October 2010 staked the fifth consecutive year that the Terror Film Festival spread its wings of beauty and delight upon the city of Philadelphia, PA, however, this year was limited to three days of gross, gory and gruesome films to tease and tantalize the minds of the horror fans and cinema audiences respectively.

As a for myself, the journalist that has been allowed and able to cover this wonderful festival in the city I call my home, it has been a whirlwind of fun and exposure to so many great films, and meeting filmmakers that have graced both the festival and city with their presence. The Terror Film Festival never has back away from the independent circuit, rather doing all it can with their website to promote all the films submitted to the festival, whether selected or not, it never mattered. As for the filmmakers who have films selected, unlike any other festival, as many have stated throughout the years reminds them of a welcomed family bonding experience. The festival personnel present them, the filmmakers and screenwriters, with humbling respect for their talents. The hosts of the festival are the legendary Princess Horror and her henchman, Claw, and their natural talents shined magnificently each day.

The Festival is what the Oscars should be, without the focus on egos, rather letting the talent be equal, and present their films on the screen, allowing them each to have the spotlight, and the organizers of this event do just that, with no problems. There is no usage of velvet ropes and VIP treatments the fans and the filmmakers are able to mingle and share discussions and questions about their craft and films.

Princess Horror and the Terror Film Festival showed no rust, and no letting down to the fans and filmmakers, rather they sparkled and dance around like a knife-wielding maniac high on bloodlust, terrorizing the patrons at the gothic Ethnical Society Building. So without further delay, let’s see the selected films for this year’s article, out of 37 films only so many are included, and the body count… please.

Thursday, October 21, 2010

As customary, the festival has one film that gets the acclaimed and fame of being the ‘One’ that opens each short film segment of the fest, providing it with eight opportunities to tantalize the audiences. This year it was the wickedly delightful film Stranger Danger, which definitely will put all child molesters from the most wanted lists to the endangered species in a heartbeat, thanks to director Misha Collins. This film gain momentum each time it played, even though at only three minutes in length, there was storytelling skill and intrigue. The child actress that eats up the screen and puts down the stalker, is none other than Chelsey Valentine, with a song “Kinfolk” by Max Avery Lichtenstein draws the audience to expose their true desires, which is claps and cheers! The best way to describe this film is with the famous quote ‘Good things come in small packages’ and my advice to you, is open them carefully.

The segment of the shorts called, Thumping Shorts, featuring two standouts that are completely different from each other, in every aspect except for one, human nature. First, was the title, Fetish that grabs one’s imagination, then finding out who headlines this short film, Joan Collins? Joan Collins graces across this short, with passion and desire, as she, portrays a Hollywood sex symbol with fleeting fame making a play for a comeback in the standardized world of late night television, with a quirky host, played by Charles Casillo. Collins represented herself with dedication to her acting talents and her intense work with long hours on this dark comedy film. The first half of the short, from Matthew Pellowski, presents the set-up for the second half, mixing odd comedy and a sad fragility cause from both pressures of the flamboyant style in Hollywood and constant attack from the paparazzi that seem more like criminals and perhaps borderline terroristic attacks than journalists. She continues throughout the film to convey vulnerability, overcoming that with a false wall, built with drugs and alcohol, to give her character a defense against the harshness of Hollywood and countless critics. The second half of the film showcases Casillo’s acting talents as a mysterious host, and a fine collector of all the golden elements of Hollywood, the legendary status symbols, in new and interesting ways. In this portion, Collins allows her character to lose her walls of defense and exposing her spiral downward from the golden heights of notoriety into the unknowing depths of this fetish scene. In his collection, the older stars never truly fade away they live on and are loved and gazed with a secret lust, for the lesson is one person’s art is another person’s fetish. The second film is entitled, One Man and His Dog, a crazy tale that has a moralistic question for us, how would we treat Jesus when he returns for a visit as an alien? Now, let that question soak in, and then watch this film. What are some of the aspects that you will discover; well it is a sci-fi comedy with twisted humor, and a surprising revelation at the end of the film. Director Jonathan Hopkins, who served as the film’s writer, too; presents this short film with this premise, if an alien visited earth what form would it take if possible, and who possibly could be his first contact. Our friendly alien chooses the image of Jesus, one that most individuals praise and/ or corrupt, mistake – perhaps – however a highly advance species should be able to overcome this simple problem from the irrational and often bizarre behavior of the human race. Hopkins hints at the John Carpenter’s Starman film, with subtle references with regard to the Alien Jesus, played by Brian Milliagan, and involving the police. The best line – is from Nicholas Moss character, Police Officer – “Christ! I found him!” As for the second part of this plot, the first contact, how about a criminal with a noisy doggy in the back of his van, simple, things not never what they seem especially at this festival.

Following a short break, the crowd grew larger with both filmmakers and fans, for the second program of the evening, entitled Thirsty Shorts, and from here, I selected another two films. As before, Stranger Danger would cast itself upon the screen right after the Terror Film Festival’s own trailer, and greet the audience some new and other returning with a warm inviting caress and a sly smile to the delights that awaited them all. Jacob and Death featured the return of David Updike and Kevin Corcoran to the TFF, Kevin has a perfect score, all four of his short films have shown at the fest. Jacob, played by Kevin Resnick, does an excellent job, in this dark comedy, portraying a man who has fallen in almost every bottomless pothole covering the roads of the country. At times, he reflects of mistakes and fate, are common in today’s world – divorced, debt, dead-end job, what left? Death, however, in Death’s defense with times being the way they are, everyone wants to die, and Death wants one to work harder and put forth more dedication to the act and journey of dying and to be dead. Jacob tries repeatedly to do the job, even with a letter to Death stating ‘qualified to be dead’ however, Death does a funny interviewing style overflowing with frustration, ordering Jacob to try again. This tale has a message buried with itself and one be prepared to take the journey past an amusing Bible Lady (Tenley Bank, taking the honors for Best Supporting Actress) and an enlighten boy who might be the one that has journeyed before and know the path, shall you come forth and follow?

The Familiar is a cross between obsessions and choices versus a boss and the treatment of an employee, while wrapped up in a comedy vampire film, which is not over the top. A misinformed vampire fan becomes the personal assistant to a real Vampire, is the setup for the plot, but wait there is more to this story. The storyline involves one vampire horror obsessed college student named Sam (Torrance Coombs) who presented with a glorious opportunity to be Simon (Paul Hubbard) – a 400-year-old Vampire’s assistant or a familiar. Sam faced soon with hard slaps of reality as his dream job has a few drawbacks and filled with endless years of mind numbing chores. His menial disgusting tasks give little back, from the disposal of bodies to fetching more meals to handling finances to the repulsive task of bathing a his boss. His job begins to become confining as this is for a lifetime to repeats, with no chance of ever becoming a real Vampire (a dirty little secret of the business). Although previous horror comedies such as Love at First Bite (1979) and Dracula: Dead and Loving It (1995) (starring the late and great Leslie Nelson) have had a worthless ‘Renfield’ assisting them, Sam is the dutiful one, who is given nothing but troubles from his owner regardless of what him does to help him exist. Writer and first-time Director Kody Zimmermann grants us this unique film that burned up the festival circuit in 2010 with numerous nominations and wins with his 22 minutes of different and yet enjoyable slant in this current climate of vampire cinematic rage with such films as Twilight. His film goes in the opposite direction from the endless remakes and is an exciting venture yet still pays to the legendary homage of Hammer Studios and shows the classic Nosferatu (1992) that Sam watches with memorized eyes. Kody’s film is an exorcism of his own demons, that he discovered when spending time as an Hollywood actor’s assistant with sleepless nights, insane requests and ego trips all showing the shallow recesses of humanity while presenting a modern day Renfield’s point of view of countless unpaid and unappreciated servitude. The Familiar features the gallows humor with that of the workplace while showing an assistants job bites them into a dark reality and sucks them dry of their life force. Some critics and fans of the film call for a full-length feature, however I disagree, and demand that it becomes a television series. The best line of the film is, “I wanted to meet Dracula and I ended up serving Danny Bonaduce with fangs”.

As the house lights rose, the claps and cheers flowed proudly for the Princess Horror whom invited the filmmakers whose films just to appear for a Q&A session, which bought David Updike and Kevin Corcoran to the stage. This is a common theme, for those who do not know, this session follows the end of the scheduled segments. As the filmmakers stand there with nervous energy, it is duly noted that the audience and filmmakers are unsure what to say or ask, nevertheless a shouted question from the back row usually gets everything free flowing through the first session, setting the tone for rest of the festival. It is not uncommon for filmmakers and their film crew of short films not to appear, especially if they are not local, which is a shame, as they are missing the opportunity to promote their craft, themselves, and especially their film.

After another break, everyone return, calmly and yet eager for what was to be the first of two feature films, the first – Mold! This film really makes one long for the eighties, as there is no mistaking the style or the attitude of the film with its many levels of reference previous horror films and even some tidbits of history. Director Neil Meschino’s Mold, from Mentally Ill Films (what a name), is a disgusting yet unique throwback to the 1980s filmmaking with an exquisite messy gorefest in the sci-fi genre that satisfies all horror fans. Set in 1984, during President Ronald Reagan’s war on drugs media blitz, do-gooders create a weapon to wipe of the cocaine fields, however during the demonstration to both the military and a political something goes very wrong. Mold itself proves toxic to inhale it, and blackest look repulses anyone; however, Neil’s creation takes a greenish color and transforms it into a deadly contagion to humans – through flesh eating portions. This gross out film keeps the audience entertained with a skillful tongue in cheek capturing the spirit of fun for the audience, his crew, and the actors. Neil’s splatter punk roller coaster ride has no letdowns and launches into endless spirals at a breakneck speed with the help of SFX Jeremy Selenfriend, creating only practical effects. Neil, who won Best Director award, stated repeatedly that “he’s not a fan of CGI, it is the downfall of storytelling”, and that sentiment shows on the oozing set floor, walls, and ceiling of this film. The actors each do a standout performance in placing themselves in the believable mindset of a underground military testing site bombarded with a massive buffet of murder, torture, mutilation, melting eyes, oozing organs, collapsing heads, vomit, partial nudity, blood and sheer violence. Delightful! The two actors that really turn up the b-movie charm to a hilarious level is none other than Jim Murphy (as the Congressmen Stu Blankenship) and Edward X. Young (as Colonel) the latter actor is no stranger to the horror genre having starred in 14 films. Lastly, the formula for this film is a mixture of Re-Animator (1985) and Evil Dead (1981), with a heavy dose of the Creepshow (1982) segment called, The Lonesome Death of Jordy Verrill, a dash of out doing the Alien (1979) stomach-exploding scene, and final ingredients of Andromeda Strain (1971) and Warning Sign (1985). Now stir in thrash metal from the 1980s with lots of references to other films from that decade and you have Mold!

At 9:30pm, Dawning took to the screen to raise the tension to an unbearable point and have a masterpiece of horror that is unlike many low budget filmmakers, to mirror techniques by Hitchcock. The Dawning while providing a simple setup of a strained family in a cabin in the woods in the blackest of nights has a visit from a stranger who brings a warning, however here lays the complex change of the film as tension unfolds. Director and writer Gregg Holtgrewe’s horror film evoke nervousness with unseen presence, all with a tiny near nothing budget. He approached this film carefully setting the traps of a psychological warfare with the cast, audience and even the genre, itself. He uses every technique to exact the proper measure of paranoia, fear, isolationism to affect the characters an audience with equal success. Gregg exploits two major set pieces, the woods and the cabin. The Woods played themselves, an division of vastness, and natural consuming the sets, immovable and take direction with no complaints, imposing a fear, control and intimidation like that of a U.S. Marine drill sergeant, they manipulate scenes with paranoia and unionize with darkness. Meanwhile the Cabin plays with a combination of Alfred Hitchcock’s Lifeboat (1944), with the ocean substituted for the woods, with pain, tempers, anger and rage leading to a growing sense of doom. Dawning creates no cheap scares as it provides an immense amount of atmosphere and tension, creating a blend of the horror and drama genres, with real characters that the audience worry what happens to them.

The actors, especially Daniel Jay Salmen, never break the dreaded fourth wall of acting, yet each treating their performances as part of stage production, creating a believable state to the audience using fear, for the monster’s presence on the screen. The technique is an exquisite lesson in filmmaking concerning both the director’s and the actors’ abilities to show nothing to audience except fear similar to the British version of The Uninvited (1944). Oliver Stone’s pattern of actor manipulation, of placing his actors, from the World Trade Center (2006), in complete isolation, allowing their minds to feed upon themselves, finely mirrored in Gregg’s film. Gregg controls his actors within the tight confines of the Cabin, and the narrow halls, to bring more paranoia into the Dawning, by making them ask themselves, what is real and what is believable, the answers are found in the audience’s reaction, that last with them even after they leave the theater or their couches. Lastly, merely for those who crave trivia data, this was not the first film to star at the festival being set in the Wisconsin wilderness, previous film – Backwoods Massacre (2007). In addition, this film is reminiscent of first, Apollo 13 (1995), a drama, when concerning being in the tight confines of the capsule to the family trapped in the cabin and secondly, to The Mist (2007), a horror film, as individuals trapped in one location, with rampant paranoia. Finally, for the literary crowd this film had the wonderful elements that presented themselves in the book, The Watchers by the author Dean Knootz.

Even though, the first night of the festival ended with an explosive emotional tension filled film, two nights remained, with filmmakers and fans, alike leaving with passion and energy for their films and the horror genre. However, some left with feeling to take restock of their talents, direction and refocus that into a tighter and more laser directed. There are no words to describe the feeling of watching artists of all genres, avenues, and backgrounds conversing at a feverish pace then at an Irish bar, for the after party event.

Friday, October 22, 2010

The stunning Princess Horror and the impressive Claw return for a second evening in hosting a thrilling Terror Film Festival with more films and filmmakers and honoring their talents of shocking, stunning and tantalizing the audience. The evening marked with three short segments and one feature film each with fascinating behaviors, which range from the bizarre to the mysterious. The first segment entitled, Fractured Shorts, had two standout films, one that aroused the hard-core horror fans with laughter and second film might actually occur right now, as you read this words.

Gitchy directed by Thomas Norman and Lenny Rivera had the audience laughing with pleasure at a supernatural romp that had a slight erotic feel to it while never surpassing the b-movie status it acclaimed for itself. The story is of a fetish killing boogeyman clown – but not like a John Wayne Gacy, Gitchy kills with laughter – actually tickles one to death. Watching this film, one must abandon all seriousness and enter into silliness; however, some in the audience afterward referred to the film as if it was visual storytelling of Pink Floyd’s Brain Damage. Horror fans and movies have always enjoyed evil clowns, as some people are afraid of them, others find them creatively sinister, and with Gitchy (Greg Gale) on the prowl, your heart may not survive his ticklish ways. The film works, employing just the right amount twisted deviant behavior, creating an original storyline, with no hints of a remake or even a rip-off, providing a new ways to spark an audience’s reaction. Just a teasing element for you to consider on your next supermarket visit, this film offers a new way to fest on cheese wiz – how – see this film all you sickos. Lastly, there is a modest reference to A Nightmare on Elm Street (1984) concerning the topic of revenge and parents. Nevertheless, this film prompts one to consider if it is possible to tickle someone to death, the answer leads to conjecture over the topic from many medical professionals. However, many also refer to the late Dr. Joost Abraham Maurits Meerloo a doctor of medicine and a psychoanalyst who wrote a monograph on laughter.

The second film, Foreclosed, takes a sad commonplace aspect in today’s society along with the horror of it happening to thousands of people and narrows it down to one, providing gruesome sights, that director Jeff Bellantine heightens to another level of societal horror. His film seems as if it is breathing, as giving birth to thoughts of the so-called empty homes containing sorrow, sadness, and a vengeful anger. The screenplay from Mara Lesemann, added a human side that lacks sometimes in the horror film genre, which strengthen this short film allowing it to create depth in the viewers mind. The film elegantly presents Mark Moyer (Carl Fiorletta) and his wife who is dying, with medical bills burying them; he soon mourns for his wife and the loss of his home. Meanwhile in opposition Carl Tierney (Gary Gustin), a banker with indifferent heart, doing the task assigned to him in life, a modern day Grim Reaper, holding the list of lost homes. Also, added to the mix, is his Jason Tierney (Christopher Alan Wearver) as a believable student, bullied, in a far too common way, his only solution is give into his suppressors, and grant them their wishes – a house for them to use for the uncaring pleasures and self-indulgences. However, the house of their choosing is their undoing, for Mark it is still his home, and not just another house left to willful vandalism. Foreclosed, contains numerous catalysts making it a meaningful horror movie, while introducing a have versus have-not imagery by showing the Banker’s home as luxury home and Mark’s as tiny pathetic sickly home. The Hitchcock elements lurk under the surface of Jeff’s film, and in part to Mara’s screenplay, adding a balance attack of suspense and surprise for this short film, making it one that needs full feature film to explore more of these elements in this setting.

Following another short break and Q&A session, Claw did a giveaway of multiple items of swag, to the audience members answering the simplest of questions about the festival, films and trivial items. The next segment began, containing two standout short films, first up Daniel, from director Alain Furcaig, a twisted tale for the alternative horror fans. Alain dealt with a controversial topic in his film a man confused with his own identity and the numerous vicious killing of mainly gay individuals, while driving a taxicab. Some of the audience commented that film seemed eerily similar to both Dressed to Kill (1980) and Psycho (1960), however, with a closer viewing this film is rather different from those two mentioned films. Those killers had clearly defined split female personalities, which allowed for their psychopathic misdeeds, while, Daniel, knowing struggles to suppress his cross-dressing habits and an impulse to kill as a form of deeply rooted backlash. His victims make the fatal mistake of questioning his sexuality, as society preconceives to question what is normal and what is not normal. Daniel meanwhile conflicted with impulses and thoughts of cross-dressing versus being gay in straight world, resulting in extreme emotional release, thereby stabbing individuals in the groin. Alain’s film has a taste of the famous Taxicab Confessions television series, and Criminal Minds’ episode “In Heat”, resulted with a Terror Film Festival’s Claw Award for Best Horror Short Film, and many seek his next production. Lastly, one must mentioned Elliot Eustis excellently portrayed, Daniel, with the quality reminiscent of a Norman Bates’ meekness and the intensity of Mark Harmon’s Ted Bundy, making an explosive character, on screen for Alain to capture it correctly.

Meanwhile, Unit 30, by returning filmmaker Taryn Hough, marked the second standout film of this segment. This film marked her third appearance at the festival; she starred in the award winning film Dead Creek (2009) from the talented director Mike Turner, and prior to that as the director of Night Terrors (2007). She presents a crafty and blindly comedic tale sincerely delivered to you with a sinister edge for all current and future renters. The synopsis of Taryn’s creation ha her naïve character, Mulder, which she portrayed convincing well, obsessed with finding the elusive and mysterious Unit 30, in her community. He roommate, Scully (Sandra McCurdy), maintains a more focused demeanor with a nonsense business attitude. These character names in this production carry no relation to those from the famed X-Files television show. The underlying charging current within Unit 30, deals with the old taboo, regarding the negativity surrounding the word, ‘renter’. Renters, in both the financial markets of society and even to previous generations, find them to halfway or incomplete, a pattern of unfinished business, similar to Mulder a woman who has been moved into her place for a while and still with unpacked boxes lying about her place. Taryn defines renters as a, “dirty word.” However, Unit 30 by no means is dirty, as it claimed the Best Thriller Short Film Claw Award. Their community, similar to many real life ones all over the world have an assortment of creepy and quirky neighbors, all with a common position, disliking the renter culture, especially from the Real Estate Agent (Eric Pirooz). Additionally, starring in this film is Jaclyn Carmichael, as a loveable character of the Old Woman, whom was also in Abraham’s Boys (2009) which appeared at this same festival, a year ago. The surprise ending, feels if it echoes back to the classic television series, Tales from the Darkside, for it is unlike anything one expect for this short.

Then after another short break, the next short segment, Fibrillator Shorts, opened upon the screen for everyone’s delight and entertain, with first By Her Hand, She Draws You Down from director Anthony G. Sumner and co-producer Alan Rowe Kelly, whose names are synonymous with the horror genre and caring about the audience. This film comes from author Douglas Smith’s story of the same name and breathes in Anthony’s screenplay, transforming into a new variation of the vampire genre. Anthony’s creation contains an incredible haunting feeling, the escapes the screen like a hypnotic trance, assisted from Gene Hodsdon eerie music and filming in November at the desolate beachside locations in the historic New Jersey shore. The bloodsucking tale, involves Cath, (Zoe Daelman Chlanda – who won Best Actress) who feminine yet withdrawn style blends with her partner Joe (Jerry Murdock) worrisome anxiety and moral crisis of enduring love. Cath uses her hand drawn portraits to help her suck out a life force from their mouths with other worldly assistance. A moral comprise between Cath and Joe, details that no victim may have children, yet she takes more liberties, pushing the line in their entwined lives, blurring the roles of who controls whom, and the need to feed. The mouth holds the key for this artist, for it has the power to do so much, for example, the painting of Leonardo da Vinci’s Mona Lisa, conveys controversy with her mouth, while others argue that the eyes hold the power. You decide, when viewing this tale of love, commitment and survival.

Tinglewood, sets up camp, (as the second film) with a family, deep in the real Tinglewood Forest in Western Australia, while an unknown force leads them into a violent battle for survival through the night. The film centers on Sam (Nathan Coenen) and his longstanding problems with his father, let alone with the rest of his family, setting the stage for an awkward evening with many uninvited guests. However, one wonders who truly are the uninvited guests, the creatures or the family. This short film differs from the feature film, Dawning, with both less paranoia and more with the usage of big effects from CGI. Director Alexander von Hofmann’s film lasts only sixteen minutes yet with inspiration from Steven Spielberg and James Cameron, and with visual effects from an up and coming talented Wil Manning creating life-like quality creatures to consume their time on screen with delightful pleasure. Alexander, like Gregg Holtgrewe (director of Dawning), shared a common element in their films, the woods at night are extremely scary, as sounds replace sight, and the sounds are heighten to unbearable levels. The sounds accompany the terror in this short, by having the darkness breathe and driving the actors and the creatures with the same balance forced. For all adventure travelers, a warning to those who enjoy going off the beaten path into the woods, you enter their world with your limited senses; your survival depends on your ability to fight through sound driven terror and PITCH BLACK blindness.

Fractured Friday – 9:15 PM – Feature Film Recreator

Gregory Orr, a talented director and writer with a varied career within the field of filmmaking, presented his sci-fi adventure film, Recreator, as the evening’s showcase feature with a psychological terror edge. His film starts with a common setup in horror films, with a camping trip in the woods and a remote cabin, with three teens, suddenly everything changes gear. The teens accidentally trigger a deadly experiment in a secret lab that creates their clones, having them face the consequences of a real life version of Survivor, with a very quicken tempo within the film. Their doubles are stronger, faster, better, and smarter, with no imperfections. Some critics and fans liken this film to Invasion of the Body Snatchers (1956), yet these teen improvements still have emotions. Gregory’s cast included very talented young actors, such as Tracy (Stella Marve, whom energize the screen with her appearance, and whom most recently starred in the horror film, My Super Psycho Sweet 16: Part 2 (2010)). Alex Nifong, an upcoming actor, able to show both strength and command of the screen especially in vulnerable scenes as Craig and lastly, Jamal Mallory (Derek) in his motion picture debut, with each other these actors doing double duty as their doubles. The famous John de Lancie also stars in this film (most noted for his role as Q, on the television series, Star Trek: The Next Generation).

Greg’s film and his style translated to telling a story through images, similar to silent films, which still occurred with the whirlwind filming in twenty-six days, with a top-notched crew, all in the Adirondacks. The studio look of this film is quite impressive because of the modest budget, assistant by cinematographer David Tumblety, and working on his first sci-fi production. In addition, producer Lynn Appelle an Academy Award winner, who started her career with, Basket Case 3: The Progeny (1992), lent her talents to supporting Recreator and showing the appeal of the genre as it was her first sci-fi film; too. Instead of following the typical horror genre’s teenage endless bloodbath, Recreator, proceeds with a suspenseful production, mixed with humor. Therefore, results in a commercial success directed first towards the Twilight series crowd, yet still able to hold adult’s attention, especially with the love story twist, that one never sees coming. Greg (who earned the Best Screenplay award) made this a important aspect of his film as he dislikes ‘dismemberment films’, i.e. the splatters 80s, however he made his start as a production assistant on the sci-fi film Battle Beyond the Stars and as an electrician on the b-movie The Unseen, both released in 1980. He proves again, that there are many paths in filmmaking to achieve greatness, such that he has done by working on The Abyss (1989) and becoming a famed documentarian. Recreator holds some similarities to The Twilight Zone television series episode, “The Trade Ins” nonetheless it does not measure up with the same qualities as this film. Also for those who desire a bit of trivia, the producers of The Clones (1973) state the word ‘clones’ entered into the American vocabulary with this film. Lastly, film fans, one should hurry to see this film, cause in Greg’s secret lab a Recreator 2 is highly planned to be an incredible creation that is stronger, faster and more intense, than this film.

After the film ended a fun, lengthy and intense session of Q&A, found Greg in the limelight, yet handled like a seasoned pro. The questions ranged from location to filming and editing questions to conceptual essence of the Recreator. As the last question ended, and the last photo clicked off, finishing the barrage of flashes, of this man and his genius, everyone hurried out and to the evenings after party event, as before fans and filmmakers were invited, no velvet ropes and no bodyguards, their egos remained in their hotel rooms. The upbeat swarmed over each person, not just for being there but also having the opportunity to share thoughts, concepts, interpretations, and just admiration for each other’s craft, regardless of position or statue. Filmmakers and fans gathered for photos, never once seeking monies for their time. This festival only in their second day had garnished both respect and love from all in attendance, and even from other patrons at the bar, Oh Seas!

Saturday, October 23, 2010

Sadly, the day, marked the end of the festival, however there is no depress state present, rather an exquisite day delights ahead, from the films, filmmakers and of course the live award show and the bloodthirsty fun from it and Princess Horror. The festival always plans for a long day of excitement, hence initiating a starting time of 1pm allowing time for more short films to terrorize the minds of the fans and filmmakers.

The sole standout film from the first of three short film programs of the day was none other than The Black Cat, found strategically in the Splatter Short segment. Director and writer Carl Caprino like many independent filmmakers wore many hats for his film, The Black Cat, such as art direction and special effects. However, none of this limited the vision of his production, setting off a ton of visual and makeup effects, earning him Best Special Effects award. His film bears no connection to Edgar Allen Poe’s Black Cat, except to state a beautiful feline does play a major part in more ways than the obvious. Most readers and readers in the horror genre know of superstitions about black cats, and their lore varies throughout the world, yet this cat, knows quite a bit about many things. For example, this precious creature comes for visit or perhaps destiny called it home, to see a cruel insensitive man, Lance Zurek (Charlie Walden) who does a fine job of wanting the audience to dislike him immensely. Charlie rudely treats children on Halloween night with vicious contempt. Carl’s film involves an interesting plot, a cat with a richly curiosity and a man with an obscene past, follow with a slippery descent into madness after he proclaims his sanity. Charlie’s shifting sanity merely only one of his problems the guilt and the misery feast upon his soul for the loss of his wife, Holly Walden (Julie Brown). The only film that holds similarities to The Black Cat is that creation from the legendary horror author, Stephen King’s Cat’s Eye, yet never truly touching Carl’s fresh originality.

The next segment carefully spaced out, in the day, showing the festival’s experience and professionalism, not rush the day, rather allowing treating the entire event as a child. The first day, it crawl, the second day, the child walked and now this child runs with fleeting dreams and explosive passion, all while impatient excitement builds for the award show as it is like Christmas morning or in this arena, Halloween Night! There were two films in the Spewing Shorts segment that one must note, first Walk Away, and then later, ATTACKAZOIDS, DEPLOY!

Walk Away (2009) feels like an episode of What Would You Do, yet that television show that airs for an hour, hold nothing to this thriller, which lasts merely fifteen minutes on screen and exists in one’s mind for days later. All thanks to the writer and director, Eddie Torres smooth and slick thriller and his first production. The plot, a passerby hears sounds of a commotion and sees a woman struggling for survival he must choose to either intervene or dial 911 and hope the authorities do anything. Although it seems like a common setup of other films, fret not, for Eddie’s impressive talent of using elements in Alfred Hitchcock’s Frenzy. Rebecca Lovett shows why she continues to excel in the acting field, for her believability in characters with depth in even this short film. Not only does Walk Away entertain the audience for a solid fifteen minutes but also showcases cinematographer Dominick Sivilli and composer William Archiello, winner for Best Original Music Theme Song (both of these gentlemen’s talents also sweep across the screen in the evening’s feature film Vindication). Additionally, his film taps into the social psychological position of the ‘by-stander effect’ by having a Good Samaritan versus a villain, and complete is the hero or someone else can deal with it. Eddie, seems ready to expand this storyline much further and it needs to happen for his skills of suspense and surprise are on par with many Hollywood directors, and his film captures intrigue like that of the Fugitive television series and the motion picture.

Meanwhile, the second film, ATTACKAZOIDS, DEPLOY, a sci-fi delight (that earned Best Science Fiction Short Film), and a prequel to the original film ATTACKAZOIDS (2008), which also had the honor bestowed to it play at the Terror Film Festival, and garnish it with an incredible underground buzz magnet on the internet and at many festivals. Director Brian Lonano’s film holds no direct connection to the first ATTACKAZOIDS film, except concerning robot carnage rather it takes flight with an impressive perfect pitched propaganda newsreel. The newsreel harkened back to those of homemakers doing their part to support the war, based from real life in American in World War II (WW II). For example, magazines carried many tips for homemakers for thrifty purchasing, dealing with rationing, and actually dealing with the first elements of recycling. This marks the third time his enhanced storytelling graced across the silver screen, impressively capturing the audience’s attention each time. Some may recall his charmed Electrical Skeletal (2007), a filmed with homage elements to Ed Wood Jr. Two fine tidbits to point out, first Brian’s film is similar to Paul Verhoeven’s Starship Troopers’ (1997) ending sequence, however he excels past it, and secondly, narrator Jed Rowen, a noted b-movie actor of over 16 sci-fi and 36 horror films, sets a commanding tone for the film. In addition, this is the second film of Jed Rowen’s career to be at the festival, the first was the hilarious Werewolf in a Women’s Prison (2006). Lastly, one must point out the smart angle that occurs at the end of ATTACKAZOIDS, DEPLOY allowing many new ideas to take grasp and evolve, to towering heights of entertainment.

As the afternoon grew onward, the crowds increased in size, thanks in part to a multi-page article in The Philadelphia Inquirer, creating a powerful audience in attendance, filled with much discussion and allowing them unbridled access to the meet any filmmaker without a problem or concern. The newest visitors and first time attendees, at the festival were like, a cat thrust onto an ice rink as two teams vied for the Stanley Champ. The Terror Film Festival, namely Princess Horror and Claw, welcome everyone equally without bias, and encouraging them to enjoy themselves to the fullest.

Finally the last short film program of the day and the festival had come to fore wishing, and packaged within, Slaughter Shorts, were two of the most outrageous short films to overwhelm the audience, Hypochondriac and Night of the Punks. The titles alone had the audience members shaking their heads in worrisome delight for what the filmmakers had in store for them.

Hypochondriac is without a doubt a hilarious horror romp, with a campy style, at the finest level, especially for this festival, the audience, and the filmmakers. Insanity and black comedy combine for a natural high swirling in director Pete Jacelone’s film of creating not highbrow drama, but rather a numerous gross scenes, with eccentric and colorful characters, making for a memorable film. This short segment film enrolls itself in the larger production Psycho Street (2011). Pete’s film has Dr. Combs (Marv Blauvelt) transferring from clean and proper Los Angeles office to takeover practice in rural town with some of the oddest and craziest folks possible, found in a fellow colleague Dr. Fixx’s (Carl Burrows) office. Just to tease a tad, Dr. Anthony Fixx’s office is quite colorful, with posters of a young woman encouraging beer pong and he enjoys lewd comments and drinking, reminds of another character – perhaps the infamous Dr. Gregory House (Hugh Laurie). The patients of this practice have issues with bizarre rashes, nails in ears, and other things stuck in certain places, and least not forget crazy alien births. Dr. Combs strives to survive the crazy cases, and his obvious hypochondria mannerisms in these situations. In addition, to the doctors, Nurse Amber Love Joy (Raine Brown) fills out the reception desk quite well, in an interesting nurse’s outfit. Pete implores the usage of the customary innuendo made famous by the James Bond films, with regard to Amber’s last name. Lastly, Alan Rowe Kelly’s fantastic performance, as the Charity Betencourt, who adheres to the rule, ‘heal thy self’ almost steal the movie, by portraying an original interesting character. There is only one other character that briefly mirrors Charity, and that character exists from the British comedy Keeping Up Appearances’ Hyacinth Bucket (Patricia Routledge). Alan graced the screen and stage in 2009 at the festival, after winning Best Actor for A Far Cry from Home a segment film in the Gallery of Fear (2009). This talented cast and crew’s experience stretches over fifty plus horror films mostly b-movie subgenre but give an exciting performance. Many of the actors herein are part of the cast in Don’t Look in the Basement (2011), also in the evenings feature film, Vindication.

Yet there is one final short film to discuss before launching into the feature film. Many bands experience nightmarish gigs and struggle with battle of the bands formats, and have killer performances, however, the punk band, The Brain Deads, endure a dead venue, a creepy promoter with crazed audience of demonized rocker fans all bloodthirsty for the band. Director Dan Riesser, a fan of horror films, provides his Night of the Punks to show that sometimes there is a lot more than just selling your soul to the devil to make the big time. One must wonder what deviant curses lie at metal/ punk venues across the land to consume fans and bands deriding them of their dreams. However, this film’s band hit the wall, by their second song, with the demons from hell looking for human flesh to consume with astonishing cymbal death scene ever. A cascade of good gore, grind-house and cartoonish –like gore effects made the film feel like a Cannibal Corpse album cover came to life. A major dose of punk rock fills the film, with plenty of fun from the blood and prosthetics of the practical effects another backlash to CGI to continue from this director, just like his fellow filmmakers Gregg Holtgrewe and Neil Meschino. Dan used a ton of blood over six days and nights to cover this eighteen-minute film filled with sharp dialogue and made sure, if the frights lacked then the delights of laughter existed. The music ratcheted up with help from Murderland (similar to The Misfits), headed by singer and actor Mike Kinshella, starring in his film debut. Halfway through this film, Dan summons the legendary EC Comics to come to life and adding more carnage, required nudity, laughs and sacrificing punks for the devil. Parents always warned that punk music caused brain damage, yet the mosh pit is far more dangerous. Dan’s film propels itself on a collision course with a 1980s throwback horror film mixing b-movie requirements and humor. There are strong elements suggesting a Romero influence, and from Return of the Living Dead (1985) and a layered covering from both Lamberto Bava’s Demons (1985) and Night of the Demons (1988). Night of the Punks flanks the screen with veteran actors John Bobek, G. Larry Butler, and Luke Edwards from Jeepers Creepers II (2003) fame; also marking his film debut is Nick Mundy. Dan’s only drawback, like many films at this festival and many others, is solely the lacking funds, but if Hollywood craves throwback horror and originality then look no further, Dan Riesser’s films will leave audience dying to feast on more enjoyment from him.

Saturday – 6:15PM Feature Film – Vindication

Vindication stood alone, as the final feature film of the night and the festival. The film supported by a stellar cast and an outstanding crew, accompanied a visual-like score developed this beautiful a haunting emotional driven terror, from director, cinematographer and writer Bart Mastronardi. Bart’s film brings a thinking person horror into this complicated and coming of age story of Nicholas (Keith Fraser) a trouble teen with a series of painful incidents occurring in his life. Sadly, starting with his mother’s death with his birth or perhaps he killed her from the womb, Bart leaves the interpretation to the audience to decide, as he would do for most of the film. Keith went deep within himself as actor, which is extremely uncommon in independent horror films, let alone in the genre itself. Yet, Keith shows Nick’s guilt, lack confidence, and flaccid threats while remaining lost within him. Bart keeps pace however the first half of the film draws one in with the characters and their developments, perhaps too much for some viewers not used of bigger elements foretold in a horror film. Vindication provides the audience with a deeper spiritual sense without preaching, and gives passage to moments of understanding rather than just another horror film trying to scratch the surface. Nick’s hopeless leads to cutting followed by the pain and anguish then a suicide attempt, triggering a shift in the film and creating a monster versus slasher horrific movie. Bart and Keith worked closely together to reveal the inner self, shredding the physical form metaphorically showing that some people destined to be monsters. The failed suicide attempt erupts ballistic rampage driven by forces that born within his pain that overwhelms and possess him to exact vengeance finding those with guilt and teaching them powerful new lessons through his new sense of awareness, strength, power and justification. The film drives the audience to the edges of hell and then lifts us high, similar to a Greek tragedy a common element in horror film, with retribution and creating a journey in three stages, pain, understanding and acceptance. Nicholas’ touches causes pain similar to The Crow’s Eric Draven, however, unlike the Eric character, he does seek purely revenge for crimes done to him and his love, he rather seeks much more from his victims, exactly what – one must view the film.

Composer William Archiello, music truly begins with the second half of the film as the first portion contains ominous dialogue and the minimalist music, filling this very dark film; he slowly begins blending the music with almost simple brush strokes. The music continues to layer itself, as if death marched onto the set and stood in the shadows marking time. William’s style reflected and shattered at times, a poetic quality of his journey hauntingly emotional movie, never becoming more then the scenes needed from him. Bart’s provides the audience with a psychological horror thrill ride, and contains power, passion, and driven to have them imagine the gears of Nicholas mind as a precious timepiece, to carefully handle and have a strong sense of awareness. Nonetheless, Vindication holds treats for the blood hungry deviants with regard to the usage blood spurting and splattering. Bart introduced the audience to character development and explanatory to new levels within his film. As for those who seek to know what films if any are similar to this one, they need only imagine a traffic accident involving Hellraiser’s (1987) philosophy, the brutality of the original Friday the 13th (1980) and Jacob’s Ladder (1990), to understand what Vindication delivers onto the screen. One, must not omit the cast, with honorable mentions to Raine Brown and Zoe Daelman Chlanda, the two actors must share the limelight for a moment Alan Rowe Kelly and Jerry Murdock. Alan who portrayed Urbane, a seer, in what appears as his oddest role of his career, and with limited direction from Bart, still gave a incredible caliber performance, so much that it garnished him the award for Best Supporting Actor. Jerry’s intensity stayed fully with his character, as Nicholas’s father, who lashes cruelties at him for his failures and lack of becoming a ‘man’ also for his wife’s death. He and Keith Fraser tied for the Best Actor award. Lastly, Bart never completely missed a beat on the elements, capturing both the beauty and anguish in his first feature film, that won for Best Editing. He also never took the easy way out of filming a production which started in 2006, and rather went for the jugular for maximum impact, earning him the Best Director of Photography which for the first time in the festival history he tie with himself for the same award for the film By Her Hand, She Draws You Down.

The Claw Awards – 9PM, Ethnical Society Building

The room was set for the award show, welcoming in first fans and then filmmakers’ families and lastly the screenwriters and filmmakers themselves, including their cast and crewmembers filled the room. Each one of honored, for all the acclaim and attention, each hoping for a glorious win, a Claw Award. As tension grew in the room, nervousness swept over the filmmakers, as they waited for both Princess Horror and Claw to host the event. Again, as last year, they did a fun and exciting show, without egos and praised the filmmakers and the films. Princess Horror’s beauty radiated out and off the stage capturing the hearts from the nominated artists and all in attendance. Welcoming the winners to the stage and encouraging even the shyest artists to speak up and address, friends, families, and fellow filmmakers, with both pride and happiness, and to pose for those always, impressive award-winning poses. Two screenwriters took to the stages for their wins, Joe Randazzo and Jonathan Weichsel both expressed joy, excitement and overwhelming praise of the festival, Claw and Princess.

Claw, took a few moments to thank the entire staff of the Terror Film Festival Crew, and then pause to thank even me, a freelance journalist, which had a profound effect on myself, as it is a rarity if that to being singled out for a festival. However, what was more incredible was the rounding applause from the artists themselves if I did not extend thanks then I do so now. Nonetheless, this only reinforces the family atmosphere found at the Terror Film Festival. After the last award, Claw invited everyone to the after party event that would go on for many hours, with many photos, laughs, handshakes, hugs, smiles and plenty of entertainment. Many filmmakers, families, and fans came to party to enjoy their victory or just the taste this electricity still flowing as a tidal wave, sharing their future goals, success and accolades. If you seek to know more about this party, then come to next year’s festival.

This event, even with less days held, still had a standard to behold, and a standard that contains an Oscar and Sundance stellar showmanship from Princess Horror, Claw and their loyal staff. Many fans and first timers stated their enjoyment for the films and the professional of the staff, making feel as part of the event and even a larger part of a family of filmmakers and artists. The Terror Film Festival marked their fifth year, with over 1500 films submitted to the event and over 270 films shown in those years. The filmmakers traveled from as far away as Australia to France and as close as Philadelphia itself to attend this one event over the course of these five glorious and incredibly passionate years. This festival was the first to create a female persona, namely Princess Horror, now many horror festivals, have a female host, to some they are eye candy, however the Princess is much more than that, she is a graceful host that cares about the horror genre and the filmmakers. There is no better way to understand the love, passion and the admiration for this festival than by attending it in person, needless to state the Terror Film Festival has begun the march towards the next festival, and the filing deadlines are in full effect, will you attempt to submit your film. Furthermore, to all the horror fans that bombards message boards all over the internet complaining about the same tiresome horror from Hollywood venture to this event and shows your support for the filmmakers and the Terror Film Festival!