the harrowing tale of Eat Me to life on screen.
It’s been nearly 10 years since we were introduced to the maniacal masked killers in Bryan Bertino’s The Strangers, but they’re being resurrected on the big screen this weekend, with filmmaker Johannes Roberts (The Other Side of the Door, 47 Meters Down) at the helm.
When does a slasher slip over into the surreal? Usually when you start with a boy emerging fully dressed from a lake, who catches a bus to a church, where a priest laments on the nature of sin while cross cutting to a group of six 20-somethings from all walks of (okay, North American) life? This is the first 15 minutes of The Redeemer (1978) folks, and you will get your bearings as the group of six gather for a high school reunion where they’re given a bloody TED talk on sin and redemption from a multiple-masked killer in the spirit of Terror Train (1980) - if that spirit had been around two years previous. Not only is it a touch prescient, it’s surprisingly creepy as hell through not only the killer’s various guises, but an insidiously Christian treatise on what it deems modern society’s “ills”. But, you know, in a fun way!
The Cannibal sub-genre usually divides the viewer in to one of two camps: horror fans who deem it “necessary” as part of their schooling to watch the gut munchers of the decade from the early ‘70s to early ‘80s, and those who completely stay clear after hearing stories of real life animal mutilation and on screen rape, not to mention an anatomical eye for grisly (and gristly) detail in that uniquely unsubtle, very Italian way. If you choose to wade through the jungle, there are simply no better guides than the denizens at Severin Films, who offer up a superb new disc of Umberto Lenzi’s Eaten Alive! (1980). If you’re new to this fascinating facet of horror, you might as well jump in here – there is no shallow end.
A few months ago, the Crypt of Curiosities dipped its first toe into the wild world of Shaw Brothers films. Perhaps one of the most prolific and accomplished studios in the history of exploitation cinema, Shaw Brothers put out hundreds of movies in their ’70s heyday, encompassing everything from their signature kung fu and wuxia films to goopy horror to romantic melodramas. But with a filmography so wide and with so many to choose from, a couple in particular stand out: two odd, violent spins on Japanese superheroes, complete with rubbery suits and gratuitous violence. So of course, still riding the high from the Devilman OVAs, I decided it’d be proper to check out what Shaw Brothers had to offer. I was not prepared.
Happy Women in Horror Month! I’m sure most of the ladies who enjoy horror would argue that every month is Women in Horror Month, and I would agree. But I don’t think there’s anything wrong with taking some time out to make special mention of women who make the genre that much more wicked. With that in mind, this month’s installment will be a small tribute to the Matriarchy of the Macabre with a nod to my favorite Final Girl of all time, Lar Park Lincoln.