In today's edition of Horror Highlights, we have details on the ARROW streaming platform, the trailer for Expulsion, and a Q&A with Jacob Bloomfield-Misrach to discuss his work on 12 Hour Shift:
ARROW Launches New Streaming Platform in North America in Time for Halloween: "London, UK - Arrow Video is excited to announce the bow of their new subscription-based ARROW platform, available in the US and Canada beginning October 1. Building on the success of the Arrow Video Channel and expanding its availability across multiple devices and countries, ARROW boasts a selection of cult classics, hidden gems and iconic horror films, all curated by the Arrow Video team.
ARROW begins streaming with headliners The Deeper You Dig, The Texas Chainsaw Massacre, Crumbs, The Hatred, Cold Light of Day, Videoman and The Herschell Gordon Lewis Feast. Also immediately available are perennial Halloween hits Hellraiser 1 & 2, Elvira, Ringu, tthe complete Gamera series, as well as full collections from the ARROW archives packed with exclusive extras, rarely seen interviews and documentaries. ARROW will be available October 1st in the US and Canada on the following Apps/devices: iOS (iPhones and iPads), tvOS (Apple TVs), Android (all Android devices), Fire TV (all Amazon Fire TV Sticks, boxes, etc), Roku (all Roku sticks, boxes, devices, etc) and on all web browsers at https://www.arrow-player.
Arrow Video is offering fans a 30 day free trial of ARROW, and subscriptions are available for $4.99 monthly or $49.99 annually. A UK rollout is planned in 2021.
The Deeper You Dig, the latest feature written, directed by and starring filmmaking family the Adams Family (Knuckle Jack, Rumblestrips), described as "a force to be reckoned with" (Dread Central), leads the lineup of ARROW's launch, joined by The Adams Family's The Hatred, Tobe Hooper's groundbreaking classic The Texas Chainsaw Massacre, Crumbs (the debut feature of Jesus Shows You the Way to the Highway's Miguel Llansó), 1989's Cold Light of Day and the Swedish nightmare Videoman.
The program is anchored by the Herschell Gordon Lewis Feast, over a dozen selections from the Grandfather of Gore. The classics include: Blood Feast, How to Make a Doll, The Wizard of Gore, Scum of the Earth, Color Me Blood Red, Something Weird, The Gruesome Twosome, A Taste of Blood, She-Devil on Wheels, Two Thousand Maniacs, Moonshine Mountain, Just for the Hell of It, This Stuff'll Kill Ya, and The Gore Gore Girls.
Bogus tarot card reader Ivy (Toby Poser) and her teenage daughter Echo (Zelda Adams) are an unconventional but loving mother/daughter team. But when reclusive Kurt (John Adams) moves in down the road, a tragic accident results in Echo's murder, causing three lives to collide in mysterious and wicked ways. Kurt believes he can hide his secret beneath the earth - but Echo, refusing to accept death, burrows into his head until he can feel her in his bones. As she haunts his every move, trying to reach her mother from beyond, Ivy must dig deep to see the signs and prove that love won't stay buried.
ARROW October (US/Canada):
The Deeper You Dig
The Hatred
The Texas Chainsaw Massacre
Crumbs
Cold Light of Day
Videoman
The Herschell Gordon Lewis Feast
October Seasons:
Edgar Wright Selects (Filmmaker Edgar Wright Selects his top ARROW picks)
Audition
Blood and Black Lace
Death Walks at Midnight
Death Walks on High Heels
Deep Red
Don't Torture A Duckling
Hellraiser
Henri-Georges Clouzot's Inferno
Le Plaisir
Psychomania
Re-Animator
Ringu
Schlock
The Cat o' Nine Tails
The Crazies
The Fifth Cord
The Forbidden Photos of a Lady Above Suspicion
The Stuff
Torso
What Have You Done To Solange?
Tooled Up (Power Tools and Blood Splatters)
The Texas Chainsaw Massacre
Microwave Massacre
The Driller Killer
Edge of the Axe
Blood Rage
The Wizard of Gore
Doom Asylum
Why Don't You Just Die!
The Mutilator
The Gore Gore Girls
White Fire
Audition
Midnight Movies (Restored Low-Budget Exploitation)
Videoman
Tetsuo: The Iron Man
Cold Light of Day
Crumbs
Deadbeat at Dawn
La Grande Bouffe
Evil Ed
Story of Sin
Sister Street Fighter
Ivansxtc
The Swinging Cheerleaders
Warning From Space
Inferno of Torture
The Baby
Vampyres
The Coming of Sin"
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Watch the Trailer for EXPULSION: "American Pop Productions, in association with Colossal Content, is proud to announce the release of EXPULSION, a Sci-Fi Thriller starring Colton Tapp (Three Days in August), Lar Park Lincoln (Friday The 13th: The New Blood), Michael Harrelson (Krampus: The Reckoning), Co-Produced by Paul Tomborello (Rumors of Wars) and Directed by Sean C. Stephens and Aaron Jackson. The film will release on DVD, Blu-ray, Amazon Prime Video Direct, AppleTV, VUDU and Google Play digital platforms on Tuesday October 20, 202
EXPULSION follows the story of Scott and Vincent, who are top recruits at the prestigious Cicero Market Technologies Corporation where they are tasked with the development and implementation of cutting edge technologies. The sole purpose of their work is to bring about medical, environmental and physics advancements. However, beaten by their own curiosity, the pair begin to sneak their work home with them. They push the boundaries of particle collision science to undiscovered levels stumbling upon a parallel universe complete with an alternate version of Scott. As their days and nights unfold they begin to discover that others seek their tech to advance their own agendas…agendas that they intend to fulfill at any cost.
Entirely shot on location in Arizona, EXPULSION was born from a wonderment and fondness for fringe sciences, particle physics and all of the possibilities they inspire. Anyone wanting to catch up with Friday the 13th alum, Lar Park Lincoln will find her performance captivating as the dark agenda driven futurist, Shara Fanning. Colton Tapp gives a multidimensional depiction by taking on two roles as both the antagonist and protagonist, earning him a Best Actor nomination at the 2019 Hollywood International Golden Film Awards. As his character crosses over to another universe he inadvertently invites a different version of himself home creating a ripple that threatens his very existence.
Visual effects for the feature were completed by Nicky Reynolds (Once Upon a Time… in Hollywood) and the soundtrack was composed by Stephen Bennett (Moondance), who effectively intertwines synthesized retrowave music with a traditional cinematic theme. This unique mix of talent builds out an overall aesthetic that contributes to a grounded look at the surreal possibilities of the narrative. EXPULSION was nominated by the Los Angeles Film Awards as a top Sci-Fi narrative and considered for best screenplay. The film was also chosen as an official selection to the 2020 Roswell Film Festival and received four nominations at the Hollywood International Golden Film Awards picking up an Outstanding Director win for Sean C. Stephens and Aaron Jackson.
Colossal Content is a new film distributor from Paul Tomborello and Sean C. Stephens. EXPULSION marks the company’s first official release ahead of several other projects currently in various stages of development or acquisition. Colossal is different from most distributors because they focus on meticulous collaboration with artists. A distributor built by the filmmaker, for the filmmaker."
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The Sound of Magnet Releasing’s 12 Hour Shift, Interview with Jacob Bloomfield-Misrach: Horror fans may know actress Angela Bettis from Lionsgate Films’ May or the 2002 Carrie tv movie, for which she played the iconic role of Carrie White. She is returning to the horror world with Magnet Releasing’s upcoming feature 12 Hour Shift, which is being released on October 2. If you haven’t heard of 12 Hour Shift, here is everything you need to know: Nurse Mandy (Bettis) is desperate to make it through her double shift without incident. This is particularly hard to do when you’re an addict and are also involved in a black-market organ-trading scheme. When her hapless but dangerous cousin Regina (Chloe Farnworth) messes up a kidney delivery, chaos descends on the Arkansas hospital as Mandy and Regina frantically try to secure a replacement organ through any means necessary. Things grow increasingly complicated when injured convict Jefferson (David Arquette) is brought in, and events spiral even further out of control.
Brea Grant (Halloween II) serves as the film’s writer and director while Matt Glass is both the cinematographer and composer. Another role that we just learned more about is the film’s sound supervisor and re-recording mixer, which was spearheaded by Jacob Bloomfield-Misrach. It’s worth noting that Jacob also worked on Arquette’s other recent release, You Cannot Kill David Arquette. Unless you work in the film business, you probably don’t know what a sound supervisor/re-recording mixer does, so we spoke with Jacob and got some insight on this very unique craft. The most fascinating topic that horror fans will appreciate, the art of how blood sounds. Read the full interview here:
-How did you get connected with 12 Hour Shift?
I love working on films that force me to try something new, and 2 of the producers on the film, Jordan Long and Matt Glass, are great about bringing me challenging films. I’ve worked with them on a few projects, and when they told me about 12 Hour Shift, I was all in.
-Most of 12 Hour Shift takes place in a hospital. Hospitals obviously have a very cold and sterile vibe. Did this setting effect the way you approached the project?
Oh yeah. We had a long discussion about what the hospital needed to feel like. This film takes place during a graveyard shift, so the hospital becomes more and more quiet as the film goes on. It’s a subconscious thing. Most viewers won’t notice it, but the halls become more eerie as the story moves forward. I love little details like that!
-How close do you normally work with the film’s director? Did Brea have any specific input about your job?
Brea Grant is fantastic. She had a strong vision for the film which makes my job so much easier. Great directors lay out the blueprint for what they need from me and my team. Then we go off and put all the pieces together. And for the final mix we had Brea come into the studio for a week. That way she’s able to chime in about all of the audio decisions.
-If you don’t work with the film’s directors, who would you say you work closest with?
We really enjoy working with the whole filmmaking department. The film’s editor knows the film more intimately than anyone. They’ve spent months picking apart every frame of the footage, so I love getting feedback from editors. Especially when I’m writing music for a film. As a composer I love working with a good editor.
-Which scene in 12 Hour Shift was the most complicated for you? Why?
Funny enough, the vending machine was more complicated than you’d expect. It plays a substantial roll in the film. Most of the nefarious deals are made standing in front of that ominous soda dispenser, so we wanted to turn it into something special. Our sound designers went around our building with an electromagnetic microphone, recording various electrical sources and hums. Then we distressed and processed those sounds so that there’s always a layer of tension when we see the vending machine on screen. Again, it’s a subconscious detail, but it can play a big part in the viewer’s experience of the film.
-What objects in 12 Hour Shift were the hardest for you to work with, sound wise?
There wasn’t anything particularly hard in the sound design for the film. Just lots of work to be done. Dialing the right amount of eeriness in the hospital took some time. It needed to sound empty, but you also don’t want the audience to feel like nothing is going on. It’s just a question of finding the right balance.
-In a previous interview you talked about trying to get the right sound of blood. (There is a scene from the trailer where blood squirts in Angela Bettis’ face. How many tries did this take? What did you ultimately use that made you satisfied with the scene?
That was a fun scene. We used a combination of several different sounds. Different types of liquid and fluids and also some contact sounds of fluids hitting a body. I can’t remember the exact sounds but it was probably a combination of paint and water to get the right texture.
-Are you personally a fan of horror? If so, what was one of the first horror films that changed the way you view the genre?
When I was 8 years old, I snuck downstairs to watch The Fly on tv. That movie scared the crap out of me. I think that film gifted me an understanding of how an audience should feel when watching a horror film, and I keep that as my guide.
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