- Watch an Exclusive Clip from New Horror Movie BLACK CREEK, Starring Chris O’Flyng
- Listen to a Broadcast of the KING FALLS AM Radio Show
- Horror Highlights: PIFF After Dark, Salem Horror Fest, Screaming Pods Network, ROAD TRASH, Miskatonic Institute of Horror Studies, BEYOND THE WOODS
- It Came From The Tube: CRY FOR THE STRANGERS (1982)
Posted: 12 Feb 2018 06:59 AM PST
Millions of viewers know Chris O'Flyng from his YouTube channel videos, but in the new horror film Black Creek, O'Flyng steps into the shoes of Mike, a young man grieving the loss of his father and seeking sanctuary at a cabin in the woods with his friends. Instead of peace, what he finds there is horror, and with Black Creek coming to VOD platforms beginning February 16th from Freestyle Digital Media, we've been provided with an exclusive clip to share with Daily Dead readers.
In addition to the exclusive clip, we also have a look at images, the trailer, and the official key art for Black Creek below:
The post Watch an Exclusive Clip from New Horror Movie BLACK CREEK, Starring Chris O’Flyng appeared first on Daily Dead.
Posted: 12 Feb 2018 06:58 AM PST
Longtime listeners of King Falls AM have heard bizarre things happen all over America's strangest small town, from the eerie woods to the haunted library and the light-ridden sky above the community. On a new episode of King Falls AM, the mall is the setting for the town's latest memorable event, and you can listen to the late-night escapades right here on Daily Dead.
Episode Sixty-Seven – "The Darkest Night": "Sammy & Ben get some breaking news from The King Falls Mall with multiple eyewitnesses."
Hosted by Sammy Stevens and Ben Arnold, King Falls AM is a late-night radio talk show that broadcasts out of small-town America and covers a wide range of strange topics that are right at home on Daily Dead. Expect to hear new episodes of the show around the 1st and 15th of every month, and you can listen to the latest broadcast right now!
Don't live in King Falls? No worries. You can hear Sammy and Ben discuss the eerie events of their supernatural-charged community on both the audioBoom Network and iTunes. The station also has an alt channel with additional content for listeners, and you can now purchase A King Falls Christmas and King Falls AM Vol. 1 Original Soundtrack on iTunes.
The post Listen to a Broadcast of the KING FALLS AM Radio Show appeared first on Daily Dead.
Posted: 12 Feb 2018 06:56 AM PST
The lineup for the 41st Portland International Film Festival has arrived and we have all the details on the After Dark program. Also in today's Horror Highlights: Salem Horror Fest details, Screaming Pods Network, a Road Trash teaser trailer, Miskatonic Horror Institute Studies class information, and Beyond the Woods digital and DVD release details.
PIFF After Dark Lineup Announced:Press Release: "(PORTLAND, OR) — The Northwest Film Center's 41st Portland International Film Festival once again includes the popular, boundary pushing fare that constitutes our PIFF After Dark program, showcasing late night movies like Hélène Cattet and Bruno Forzani's (Amer, The Strange Color of Your Body's Tears) giallo-inflected, spaghetti western Let the Corpses Tan, Joseph Kahn's (Torque) caustic, rap battle comedy Bodied, Can Evrenol's (Baskin) riff on 1970s Italian horror Housewife, Justin Benson and Aaron Moorhead's (Spring) looping, sci-fi thriller The Endless, Lukas Figelfeld's folk-horror tale Hagazussa: A Heathen's Curse, and Michael Matthews' western set in South Africa Five Fingers for Marseilles.
All PIFF After Dark at PIFF 41 screenings is at the Northwest Film Center's Whitsell Auditorium, located in the Portland Art Museum (1219 SW Park Ave.)
Complete program listings:
February 17 – Saturday 9:30 p.m.
Sponsored by TV5Monde
February 18 – Sunday 9:30 p.m.
February 23 – Friday 9:30 p.m.
February 24 – Saturday 9:30 p.m.
Hagazussa: A Heathen's Curse (Dir. Lukas Feigelfeld) – Austria/Germany
February 25 – Sunday 9:30 p.m.
The Endless (Dir. Justin Benson, Aaron Moorhead) – United States
Tickets for PIFF After Dark shows available at https://nwfilm.org/film-series
ADDITIONAL FESTIVAL DETAILS
Over the past 41 years, the Festival has populated its schedule with diverse and innovative films for an audience of more than 40,000 annually from throughout the Northwest. As Oregon's largest, most culturally diverse film event, the Portland International Film Festival pulls together a multi-faceted experience with over 130 films (88 features and 48 shorts) and special events presenting a full spectrum of features, documentaries, and shorts – featuring works by both returning masters and emerging talents.
ADVANCE TICKET OUTLET
Opens February 5 — daily from 12-6 p.m. (through March 1)
Advance tickets by phone at (503) 276-4310
Festival passes are available for sale NOW at https://nwfilm.org/festivals/p
The 41st Portland International Film Festival is sponsored by LAIKA, The James F. and Marion L. Miller Foundation, The Henry Lea Hillman Jr. Foundation, Willamette Week, Pat and Trudy Ritz, The Hong Kong Economic and Trade Organization, The Lamb Baldwin Foundation, BankPurely, Oregon Public Broadcasting, KINK FM, All Classical Portland, XRAY.FM, and many others.
The Northwest Film Center is a regional media arts organization offering a variety of exhibition, education programs, and artist services throughout the region. The Center presents a program of foreign, classic, experimental, and independent works year-round at the Whitsell Auditorium, located in the Portland Art Museum. For more information, visit www.nwfilm.org."
Salem Horror Fest Call For Submissions: Press Release: "SALEM, MA - Salem Horror Fest has announced the return of its annual exploration of social themes in horror with a city-wide program of premieres, double features, speakers, guests, live podcasts and parties in the Halloween capital of the world this October 4 - 14, 2018.
Following its 2017 debut, Salem Horror Fest seeks to find the most compelling horror shorts from around the globe with disturbing stories that reveal something about our societal fears. The best shorts curated by a jury will be featured as part of a two-hour showcase.
"What good is having a voice if you can't scream? That's why we created this platform. Horror is one of the most effective ways to help process the cultural anxieties many of us feeling right now," said festival director Kevin Lynch.
Last year, the Orlok Audience Award went to Topher Hannson's 'Dark Roast,' a blood-splattered horror/comedy of errors with a punk rock ethos. Watch the trailer here.
The network officially launches today (2/1/2018), you can subscribe to our network feed on iTunes here: https://t.co/KrpOAZFqkD
Our logo was created by Derik Hefner. Check out his work at http://Derik-Hefner.squarespace.com.
Screaming Pods is a co-op of independent broadcasters & shows dedicated to producing quality content about topics they are incredibly passionate about while deepening connections within their respective communities.
Shows range from humorous entertainment (The SPLATHOUSE, The SOVPOD, You Can't Sit With Us), film reviews (The Screamcast, Just The Discs, Bloody Popcorn), to philosophical dialogues (The Life After, The AxPx). Here you'll find great shows with high standards in production and conversation.
Our current line-up is:
Watch a Teaser Trailer for Short Film Road Trash: "Teaser for the short horror film "Road Trash."
Featuring narration by Heather Langenkamp and music by James Malone. Shot by Rob Neilson and Savage Henry Films!"
Miskatonic Institute of Horror Studies: "Coinciding with Black History Month Miskatonic NYC is extremely proud to offer a class on black horror lead by Brooklyn based author, editor, and journalist Dianca London Potts.
From Spencer Williams' Son of Ingagi to Jordan Peele's Get Out, the cinematic screen has consistently served as a site of subversion for filmmakers of the African diaspora. Through the camera's lens, tales of hauntings, demonic possession, vampirism, and hoodoo rituals gone awry have become a celluloid metaphor for colonization and racism's toll on the Black psyche. Within this space, expressions of Black embodiment and the Black experience are momentarily freed from the limitations the white gaze. The narrative shifts, allowing for the complexity and depth of Black identity and its subsequent anxieties, fears, and vulnerabilities to be examined outside the constraints of traditional tropes.
Whether it's Blaxploitation classics like Blacula and Sugar Hill, or successors like Spike Lee's Da Sweet Blood of Jesus and the aforementioned Get Out, Black horror films are a historically visual mode of resistance within a pervasive supremacist culture. Rather than being sacrificial lambs, wise sages, or saviors to non-POC protagonists, Black characters within this context determine their goals and desires in opposition to whiteness rather than their proximity to it. William Crain's Prince Mamuwalde becomes the immortal Blacula, Ben — the sole Black character depicted in George Romero's cult classic Night of the Living Dead —becomes a hero. Jordan Peele's Chris becomes a survivor. Within this narrative context, the off-screen script is flipped. The marginalized aren't merely centered, they're canonized.
This multimedia presentation will offer an immersive thematic overview of Black horror narratives while highlighting noteworthy films within the genre-spanning the early 1900s to modern day. Select films will be paired with excerpts of literary, sociological, and philosophical texts to enhance students understanding of the cinematic genre and its radical roots. Through visual, cultural, and historical exploration, this presentation aims to examine and foster dialogue about what happens when subjection is subverted and what stories can be told when the white gaze is decentered.
About the Instructor:
The Miskatonic Institute of Horror Studies – NYC - Black Horror: The Revolutionary Act of Subverting the White Gaze
Date: February 13th, 2018
About the Miskatonic Institute of Horror Studies:
Beyond the Woods Digital and DVD Release Details: Press Release: "Left Films presents supernatural Irish horror Beyond the Woods, on Digital 5 February and DVD 19 February.
Hell is waiting for you…BEYOND THE WOODS.
Shot on location in Ireland, Beyond the Woods echoes the creepy supernatural horror of recent Irish genre hits The Hallow and The Canal, with its eerie and grisly tale of an unknown evil.
Seven friends meet up in the Irish countryside for a secluded weekend getaway but unfortunately for them, a fiery sinkhole has opened up in the mountains nearby. It's burning hot, spewing out sulfur and casting a hellish stench over the local area. Determined to make the most of the weekend, the group decide not to let the noxious atmosphere get to them...but it's getting worse. Soon the troubling hallucinations begin as an ancient evil starts to take hold. What malevolent force has crawled from the sinkhole and will any of them survive the weekend?
Following a successful run on the festival circuit where it picked up the Best Feature Film Award at the World International Film Festival Montreal in 2017, Seán Breathnach's spine-chilling low budget nightmare finally makes its way to and North American DVD and VOD courtesy of Left Films.
Posted: 11 Feb 2018 09:29 AM PST
I normally equate seaside towns with peace and tranquility, a place for rest, relaxation, and perhaps writing the Great Canadian Novel (it's going to be a thinly veiled takedown of beloved children's TV host Mr. Dressup, for the record). Clark's Harbor however, the setting of Cry for the Strangers (1982), is a place where my laptop and I shall never set foot; there's just too much damn tribalistic murder.
Originally broadcast by CBS on February 11th, Cry for the Strangers would have to contend with Barney Miller, Taxi, and 20/20 on ABC and Different Strokes, Gimme a Break! and Hill Street Blues on NBC, and it's safe to say most eyes were peeping these network staples. But for those with a salty taste for the macabre, the Eye was the network to be. (For this occasion anyway; they can't all be ABC Movie of the Week's.)
Let's pick up our trusty faux TV GUIDE and see what the harbor has to offer:
CRY FOR THE STRANGERS (Thursday, 9pm, CBS)
A psychiatrist and his wife move to an idyllic coastal town only to discover that new folk have a way of disappearing. Patrick Duffy, Cindy Pickett star.
Our telefilm opens on Clark's Harbor in 1937, as an adolescent boy has a dream while staying at his grandparents' beachfront home. He hears drumming and war cries coming from the shore, and when he arrives, sees a group of Native Americans circling a pit on the beach, surrounding what looks like two people buried up to their necks in the sand. As he awakens from his nightmare, he calls out for his grandparents, and a frantic search along the shore answers all his queries.
Cut to 45 years later, as Dr. Brad Russell (Patrick Duffy – Dallas) and his wife Elaine (Cindy Pickett – Sleepwalkers) arrive in Clark's Harbor for a summer getaway only to find that the house they're renting on Devil's Elbow isn't ready yet (I'd probably pick somewhere nicer like God's Armpit, but that's just me). After clearance from the local sheriff, Chief Whalen (Brian Keith – Meteor), the Russell's settle in; luckily for them, they befriend a family they know from the city, the Palmers, whose son Robby (Shawn Carson – The Funhouse) Brad used to treat. Dad Glen (Lawrence Pressman – Shaft) tells Brad that Robby has been much less moody ever since moving to Clark's Harbor; and while they receive the same chilly reception from the locals as the Russell's, they've stayed because the constant storms in the area somehow…make Robby feel better. What isn't comforting is that newcomers to the town have either been vanishing or committing suicide for the last ten years. Will the Russell's stay in Clark's Harbor be short lived?
Cry for the Strangers doesn't add much particularly new to the TV horror genre, and some of its motivations are unclear even with a 97 minute running time; having said that, there are some genuinely unsettling moments that definitely make it worth a look, with a pedigree that's hard to dismiss.
Writer J.D. Feigelson wrote the previous year's amazing Dark Night of the Scarecrow (the subject of my inaugural Tube, located here), and while it doesn't quite tap into the delicious fear oozing from every pore of that one, Feigelson is able to imbue a strong sense of location here as he did with his previous effort; whereas the towering cornfields of Scarecrow act as a malevolent sentinel, the sea and sand of Cry are always looming and connected to a greater force, an elemental danger tied somehow into the mythology of the Native Americans. This is where the screenplay falters a bit; I haven't read the John Saul novel on which it's based, but I can only assume that there is a deeper connection with the tribe beyond not being kind to outside forces. Regardless, Feigelson, as he did with Scarecrow, stays away from the melodramatic side of the street, instead grounding his screenplay with a semblance of reality. (I mean, as close as a story of vengeance seeking "dream dancers" will allow.)
In the horror world, director Peter Medak had already hit a home run with The Changeling (1980), a haunted house film with George C. Scott, filled with a quiet dread and foreboding atmosphere. Medak is able to find that vibe here too; the prologue with the adolescent boy and his grandparents is truly chilling, and cinematographer Frank Stanley (Magnum Force) opens up his lenses and shoots Cry as he would a feature, giving certain scenes and scares a big budget feel that belies its small screen surroundings.
In regards to the cast, Pickett is engaging, and where one stands on Duffy falls to individual taste (to be fair, the beard does slightly de-bland his presence). This leaves veteran character actors like Pressman, Keith, and Jeff Corey (True Grit) as the town doomsayer to lay out the exposition and provide some local flavor, which they all splendidly do.
It's always fascinating to see how a director adapts from one medium to another, and certainly Medak has proven himself at the theatre and on the tube especially when it comes to horror; he's helmed not only an installment of Masters of Horror ("The Washingtonians"), but also two episodes of Hannibal. Cry for the Strangers may not hold the prestige of the former, or attain the glossy phantasmal heights of the latter, but it does have Brian Keith bare chested and screaming on a beach. Sometimes it's the small pleasures that pull you through.
The post It Came From The Tube: CRY FOR THE STRANGERS (1982) appeared first on Daily Dead.
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