A Dark Song

Horror, Thriller
Beschikbaar voor VOD: 31 oktober 2017
Regie: Liam Gavin
Cast: Catherine Walker , Steve Oram (Sightseers)

Sophia huurt een afgelegen, aftands huis op het platteland en haalt een man op aan het station. Joseph Solomon. Een norse man. Een occultist. Ze wil dat Solomon een eeuwenoude geestenbezwering uitvoert. Om contact te leggen met haar vermoorde zoontje. Het verlangen verteert haar.

Het ritueel is potentieel slopend. Kan maanden duren.

Solomon omringt het huis met een cirkel van zout. Het is hun enige bescherming. Hoe erg het ook wordt, ze mogen de lijn niet overschrijden.

Maar Solomon ontdekt dat Sophia niet helemaal eerlijk is geweest...

Geprezen als een uitstekend voorbeeld van de new wave of horror (The Witch, The Babadook, Raw...), bewijst A Dark Song dat de dingen die je niet ziet nog altijd de bloedstollendste zijn. En dat minder meer is. Met twee hoofdrolspelers, één locatie en de gruwel die traag smeulend onder je vel kruipt, serveert regisseur Liam Gavin een meeslepende mix van karakterstudie en paranormale horror.

Geselecteerd voor de Internationale Competitie van het Brussels International Fantastic Film Festival 2017 en bekroond met een New Visions Award op het befaamde Sitges Festival en met twee awards op het Monster Fest 2016: Best Cinematography in a Feature Film en Best Score in a Feature Film.

  • The debut feature from writer/director Liam Gavin is a uniquely chilling piece of occult cinema. A two person film, held together with excellent performances and tons of atmosphere A DARK SONG isn't for everyone. It's a slow burn and those watching it will, like the leads, be in for a long trip but the payoff will be worth it.
  • A pitch black and confronting two-hander, A Dark Song challenges and excites with its uncompromising and original approach. That it is more a character study than a genre piece is what is most intriguing, blurring the lines between a psychological and hallucinatory thriller and a straight up, angels and demons, Dennis Wheatley-style horror with a final brain-melting ten minutes that is one of the finest surprises of the year. 8/10.
  • A Dark Song is an intense horror movie and a trip into Irish occultism. In his debut, Liam Gavin uses the genre to bring to surface a subject that most people find difficult to deal with: the loss of a son. Far above the average spooky movie, this feature disturbs and provokes.
  • This is very much a movie that feels like it has put in the time and effort necessary for the supernatural to intrude into reality, a feat that is much rarer than horror filmmakers would have us assume. Pair that with a couple of good, intense performances, and "A Dark Song" is one of the most interesting and unusual tales of the supernatural to come around in some time. 4/5.
  • A Dark Song is a gripping character study that succeeds because of the minimal effects and fanfare. It'll thoroughly creep you out, especially the things you don't see.
  • A Dark Song is a ridiculously strong and beautifully acted piece of work.
  • Rather than give the usual frights, Gavin instead goes for the lonely heart of the occult: the attempt to contact the beyond, for the most heart-wrenching of reasons. A Dark Song takes a hard and serious look at the pain of loss and grief, and how that pain transforms into burden and enlightenment.
  • A Dark Song digs its claws in and never lets go, finding horror in rituals, personal reflection and burning black-magic sensations. It's dreadfully inviting from start to finish, with an almighty climax at just the right time. 4/5.
  • A smart and savvy example of horror's new breed.
  • The movie is a visceral experience that must be seen in a theater. For one, the cinematography is beautiful. Another reason to see it in the theater? It's killer score.
  • It's an utterly unique film that uses its slow pace to lay the dread on thick and and build its characters so it can turn around and tear everything down in the homestretch. And the ending, which will surely prove divisive, is an audacious choice for a genre so often built on nihilism. A Dark Song may be a hard-edged and occasionally difficult movie, but it has soul.
  • A Dark Song is ostensibly a horror film but operates as a dread-laden procedural, mounting tension while translating the process of bereavement as patient, excruciating manual labor.
  • Scary Epidemic: A Dark Song is a excellent horror/drama about a young woman who is trying to contact her dead son with the help of a strange man who deals in the dark magic of the occult. [It] might be one of the best horror movie i have seen about the occult, because its literally only about the performing what you usually see getting rushed in lame horror movie that just want to shock people. 8.5/10.
  • Sitges 2016: New Visions Award - Best Motion Picture
  • Monster Fest 2016: Best Cinematography in a Feature Film
  • Monster Fest 2016: Best Score in a Feature Film
  • Fantasporto 2017: International Fantasy Film Award, Best Director
  • Fantasporto 2017: International Fantasy Film Award, Best Actress
  • Saskatoon Fantastic Film Festival 2016: Audience Choice Award, Silver Award

A House on Willow Street

Horror, Thriller
Beschikbaar voor VOD: 24 maart 2017
Regie: Alastair Orr
Cast: Carlyn Burchell (Bomb Girls), Sharni Vinson (Step Up, Bait), Gustav Gerdener, Zino Ventura, Steven John Ward

Hazel Davies (Sharni Vinson - Bait), een vrijgevochten vrouw met een weinig rooskleurig wereldbeeld, bedenkt samen met een groepje handlangers het ultieme "snel rijk"-plannetje. Ze zullen Katherine (Carlyn Burchell - Bomb Girls, Robocop), dochter van de schatrijke Daddy Hudson, ontvoeren en een gigantisch losgeld eisen. Wanneer ze het afgelegen landgoed van de Hudsons infiltreren, worden de rollen echter al snel omgekeerd. Katherine blijkt bezeten door de gruwelijke demon Tranguul. Deze "Verslinder van Gekwelde Zielen" zette haar aan tot de moord op haar ouders en enkele weinig efficiënte exorcisten. Als Tranguul nog drie zielen kan absorberen, kan de demon zich in zijn ware gedaante manifesteren...

Scenarist en regisseur Alastair Orr (Indigenous) levert met A House in Willow Street andermaal een ijzingwekkend genrepareltje af, dat inspeelt op onze diepste angsten. De sfeervolle fotografie en een geslaagde mix van old school make-up en geavanceerde computereffecten laten de horror en het bloed letterlijk en figuurlijk van het scherm spatten.

  • Fortunately, From A House On Willow Street does have great looking set pieces. They showcase beautifully the fantastic visual effects of George Webster and computer generated wizardry of Derik van den Berg. Equally, Director Alastair Orr delivers a few frights and confidently captures the mania and fear.
  • There's a lot more visceral horror here than in the average supposedly gruesome possession film, so it works well enough for a Friday night thrill.
  • It's visually impressive, has some strong set pieces and the pacing's fairly good.
  • There is much fun to be had with its po-faced silliness and macabre maximalism.
  • From a House on Willow Street has some amazing makeup work, one of the best posters of any film at the Toronto After Dark Film Festival, and the film includes the most clever scare in a horror in recent years. The film also utilizes chiaroscuro effects to great value.
  • A good setup, a majority of solid characters (and cast) and some balls-out demon action in the final stretch manages to ensure From a House on Willow Street provides enough entertainment to see you through to the end.

April Apocalypse

Horror, Komedie
Beschikbaar voor VOD: 6 januari 2015
Regie: Jarret Tarnol
Cast: Reece Thompson (The Perks of Being a Wallflower, Assassination of a High School President, Daydream Nation), Rebekah Brandes (Nothing Left to Fear, Bellflower), Sarah Hyland (Modern Family, Cougars Inc.), Matt Prokop (Cougar Hunting, Furry Vengeance, High School Musical 3: Senior Year), Brent Tarnol (Project X), Matt Shively (Paranormal Activity 4)

Iedereen herinnert zich zijn eerste dolle verliefdheid, zijn eerste kus, zijn eerste liefdesverdriet, zijn eerste... zombieplaag?!?

Nadat hij eindelijk al zijn moed heeft bijeengeraapt om het hart van zijn droommeisje April te veroveren, rijdt Artie (type sukkel) zijn auto in de prak en ontwaakt hij pal in de Zombie Apocalypse. Maar zijn liefde voor April inspireert de loser van weleer tot grootse daden en voor hij het weet, ontpopt Artie zich tot een meedogenloze zombiekiller. Er is maar één probleempje. Artie is zelf gebeten... Kan hij April redden voor hij zelf een breindode zombie wordt?

  • You didn't think that with a title like April Apocalypse we would pass by on this zombie feast! Young directing talent Jarret Tarnol (Barrio Tales) sticks to the holy trinity of the genre: gore, sex and fun. And with the lovely Rebekah Brandes (Bellflower) tickling our senses, you'd wish it'd stay April forever!
  • The ending was incredible and made my jaw hit the floor. What a great little hidden gem of a zombie movie. I really liked it especially due to the ending. I recommend it for any fans of the zombie genre.

Bunker of the Dead

Actie, Horror, Komedie
Beschikbaar voor VOD: 19 april 2016
Regie: Matthias Olof Eich
Cast: Patrick Jahns, Aciel Martinez Pol, Sarita Bradley, Esther Maa

Liefhebbers van first person shooters, Nazi-zombies en spectaculaire splatter kunnen hun hartje ophalen met het hilarische gorefest Bunker of the Dead! Boezemvrienden Markus en Thomas komen dankzij een oud Joods dagboek een ondergrondse bunker op het spoor, waar Ome Adolf destijds het verloren gewaande goud van het Derde Rijk heeft opgestapeld. Vanop afstand aangestuurd door zijn vriend en gewapend met een camera wil Markus tot diep in de bunker doordringen. Hun zoektocht heeft echter niet niet alleen de interesse van de lokale Amerikaanse legerbasis gewekt. Ook het sluimerende kwaad dat hier al 70 jaar opgesloten zit, waart opnieuw door de tunnels, op zoek naar wraak en, verdammt nochmal... fressen!

In de geliefde traditie van horrorfilms als Dead Snow en Outpost en met een vette knipoog naar shooters als Doom en Wolfenstein 3D, trekt Bunker of the Dead zonder gêne alle registers van het genre open. Drie levels ijzingwekkende superfun leiden naar een zo goed als onsterfelijke eindbaas... de hoogste tijd om te herladen.


Horror, Thriller
Beschikbaar voor VOD: 4 maart 2014
Regie: Eric England
Cast: Najarra Townsend (Me and You and Everyone We Know), Caroline Williams (Days of Thunder, Halloween II), Alice Macdonald, Katie Stegeman, Matt Mercer (Madison County)

Twintiger Samantha is een feestbeest dat God noch gebod kent. Na de breuk met haar vriendin trekt ze opnieuw bij haar overbezorgde en bemoeizieke moeder in. Na een onenightstand met een mysterieuze kerel ontwaakt ze met een kater, een groot schuldgevoel en ... jeuk. Heeft haar onbezonnen gedrag haar eindelijk met een SOA opgezadeld? Of is er meer aan de hand? En hoe lang kan ze haar afschuwelijke metamorfose nog verborgen houden voor haar omgeving?

Contracted is een ijzingwekkende, slopend spannende horrorfilm met een niet mis te verstane boodschap: vrij veilig, want je weet nooit wat je oploopt...

  • Yes, it's icky and violent and shocking, but Contracted is also smart, insightful, and sort of tragic. Townsend's performance pretty much steals the whole show, but this still stands as one of the most intriguing indie horror films I've seen this year.
  • when something dies, something new is born. In this case, it is not just Sam, but genre itself, that is being torn apart and put back together again in a refreshingly defamiliarised form.
  • Mines not only genuine terror from this Cronenberg-ian body-horror scenario but also a surprisingly rich vein of black comedy. The result is a fairly awesome low-budget shocker that creates and sustains a spirit of nasty fun that filmmakers with much higher budgets would no doubt love to buy. There's a certain kind of horror gem capable of rocking a late night film festival audience and, by God, Contracted rocked the Chicago International Film Festival.
  • If Jaws was the film that made people never want to go into the water again, Contracted is the one that will make them think twice before having sex. Score: A.


Actie, Horror, SF
Beschikbaar voor VOD: 1 december 2013
Regie: Justin Dix
Cast: Amber Clayton (Blackwood), Peta Sergeant (Iron Sky), Ditch Davey (Spartacus), Eddie Baroo (Australia, Ghost Rider)

Pine Gap, een satellietstation, diep in de Australische woestijn. Een vrouw ontwaakt in het complexe, benauwde gangenstelsel van een ondergronds onderzoeksaboratorium. Ze weet niet wie ze is of hoe ze daar terechtkwam. Alleen dat ze hier zo snel mogelijk weg wil. Buiten het complex landt een peloton Special Ops, elitesoldaten van het Amerikaanse leger, met de opdracht een topgeleerde uit Pine Gap weg te halen. Want het volgstation blijkt slechts een dekmantel voor een sinister wetenschappelijk project. En het resultaat is een vijand waartegen zelfs de meest geharde troepen niet opgewassen zijn. Een tegenstander die inspeelt op je grootste angsten en ergste fobieën... Crawlspace - van de producers van Wolf Creek en Red Hill - is een claustrofobische, bloedstollende thriller die onder je vel kruipt en je nooit meer loslaat...

  • BIFFF Brussel: Crawlspace is een solide brok pretentieloze Australische sciencefiction horror van debutant Justin Dix. Je kan het een kruisbestuiving noemen tussen Aliens en Resident Evil, met een vleugje Scanners en Event Horizon als extra kruiden. Dix, die zijn carrière begon als ontwerper van robotten voor Star Wars II en III, schreef mee aan het scenario en stond in voor de sfeervolle production design. Hiju houdt er flink de vaart in, maar zorgt af en toe voor een pauze tussen de rondvliegende kogels en kinetische salvo's om het mysterie te laten ontrafelen.
  • A blend of 'Aliens' and 'Scanners,' the feature has confidence and a definite vision for its claustrophobic scares. 'Crawlspace' comes together quite niftily, boosted by fine performances by the entire cast and a focus on disorientation, sustaining the puzzle to the end.
  • From the inventive opening title sequence, it's evident that Crawlspace boasts a bold look and strong production value.
  • The action is well-paced under FX artist turned director Justin Dix, the human drama is engaging, the twists are great and the mysteries are ample enough to keep it constantly moving and exciting. It's a well-thought-out flick that breathes new life into a genre the filmmakers obviously love and respect.
  • a solid and exciting bit of genre entertainment that will keep fans happy as it ticks all the right boxes, and certainly punches well above its weight. Keeps things pacy and moody, and while there a few time-outs for the soldiers to catch their breath and engage in some exposition, he smartly favours gunplay and gore over trying to make the standard sci-fi plot stand-up. Crawlspace is a well-made and modestly enjoyable genre number.
  • Enough style and sizzling visuals to put even an attention to detail master like Ridley Scott to shame.
  • Screamfest 2012: Festival Trophy

Dark Was the Night

Horror, Thriller
Beschikbaar voor VOD: 21 september 2015
Regie: Jack Heller
Cast: Kevin Durand (X-Men Origins: Wolverine, Real Steel, Noah, Resident Evil: Retribution), Lukas Haas (Witness, Inception, Transcendence, Contraband), Bianca Kajlich (Rules of Engagement, Undateable, Halloween: Resurrection)

Maiden Woods, in het noordoosten van Amerika. Een afgelegen, vredig stadje, met een hechte, fatsoenlijke gemeenschap. Maar er roert iets in de donkere bossen rond Maiden Woods. Van vader op zoon worden verhalen verteld over de bomen en hun bewoners. Waarnemingen. Verdwijningen. Geweld. Maar ach, dat is allemaal folklore.

Tot nu.

Wanneer een houtkapbedrijf lelijk huishoudt in het naburige woud, gebeuren er plots vreemde dingen. Sheriff Paul Shields (Kevin Durand, X-Men Origins: Wolverine, Noah, Resident Evil: Retribution) doet die echter af als ongein van een creatieve grapjas. Maar Shields gaat gebukt onder schuldgevoelens om het verlies van zijn oudste zoon, een half jaar eerder, en naarmate het onderzoek vordert, beginnen zijn eigen demonen hem parten te spelen. Bovendien zou de folklore wel eens een kern van waarheid kunnen bevatten.

IJzingwekkende horrorfilm die als sluipend gif je lichaam en geest binnendringt...

  • It is not often that viewers get all they hope for in a movie, but Dark Was the Night delivers what it promises. Seamless special effects and Hisel's extraordinary plot, complement the exceptional direction by Heller. The pair certainly make a force to be reckoned with in the movie genre. A must watch, with a surprise ending, CrypticRock gives Dark Was the Night 5 out of 5 stars.
  • Dark Was the Night is a well made creature feature. It does have a decent story, characters you can care about, strong acting and a creature you'll want to see more of. Genre fans should check this one out for sure.
  • Dark Was the Night is a creature feature, but it is not about the creature. The focus is firmly on the human element, and thus, the restraint in the reveal is a boon instead of a hindrance. Suspense is achieved naturally with a steady-handed camera and sure-footed directing, both of which keep the film grounded in a sense of reality. Without gore and with no significant human body count to speak of, the film instead finds an organic approach to fostering fright with a slowly smoldering style. It doesn't break the monster movie mold, but does fill it to capacity with eerie atmosphere and creeping chills elevated by terrific acting. 8/10.
  • See it. See it. See it! I'm afraid I must insist!
  • Another wonderful addition to Screamfest, great cinematography, fine performances from the leading man and lady and full credit to Jack and the team for pulling off a creature feature that has some deep emotion running through its veins. A strong piece of cinema and a joy to watch.
  • Dark Was the Night is a superb emotional drama about a family coping with a loss. It is an exquisite creature feature too, but I would have totally just watched the family drama. Durand is an absolutely compelling leading man, and what makes the Shieldses so riveting is that they talk intelligently about their psychological issues. Dark Was the Night absolutely deserves to be seen on the big screen, so I hope an ambitious distributor is listening.
  • Dark Was the Night is like a combination of John Carpenter's The Fog and the 1988 remake of The Blob, with a dose of American folklore thrown in for good measure. This movie is an enjoyable and entertaining watch. Kevin Durand gives his all in this one and absolutely earns every bit of credit for this being his first starring role. Check it out!
  • Does, deliberately, build to a tense and sometimes jump-from-your-seat scary climax which finds most of the small town’s residents holed up in the local church, trying to nail down what has by this time been pretty firmly established as a bonafide monster stalking the local woods. And the quest is, it turns out, made more engaging by the guilt and self-doubt experienced by its main characters.
  • Screamfest 2014 - Best Special Effects
  • Screamfest 2014 - Best Visual Effects


Beschikbaar voor VOD: 6 januari 2016
Regie: Jason Lei Howden
Cast: Milo Cawthorne (When We Go to War, Power Rangers R.P.M.), James Blake, Kimberley Crossman (#TheAssignment, Shortland Street)

Hilarisch heavy metal splatterfest dat herinneringen oproept aan de vroege cultfilms van Peter Jackson en door bepaalde media de "party movie of the year" wordt genoemd. Hell yeah!

Voor buitenbeentje Brodie is de middelbare school een echte hel. Een metalfan in een zee van sporttypes en cheerleaders, dat valt op. Gelukkig leert hij verwante ziel Zakk kennen, met wie hij samen een metalband opricht. Alles is cool tot ze toevallig een mysterieus document in handen krijgen: bladmuziek die zijn uitvoerders de "Ultieme Macht" zou verschaffen. Maar Brodie en Zakk ontketenen onbewust een eeuwenoud kwaad: Aeloth De Blinde, een entiteit die alle bestaan op Aarde bedreigt. Hun klasgenoten en familieleden raken bezeten door zijn demonische krachten, rukken hun eigen ogen uit en slaan aan het moorden als rasechte psychopaten. En dat is nog maar het begin van het einde. Kunnen Brodie, Zakk en enkele vrienden voorkomen dat het pure kwaad de hele mensheid opslokt?

  • 'Deathgasm' is een frisse, goed uitgevoerde genrefilm die heel goed weet wat hij wil: prima laagdrempelig vermaak bieden voor de liefhebbers van bloederige en met een humoristisch sausje overgoten horrorfilms. Lees de hele review hier.
  • Evil Dead met metalheads, zo laat Deathgasm zich het kortst omschrijven. Maar dat doet geen recht aan de typisch Nieuw-Zeelandse humor en de uitbundige manier waarop de regisseur zijn verhaal uit de hand laat lopen, met elkaar opetende dorpsbewoners, bloedfonteinen en dildo's als slagwapens. Een uitzinnige zombieslasher, die al een reeks festivals op z'n kop zette.
  • Sound On Sight names Deathgasm one of the 15 best films at Fantasia! Read the full article here.
    Their review: Witty, energetic and appropriately self-mocking, Deathgasm keeps us interested because the writer/director and actors make us care about Brodie and his friends. Yes, the movie is filled with extreme gore, violence, action, nudity, sexual content and so on, but it's biggest asset is Milo Cawthorne, who imbues the slightly naive Brodie with a good nature and bigger heart, providing the film with a central figure you want to see overcome every harsh obstacle.
  • The consistent if undiscriminating high energy engenders a certain persuasive goodwill. Performances are game.
  • Deathgasm is a brutal, side-splitting slice of midnight movie mayhem that even manages to cram in a bit of an allegory to boot. Metal is definitely the way. 4.5 out of 5 stars!
  • Examiner: The party movie of the year.
  • Icons of Fright: A heavy metal splatterfest guaranteed to please the most diehard horror fan.
  • Austin Chronicle: A very metal tribute to the grand tradition of Kiwi splatter comedy.
    Harry Knowles, Ain't It Cool News: The film gorehounds have been tearing their hair out waiting for.
  • Empire Magazine on the Sidney Film Festival: In the tradition of Peter Jackson's early schlock-horror comedies this New Zealand flick is easily the greatest title of the festival.
  • Buckle up, readers. The party movie of 2015 is here. This is the movie the SXSW Midnighters category was created for. I could go on about how awesome the cast is and how wicked the photography looks, but it would be pointless in hindsight of Zakk hurricane chainsawing the hell out of demons. Just get ready to party.
  • Deathgasm Is A (Outrageously) Bloody, Good Time. Ridiculously fun, but also not for the faint of heart, and not the sort of movie you take your mother to, unless your mother has an amazing sense of humor and capacity to sit through an hour and a half bloodbath, you cannot prepare yourself for Deathgasm. No matter what you read here, words simply don't do the movie justice. I'd go so far as to say Howden offers an experience unlike anything you've seen before.
  • If you simply base your expectations on its name alone, Deathgasm would appear to be a film that promises to deliver something outrageous. Once the movie kicks off, you'll notice that your expectations are about to be met. That's because what you witness here is indeed insane in essentially every way imaginable. Look no further than this spectacle out of New Zealand.
  • I will watch this movie again with guests and loved ones. A phenomenal job.
  • Lately, the horror genre (in the US at least) seems to be taking things kind of seriously these days, which makes a movie like Deathgasm feel like a much-needed breath of fresh air. If there's one film out of SXSW that I'd recommend seeing on a big screen once it gets released, it would be Deathgasm. It's probably the most fun I've had watching a horror movie in some time. A ridiculously fun and bombastic celebration of horror and heavy metal.
  • Coming out of SXSW like a freight train of bloody, metal as fuck entertainment, Jason Lei Howden gory extravaganza that is Deathgasm is a heavy metal splatterfest, guaranteed to please the most diehard horror fan. Led by memorable performances, out of this world effects and a soundtrack that refuses to Not let you bang your head throughout the entire film, it's a standout film at this year's festival and destined to become like Shaun Of The Dead or Dead Alive, a horror/comedy cult classic, one that will instantly be a genre fan favorite. DEATHGASM doesn't have a weak moment, as it speeds through it's running time with fervor, giving horror fans a blood and guts-filled time, complete with demons spewing guts and putting the film's protagonists through absolute hell, something that helps us love each and every character in the film. It's a 200MPH frantic film, a juggernaut of gory entertainment that is never for a single second, a joke. It's a film that puts heshers against demons, and kicks some serious ass, musically, while doing so. I'd be very surprised if the film didn't instantly hit audiences like a jackhammer, making them hooked on the film's characters and story. Though SXSW is filled to the brim with great programming this year, I challenge any other film in the festival's lineup to not only resonate, but entertain and make absolute fanatics out of viewers as much as DEATHGASM does. An instant hit that hits you over the head with a blood soaked battle axe, and shreds while doing so. Metal horns up.
  • Deathgasm is brutal, bloody, fanatical fun on levels that deliver exactly what's expected. Howden cranks the slasher genre to 11, and hypnotizes horror audiences through an onslaught of demonic mutilation that would have Dethklok themselves cheering with joy, hitting on notes of horror insanity that blend face-melting riffage with equally outstanding practical effects.
  • If you like your gore messy, your laughter frequent and your music loud you'll want to remember the name Deathgasm. As if you could ever forget it. Fun sense of humor; gloriously bloody practical effects; surprising heart at its center; knows its audience and gives no shits about the rest of you.
  • One of the best measures of a comedic horror movie is how well the "non-horror" stuff works, and thanks to a very strong cast, Deathgasm actually makes for a pretty decent comedy before it turns into a wildly over-the-top gore geyser. Cawthorne and Blake strike an amiable chemistry, the supporting cast is consistently entertaining, and despite the virtually non-stop barrage of raunchy language, unapologetic potty humor, and cartoonishly violent carnage, Deathgasm also displays several moments of legitimate cleverness and (believe it or not) even a little bro-centric sweetness. 4/5.
  • DEATHGASM Rocks! Not since the days of video store browsing has there been a horror movie quite as demonically satisfying as Deathgasm. It is a movie that adores 80s horror, without relying too heavily on pastiche. Yes, it takes a major page from that Tom Savini book of practical effects, and in the best possible way, but the voice that shines through the hysterical dialogue and playfully comic editing, is so teenage, so punk, it makes a beat-to-death genre feel refreshing.
  • IFF Boston: DEATHGASM is ridiculous, hilarious, extremely gory, and downright awesome. It's a horror movie and splatter comedy based entirely around Heavy Metal music which does not take itself seriously in the slightest and runs entirely on sheer mayhem and absurd comedy". GRADE A+
  • Director Jason Lei Howden drenches it in enough spraying plasma to drown a demon and raise hysterical belly laughs. A WETA CGI effects guy by training, Howden goes practical-heavy for gory, glorious, ridiculous, and comedic effect. It also doesn't hurt that he clearly knows his metal, mocking only what he loves. Shamelessly low-brow, reaching a beer-fueled gleeful high with a zombie-vs.-sex toys battle, it's a very metal tribute to the grand tradition of Kiwi splatter comedies.
  • Packed to the gills with hilarious moments, fountains of blood, weird makeup fx (those demon teeth, yo), and the kind of endearingly witty and understatedly hilarious dialogue I've come to expect from Kiwi films, Deathgasm is definitely going to be on my list of MUST HAVE releases for 2015. Deathgasm is on the fast track to being a cult favorite, and if they don't release a soundtrack (on vinyl too, please) I might have a demonic tantrum.
  • Why should you see this film? So. MUCH. METAL. ALL THE METAL. METAL. METAL. METAL. Buckets of bloody gore and lots of practical effects harkening back to the best B-pictures of the past. Spines will be ripped from bodies. Gouts of blood will be vomited. Heads will be split in two like so much kindling. Half the budget for the film went to laundry detergent. Oddly sweet interpersonal relationships between the main characters and a strong female lead who kicks plenty of undead demon butt.
  • DEATHGASM is a lot of things; funny, creepy, rocking and totally fucking awesome. Carrying on the trend of high quality horror comedy coming from New Zealand (What We Do In The Shadows, Housebound), Jason Lei Howden's DEATHGASM is the best heavy metal film ever and completely enthralling from the very opening scenes.
  • DEATHGASM is an obvious labor of love and an homage to an era where dice had twenty faces, records were played backwards, Lemmy wore short-shorts and Ouija was not a cute name for vagina. Loud and proud, Deathgasm is the last supper for all you metal movie maniacs out there. Come hither and rejoice: the prophecy came true and he has returned.
  • It's easy to empathize with the handsome young protagonist, Brodie (Milo Cawthorne), the new metalhead in town, who is beaten up by bullies, yearns for the prettiest girl in school (Kimberley Crossman) and explains his taste in music with, “Life is better because somebody else knows the pain and the rage that you're going through.”
    Ms. Crossman is appealing, too, as Medina, who shows up with a big ax at the appropriate times and inexplicably knows how to use it. In between the rampant four-letter words and the occasional partial nudity are likable attempts at humor — some sweet, some saucy.
  • Deathgasm has a respectable dose of everything a true horror fan craves. It' s a gross picture, at times quite creepy and the special effects are awesome and practical-heavy. The performances are impressive, the chemistry between the cast is top notch and the proper honoring of the Evil Dead films feel as though they couldn't possibly have been executed in superior fashion. Deathgasm starts big and it ends big, and unlike the bulk of films we see land in our laps these days, this one thoroughly thrills for an hour and a half. There's no down time to be found in Deathgasm and underwhelming is a word no one in this crew ever contemplated. This is an amazing production that instantly catapults itself into “Best of the Year” (it may have actually taken an immediate lead) contention.
  • This is an amazing production that instantly catapults itself into "Best of the Year" (it may have actually taken an immediate lead) contention.
  • DEATHGASM (all upper case because lower case is for pussies) is one of those near-perfect horror comedies that comes along roughly once a decade - if we're lucky. I'm talking Shaun of the Dead caliber—believe it! Not since Return of the Living Dead (1985) have I experienced such an effective mix of music and mayhem, rolled into an irreverent and vastly entertaining splatter-fest. Not only is Deathgasm one of the most entertaining movies of the year, it's also one of the most unexpectedly cute movies to come along in quite some time. Brodie's interactions with Medina are nothing short of adorable, and it's truly impressive how well Howden, Cawthorne, and Crossman make such a romance work in an inherently goofy film. This may very well be the sweetest movie to ever feature an animated disembowelment in the opening credits, and I mean that as the highest compliment.
  • Thankfully, director/screenwriter Jason Lei Howden's Deathgasm included all the blood and guts people expected to see, but also balanced out the gore with much-needed, and perfectly executed, hilarity. Thankfully, director/screenwriter Jason Lei Howden's Deathgasm included all the blood and guts people expected to see, but also balanced out the gore with much-needed, and perfectly executed, hilarity.
  • Creative gross-outs and absurd violence are the salvation of a horror flick in which a speed-metal band's dark chords turn the townsfolk into demonic ghouls.
  • DEATHGASM has won the top award at this year's Knoxville Horror Film Fest - the Palm d'Gore - and the prize for Best Director to Jason Lei Howden!
  • Publieksprijs Razor Reel Flanders Film Festival 2015


Horror, SF
Beschikbaar voor VOD: 5 oktober 2015
Regie: Colin Minihan
Cast: Brittany Allen (All My Children, Bomb Girls, Dead Before Dawn), Freddie Stroma (Pitch Perfect 1 & 2, Harry Potter and the Half-Blood Prince , Harry Potter and the Deathly Hallows), Michael Ironside (X-Men: First Class, Terminator Salvation, Starship Troopers), Gil Bellows (Unthinkable, The Shawshank Redemption, The Weather Man), Melanie Papalia (Smiley, American Pie), Jesse Moss (Final Destination 3, The Big Year)

Omdat April (Emmy-winnares Brittany Allen) worstelt met de scheiding van haar ouders, sleuren haar vrienden haar mee naar het afgelegen boshutje waar ze als kind zoveel mooie zomers doorbracht. Maar wat een gezellig uitje moest worden, neemt een dramatische wending als ze 's nachts iets groots zien neerstorten en ontploffen. Wat ze op de crashsite aantreffen, is echter geen vliegtuig, maar de restanten van iets... buitenaards. In de buurt treffen ze bizarre voetsporen aan die naar het vakantiehuisje leiden. En dat het niet om een snoezige, verdwaalde E.T. gaat, wordt heel snel en heel pijnlijk duidelijk. Van de expliciete beelden van de "Extraterrestrial" experimenten ga je op het puntje van je stoel zitten. En zal je dat meteen bezuren...

Buitenaards bloedstollende gruwelthriller, met een onaards sterke cast: Freddie Stroma (Harry Potter & The Half Blooded Prince, Pitch Perfect), Gil Bellows (The Shawshank Redemption), Jesse Moss (Final Destination 3) en de legendarische Michael Ironside (Terminator Salvation).

  • A film that looks amazing, has excellent performances and is well directed. Because of this gig I see way more films than your average person and yet I have absolutely no problem recommending Extraterrestrial.
  • Once you accept it for what it is, Extraterrestrial is a real hoot, and you can take its silliness, genre clichés and horror movie logic in stride. Good performances all around, with surprising comedic relief from Michael Ironside. Tense but fun and cinematic with moments of humor.
  • The Vicious Brothers can craft a nifty suspense scene and they also get a lot of bang for their buck. Brittany Allen impresses as the lead girl, and though his character is often ridiculous, Michael Ironside rises to the occasion with a performance that he obviously had fun with.
  • Minihan wears his influences on his sleeve ("The X-Files" is a big one, with the feature often resembling a prequel to the hit show), and the picture is shot well by Samy Inayeh, who bathes the frame in red light and dark corners. It's an impressive looking movie, carefully exploring what the aliens are up to with bold light shows. The production also scores with Ironside, who brings thespian authority to the role of a gun-toting recluse who understands that the aliens aren't attacking, they're responding to a broken truce, complicating the situation for our heroes.
  • The exact midway point between Steven Spielberg and Ed Wood, this a cheerily obvious schlocker.
  • Though they can't resist an anal probe sequence they do buck the Hollywood trend and have the confidence to ensure a suitably grim and downbeat ending finishing with a technically excellent final tracking shot enough to show that they've got an assured future in horror.
  • Extraterrestrial is an intense stalk-and-slash flick. Visually and atmospherically, Extraterrestrial was pretty solid.
  • A slick, well directed alien movie that will enjoyed up by young and old horror genre fans. 8 out of 10.
  • Extraterrestrial harkens back to a time when sci-fi movies could be both fun and horrific, finding success thanks to the Vicious Brothers' "no holds barred" filmmaking mentality. GOOD.
  • Extraterrestrial isn't the type of film that is going to give anyone nightmares, but it definitely has its scary moments. It has its share of jump scares, some of them cheap, but all are effective. There's plenty of creepy imagery in the film as well, with the aliens never being far from their prey. Extraterrestrial also features scenes of maddening suspense, especially in the sequences leading up to the actual abductions - there's some real terror there. The most unsettling thing about Extraterrestrial (or any alien abduction movie, for that matter) is the idea of being completely helpless as the aliens do whatever they want to their abductees. The helpless victim theme is more disturbing than any jump scare, and Extraterrestrial plays to that particular fear very well.
  • De thema's van Signs en Steven Spielberg's War Of the Worlds, gemixt met de spanning van een David-Fincher-on-acid, dat geeft ongeveer de sfeer weer van Extraterrestrial. In deze slasher/sci-fi film, zien we hoe mensen ontvoerd worden door aliens en wat ze doormaken wanneer ze terug op aarde zijn. Achter deze scherpe sci-fi thriller zit niemand minder dan de Vicious Brothers. Dit olijke duo maakte furore met Grave Encounters, de grootste tegenhanger van Paranormal Activity zoals de Stones de grootste tegenhanger waren van de Beatles. Met andere woorden mannen met gevoel voor ritme, spanning en de gave van de betere found footage.
  • Nocturna Madrid International Fantastic Film Festival 2014 - Nocturna Best FX Award

Fire City: End of Days

Horror, Thriller
Beschikbaar voor VOD: 12 juli 2016
Regie: Tom Woodruff Jr.
Cast: Tobias Jelinek, Danielle Chuchran (Survivor, Riot), Eric Edwards, Keely Alona

Eeuwenlang leven mensen en demonen al naast elkaar. Als parasieten laven de demonen zich aan de ellende van een nietsvermoedende mensheid. Tot het hatelijke, egocentrische gedrag van hun "gastheren" plots op onverklaarbare wijze plaats ruimt voor zorgzaamheid en mededogen en de delicate balans ontwricht dreigt te worden. Om de teloorgang van zijn ras te voorkomen, krijgt de demon Atum Vine opdracht om een onschuldig meisje uit de weg te ruimen. De bikkelharde demon is na al die jaren echter gehecht geraakt aan het wezentje. Zou het kunnen dat zijn eigen medelijden aan de basis ligt van de dreigende ondergang? Of is de uit het niets opgedoken mysterieuze Dark Figure de wortel van het nieuwe Kwaad?

Wat begint als een sfeervolle film noir met Sin City-allures, ontaardt al snel in een meeslepende horrorthriller met fantastische speciale effecten en make-up. Niet zo verwonderlijk als je weet dat regisseur Tom Woodruff Jr. verantwoordelijk was voor de special fx van klassieke franchises als Alien, Terminator en Tremors.

  • Het regiedebuut van Woodruff is een serieuze, dialoogrijke en grotendeels van luchtige kwinkslagen gespeende film die ook veel drama- en thrillerelementen herbergt. Meer een film noir met demonen in de hoofdrol dan een klassiek horror- of monsterepos dus. Deze zeker niet onaardige rolprent verdient complimenten voor onderdelen als originaliteit, visuele aankleding en experimenteerdrift.
  • Woodruff and company have taken a film noir concept and tweaked it to the horror side of things, which is definitely interesting. Also, it can't be said enough how the makeup effects outshine the film's indie origins. Coupled with some consistent acting, Fire City: End of Days is certainly worth watching at least once for horror fans looking for a unique spin on demons and their place in the horror world.
  • Ultimately, however, Fire City: End of Days is a slight film, an intriguing idea .
  • Mad as a box of goblins it may be, and, if you want to get in to it, prone to the odd pacing issue too, but what starts as a deeply pessimistic treatise on humanity is transformed into a brave new world of heroism and hope by the final reel of Fire City: End of Days. Fantasy fans will have fun here, and for the rest of us, the devils of Fire City provide tempting company.
  • Impressive practical and makeup effects, good performances and an interesting setting push this well past any expectations. This is well-executed, thoughtful, emotional fantasy and it's not ashamed of it.
  • You never feel comfortable. It keeps you constantly on edge. Even when the film falls into it's predictable third act, there is an uneasy feeling held within every frame.
  • Fire City: The Interpreter of Signs is an intelligently-crafted, solidly-built foundation stone from which a much grander structure might soon rise.
  • a surprisingly good film, with a very inventive plot and awfully good prosthetics and make-up. Solid entertainment.
  • an enjoyable film and is worth watching simply for the impressive prosthetics and make-up of the demons.

Hansel & Gretel Get Baked

Horror, Komedie
Beschikbaar voor VOD: 1 juni 2014
Regie: Duane Journey
Cast: Yancy Butler (Kick-Ass 1 & 2), Andrew James Allen (The Lovely Bones), Molly C. Quinn (Castle, We're the Millers, Winx Club), Michael Welch (The Twilight Saga (all films)), Lara Flynn Boyle (Men In Black II, The Practice, Twin Peaks)

Deze vreetkick wil je écht niet meemaken!

Wanneer Ashton, het stonervriendje van Gretel (Molly Quinn), op zoek gaat naar de bron van een supersterke wietvariant, komt hij uit bij een gek oud dametje uit Pasadena (Lara Flynn Boyle uit Twin Peaks). Helaas gaat achter het bizarre besje een bloeddorstige heks schuil die het op zijn jeugd gemunt heeft. Dodelijk ongerust om Ashtons verdwijning, trommelt Gretel haar oudere broer Hansel (Michael Welch) op. Omdat die vindt dat zijn zus veel te zwaar aan de zaak tilt, zoekt Gretel dan maar hulp bij Bianca, wiens vriendje eveneens verdwenen is. Voor ze het goed en wel beseffen, raken de meiden verdwaald in het ondergrondse labyrint van de heks, een hellegat dat wemelt van zombies en demonen... Kan Hansel hen nog redden uit de klauwen van de heks?

Deze hilarische horrorfilm van één van de producers van Twilight neemt een dodelijk loopje met het beruchte sprookje van de Gebroeders Grimm.

  • Fairy-tale horror and stoner comedy combine to good effect in Hansel And Gretel Get Baked, a smart and entertaining youth-orientated chiller that delivers a goodly amount of gore along with the slacker laughs. Molly C. Quinn is great as Gretel, a smart stoner turned investigator, and shows that she can carry a lead role, while Lara Flynn Boyle gets to change her persona from wrinkly old crone to would-be sex kitten.
  • actress Lara Flynn Boyle anchors the film expertly with her character, the notorious witch of German fairytales. All of the performances are solid, but this film will be remembered for its hilarity and light-hearted mood.
  • a really fun movie! Even though it doesn't have that blockbuster budget there are so many things about the movie that make up for it. Great acting, some fun special effects and that special, special witch played by Lara Flynn Boyle, she's both beautiful and deadly you know!
  • Hansel & Gretel Get Baked is most definitely worth a watch. This film has camp, gore, stupid drug references, flayings alive and killer dogs – not to mention the most amazing indoor pot-growing mecca ever conceived.
  • The film doesn't try to do anything outside of retelling the fairy tale with more stoner humor and bloody carnage. However, that's what makes it so enjoyable in the first place. There are fun characters with good dialogue. The dark humor hits its marks and the script has some clever moments. The gore and scares are satisfying and messy. Better yet, there's even a cameo by Carry Elwes with a ridiculous mustache. Hansel and Gretel Get Baked is a lot of fun for the comedy loving horror fan in all of us.
  • Ever wondered what happened to Lara Flynn Boyle? Catch her in this stoner horror that loosely uses the Hansel and Gretel fairy tale for gore and smiles.
  • Hansel & Gretel Get Baked is fun whether you're a big fan of stoner comedy or not. There's a ton of action, nice effects, witches, zombies, cannibalism and a badass demonic Doberman.
  • Well-made, doesn't fall into the trap of repetitive and annoying stoner humor and Boyle, who hasn't been seen in much since the 2005-2006 season of the NBC series LAS VEGAS, really gets a chance to cut loose here and have some fun.
  • a goofy, entertaining picture that is worth catching for its spirited performances, gruesome special effects and spicy black comedy.
  • This was a very entertaining movie with a lot of black comedy, it was certainly a unique and very modern spin on the classic children's story. This is the first time I've seen Michael Welch in a movie other than the Twilight series and his performance was excellent.
  • the movie takes on a more serious tone as things progress, and it all ends up being a solid mixture of bloody and fun. there are some wickedly entertaining moments that produce an inconsistant yet intoxicating high.

Hatchet II

Beschikbaar voor VOD: 2 juli 2013
Regie: Adam Green
Cast: Danielle Harris (Cyrus, Halloween), Kane Hodder (Hatchet I-III, Friday the 13th 7-9), Tony Todd (The Man from Earth, The Rock), Ed Ackerman (Frozen, The Change-Up)

Hatchet 2 sluit naadloos aan bij het einde van de originele Hatchet, waarin de introverte, maar heetgebakerde Marybeth (Danielle Harris) in een klein bootje in de moerassen van Louisiana de longen uit haar lijf schreeuwt. Hoe zou je zelf zijn als je belaagd wordt door een wanstaltige, moordzuchtige moerasbewoner - Victor Crowley (Kane Hodder) - die net je hele gezelschap heeft uitgemoord? Wanneer ze half-waanzinnig naar de beschaafde wereld terugkeert, loopt ze opnieuw Reverend Zombie (Tony Todd) tegen het lijf, de voodoowinkeluitbater die het noodlottige boottochtje uit de eerste film organiseerde. Om Marybeth te helpen en zijn eigen verborgen agenda uit te voeren, rekruteert Eerwaarde Zombie een groepje bikkelharde jagers om zich te wreken op Victor Crowley... Een huiveringwekkend grappige horrorfilm die er lekker... inhakt.

  • Based solely on the kills, this would be in the upper echelon of slasher films. The deaths are clever, funny, and well-executed, and as a fan of the genre I often found myself smiling, laughing, or exclaiming during the killing moments
  • one of the most bloodily violent movies around. And I think that was the point. Point well taken.
  • The New York Times: Swift and amusingly brainless, Hatchet II more than delivers on splatter expectations.
  • Outrageously over-the-top gore doubtless will scare off all but the heartiest genre aficionados.
  • The Hollywood Reporter: Hatchet II earns bragging rights with buckets of giddily over-the-top blood 'n' guts in sequences that are as gratuitous as they are amusingly ridiculous.
  • Hatchet 2 is a lot of fun ... tailor-made for hardcore horror fans who miss the old-school slasher flicks, but certainly enjoy it when 'one of our own' heads back to the well for some gore, mayhem, and carnage.
  • Green's craft cuts deep--he's a smart, brutal puppet master who knows the power in his strings.
  • Hatchet II is twice the gore, twice the intensity, twice the fun, love and balls-out craziness of the original.
  • a winning love letter to the splatter-slasher (splasher?) flicks of yore.

Hell Baby

Horror, Komedie
Beschikbaar voor VOD: 1 mei 2014
Regie: Robert Ben Garant
Cast: Robert Ben Garant (Reno 911!, Night at the Museum: Battle of the Smithsonian), Rob Corddry (Pain and Gain, Warm Bodies, Hot Tub Time Machine), Leslie Bibb (Law Abiding Citizen, Iron Man, A Good Old Fashioned Orgy), Keegan Michael Key (Just Go with It, Due Date, Role Models), Thomas Lennon (We're the Millers, What to Expect When You're Expecting, A Very Harold & Kumar 3D Christmas), Rob Huebel (What to Expect When You're Expecting, The Other Guys, The Descendants), Paul Scheer (Piranha, The League)

De toekomst lacht Jack en Vanessa demonisch grijnzend toe. Er is een koter op komst en van dat aftandse "Maison du Sang" landhuis in New Orleans valt beslist een leuke familiewoning te maken. Tot blijkt dat er demonische vloek op hun nieuwe aanwinst rust en de hel gezellig knetterend losbreekt. Met de hulp en/of tegenwerking van een bonte stoet personages proberen Jack en Vanessa de satanische krachten het hoofd te bieden en de komst van hun baby zo pijnloos mogelijk te laten verlopen. Maar of dàt wel zo'n goed idee is?

Thomas Lennon en Robert Ben Garant (Night at The Museum, Reno 911!: Miami) ontbinden al hun duivels in deze hilarische horrorcomedy die ze samen schreven en regisseerden. Ze stelen ook de show als Eerwaarde Sebastian en Eerwaarde Padrigo, de twee bizarste exorcisten van het Vaticaan. Een film die alle parodieën moeiteloos van hun sokken blaast.

  • The movie is delightfully crude in places (including an instance of relay puking) and just plain silly-clever in others.
  • The brain child of 'Reno 911!'s' Robert Ben Garant and Thomas Lennon, this horror spoof features amusingly offbeat characters and a bit of Mel Brooks-like deadpan silliness.
  • Lennon and Garant have crafted a horror comedy that is often quite funny. There are definitely a few supporting performances that truly raise the comedy level.
  • Bringing pleasant energy to the movie are Paul Scheer and Rob Huebel as two dim-witted cops one step behind everyone else, while Lennon and Garant slap on Chef Boyardee accents to play Vatican G-men, hamming it up in their own special way. 'Hell Baby' is certainly funny, especially when it goes absolutely berserk in the finale, paying off the birthing event with amusing creature-feature special effects and geysers of blood.
  • In between the big move and the grotesque finale are a ton of laughs. A welcome addition to the horror comedy sub-genre.
  • these guys display a freewheelin' sense of invention that should be watched closely, because they have the raw stuff of major comic filmmakers.
  • a wickedly funny horror-comedy that explores horror film conventions in such an over-the-top and self-aware way that I'll never be able to take a haunted house, exorcism or demonic baby films seriously again. I haven't laughed this hard since Bridesmaids.
  • The cast excels at slapstick humor.
  • Official Sundance Selection 2013


Beschikbaar voor VOD: 4 oktober 2016
Regie: Paul Hyett
Cast: Ed Speleers (Downton Abbey, Alice Through the Looking Glass, Eragon), Shauna Macdonald (The Descent, Filth), Holly Weston (Assassin), Sean Pertwee (Gotham)

In deze bloedstollende en claustrofobische horrorthriller tapt regisseur en make-up designer Paul Hyett (The Descent, Da Vinci's Demons) gretig uit het weerwolvenvaatje met sublieme special effects, weerzinwekkende schepsels en, uiteraard, ijzingwekkend gehuil.

Treinconducteur Joe (Ed Speleers – Eragon, Downton Abbey) baalt wanneer hij, na een lange werkdag, ook nog de nachttrein vanuit Londen moet begeleiden. Buiten: slecht weer, volle maan. Binnen: zuipschuiten, clubbers, laatwerkers. Het enige lichtpuntje is zijn collega Ellen, die frisdrank en snacks rondbrengt. Het lijkt een routineuze rit te worden, tot de trein plots krijsend tot stilstand komt in een beboste omgeving. Is het een wanhoopsdaad? Een technisch defect door het grillige weer? Of iets... anders?

Adrian (Elliot Cowan – Da Vinci's Demons), een charismatische, zelfzekere bankier, neemt de passagiers op sleeptouw naar het dichtstbijzijnde station, een paar kilometer verderop. Bad idea. Very bad idea.

  • With HOWL Director Paul Hyett keeps the drama visually interesting and entertaining despite the very contained location of a train – a long sausage of a space to work with. He also absolutely delivers on the key action sequences when the hapless passengers go toe to toe with his creature.
  • a good script, good characters and good monsters. It's well acted and well made.
  • Howl is a brilliant example of how to get a monster movie right. Werewolf movies have been done a million times before, but Howl brings something slightly new to the table. Hardcore werewolf lovers might be upset by Nick Ostler and Mark Huckerby flagrant disregard of the rules set up by other stories, but Howl is the best werewolf horror in years.
  • Like Dog Soldiers, this is more action flick and black comedy than it is straight horror, although it does get shockingly gory at times. The train is well packed with a fun cast of horror movie and public transport archetypes alike, from the slobby drunk to the Carter Burke-like asshole prepared to throw everyone else under the bus (or train) to ensure his own survival. The lively cast and sharp writing make almost everyone seem likeable and sympathetic, allowing us to care whenever one of them is knocked off or ripped up. And oh, what ripping! There's a fantastic level of splatter to the violence, particularly during one climactic encounter with a beast and its terrified would-be victims.
  • A tense game of hunter and prey that chugs along nicely. Howl is a perfectly awesome addition to the British Werewolf film genre. Watch this as soon as you can!
  • even those well-acquainted with the genre should find enough to enjoy in the stylish set-pieces that feature plenty of bloody action.

I Am Not A Serial Killer

Beschikbaar voor VOD: 27 april 2017
Regie: Billy O'Brien
Cast: Max Records (Where the Wild Things Are), Christopher Lloyd (Ghostbusters, Back to the Future), Laura Fraser (Breaking Bad)

John Wayne Cleaver is 16. Puber en sociopaat in de dop. Geobsedeerd door serial killers. Af en toe helpt hij in het mortuarium van zijn moeder en tante en om zijn bizarre trekjes in bedwang te houden, legt hij zichzelf strikte leefregels op. John lijkt dus wel normaal, maar is het allesbehalve. En wanneer zijn kleine dorpje in de Midwest ten prooi valt aan een seriemoordenaar, schakelt hij zijn unieke skills en wereldvisie in om het mysterie te ontrafelen. Terwijl de ijzige winter neerdaalt over Clayton, knoopt hij een unieke band aan met "zijn" verdachte...

I Am Not a Serial Killer werd door gerespecteerde media als Variety en de LA Times de hemel ingeprezen als een unieke, traag smeulende thriller en een horror-dramedy met paranormale elementen, een snuifje Dexter en fantastische vertolkingen van o.m. Max Records (Where the Wild Things Are), Christopher Lloyd (Ghostbusters, Back to the Future) en Laura Fraser (Breaking Bad, The Missing).

  • Juryrapport MovieZone award Imagine Festival 2017: Deze film portretteert op een fenomenale manier een uniek hoofdpersonage, vertolkt door een uitstekende acteur. De film is gefilmd in een prachtige oude stijl en met een mooi kleurpallet, waardoor een afstandelijke sfeer ontstaat die past bij het plot. Deze sfeer wordt ook versterkt door de gekozen locatie. Het is een goed uitgevoerde film die echt de geest van Imagine belichaamt, maar tegelijk ook toegankelijk is en perfect voor jongeren om verliefd te worden op arthouse film.
  • Gebaseerd op een Young Adult-roman zet de op gruizig 16mm gedraaide film de kijker lange tijd op het verkeerde been. Er zijn aanwijzingen dat de moordenaar niet zomaar een moordenaar is; zo worden op de plaats delict telkens oliesporen aangetroffen. Maar dit is toch vooral het verhaal van John die in acteur Max Records (Where the Wild Things Are) een uitstekende vertolker blijkt te zijn van afwijkend pubergedrag. Doordat zijn omgeving laconiek op zijn morbide fantasieën reageert, blijft de toon licht, zelfs als de lijken zich opstapelen. En die ontknoping? Bereid je maar vast voor op de krankzinnigste plotwending in jaren... Lees hier verder.
  • Cinemagazine: Met ‘I Am Not a Serial Killer’ levert regisseur Billy O’Brien een geslaagde verfilming af van Dan Wells’ succesvolle young adultroman. De toon is donker, maar niet kil, met veel ruimte voor wrange humor. De cast is fenomenaal. Records krijgt geduchte concurrentie van Lloyd, die als de fragiele maar gevaarlijke Crowley een van de meest memorabele rollen van zijn carrière speelt. Toppertje! Lees de hele recensie hier.
  • AM NOT A SERIAL KILLER won vorige week op filmfestival Imagine de MovieZone Award, toegekend door een jury bestaande uit vijf jongeren tussen de zestien en negentien jaar oud. Geen enorme verrassing, want de film speelt knap in op de existentiële moeilijkheden die velen op die leeftijd ervaren.
  • Lees hier een uitgebreid interview met regisseur Billy O'Brien.
  • Kermode en Mayo vinden het een klapper, zie
  • Empire: Breathing new life into the overfamiliar terrain of the serial killer, Irish director Billy O'Brien here both successfully reintroduces Max Records to the world, and elicits Christopher Lloyd's best performance in a long time. His film deserves cult classic status at the very least.
  • Sight & Sound: a truly superior genre offering from a filmmaker of genuine class and ambition. Lees de raving review hier.
  • Razor Reel Flanders Film Festival: I Am Not A Serial Killer is gebaseerd op het gelijknamige boek van Dan Wells uit 2009 dat meteen een hit werd in de VS. De film gaat niet uit van standaard horror en zogenaamde 'jump scares' maar is een mooie cross-over geworden; een intelligent thriller/drama dat geregeld flirt met bovennatuurlijke en sci-fi elementen.
  • Max Records gives a sharp performance in this endearing first adaptation of Dan Wells' YA series. The tale of a likable teenager, raised by a mortician family, whose own nascent sociopathic tendencies make him a perfect amateur sleuth when a serial killer strikes his folksy Midwestern town, director Billy O'Brien's film adaptation strikes a tone that's far more unique and endearing than that premise might imply, helped in no small part by a sharp-witted performance from former child star Max Records.
  • Mr. Records (the child actor in "Where the Wild Things Are") is nimble and unsentimental in playing a character who is playing at normal, supported by a solid cast in a well-filmed indie that doesn't let its low budget get in the way of some true chills.
  • A Moody and Creative Thriller!
  • I Am Not a Serial Killer morphs comfortably from teen fiction to a murder mystery to a cagey thriller, all with a wry sense of humor. It's modest and fully engaging, and smart enough not to overplay its hand.
  • dark and dangerous, suspenseful and unique.
  • Psychopaths are people too in the nuanced I Am Not A Serial Killer! What sets Billy O'Brien's sharply observed indie horror-drama apart from other takes on this "killers hunting killers" concept (Dexter, anyone?) is its naturalistic, character-based approach.
  • I Am Not a Serial Killer shines in its exploration of what it is like to live with inclinations you wish you didn't have but find it increasingly hard to fight.
  • The surprisingly warm and fuzzy horror-dramedy wonders "can serial killers love?"
  • Underneath it all, though, is the idea that being human and being a monster are fundamentally connected, and that the struggle is what makes people interesting and worth examining. That may not be an uncommon thought, but O'Brien and company handle it with unusual skill for a thriller aimed at young people, to the extent that giving someone like Lloyd what may be one of his best parts is something of a bonus.
  • Am Not a Serial Killer is a very slow and deliberately paced film. I am telling you this up front so that you know that it's well worth sticking with this one...please resist your urge to try something else because of this! The payoff is well worth it and the film is well made and I honestly can say I've never seen anything like it in my life!
  • At its best, this is a film that keeps tension tight and anticipation on edge. Maybe John's a serial killer, maybe he isn't – each decision pushes Records' performance closer to the brink, and we never doubt his capabilities. You think you know, but you don't. Or you might? That's the beauty of it all, never providing answers until the final, shocking turn.
  • Max Records somehow makes magnetism out of teen angst. And though it may be clichéd to say, this is co-star Christopher Lloyd like you've never seen him before. Lloyd flips an expectation of his often-comedic presence on its ear by managing to make the warmth of an elderly neighbor sinisterly chilling. Ice the cake with a terrific monster design from Toby Froud and "I Am Not a Serial Killer" combines dark family drama, creature feature, and serial killer thriller into one uniquely entertaining package.
  • IMAGINE Film Festival 2017: Movie Zone Award
  • IFTA 2017: Best Editing
  • Molins de Rei Horror Film Festival 2016: Best Film
  • Molins de Rei Horror Film Festival 2016: Best Director
  • Molins de Rei Horror Film Festival 2016: Best Actor - Max Records
  • Sitges 2016: Panorama Audience Award
  • Strasbourg European Fantastic Film Festival 2016: Melies D'Argent
  • Trieste Science+Fiction Festival 2016: Nocturno Nuove Visioni Award


Horror, Komedie
Beschikbaar voor VOD: 2 oktober 2012
Regie: Alex Chandon
Cast: Jo Hartley, Seamus O'Neill (War Horse), James Doherty (In the Loop)

Vier jeugddelinquenten uit de grote stad moeten als onderdeel van hun taakstraf een weekend op het platteland doorbrengen. Samen met hun begeleiders belanden ze in Mortlake, een bizar, afgelegen dorpje in Yorkshire, waar de bewoners prat gaan op hun excentrieke 'eigenheid'. Dan escaleert een akkefietje met enkele lokale inteeltjongeren plots in een waanzinnig geschifte nachtmerrie. De vraag is niet alleen wié de slachting zal overleven, maar wàt er van de slachtoffers zal overblijven... Inbred ontpopt zich tot een hilarisch gruwelijk gorefest met spetterende special effects, die op diverse festivals bekroond werden.

  • Awfully mean-spirited and often sickeningly gory ... The Amsterdam audiences (known for often being a raucous bunch of gorehounds themselves) awarded the film a 7.6 out of 10.
  • a lovely black and absurd sense of humor ... a wet dream for a gorehound ... sheer fun!
  • At this year's FrightFest the audience absolutely loved it.
  • an amusing, deliciously gory, occasionally shocking and decidedly vicious little film.

It Stains The Sands Red

Beschikbaar voor VOD: 9 november 2017
Regie: Colin Minihan
Cast: Brittany Allen (All My Children, Bomb Girls, Dead Before Dawn), Juan Riedinger (Narcos, Grave Encounters), Merwin Mondesir (Grave Encounters)

Op de vlucht voor een zombie apocalypse, strandt Molly, moeder en losgeslagen junk met een duister verleden, in de woestijn van Nevada. Maar ze is niet alleen. Ze wordt op de hielen gezeten door een hardnekkige, zeg maar, springlevende ondode. Eerst kan ze haar strompelende achtervolger makkelijk voorblijven. Maar de zombie hoeft nooit te rusten en de verzengende zon, honger en dorst eisen al snel hun tol. Gaandeweg wordt Molly ook geconfronteerd met de demonen die haar al haar hele leven kwellen...

Regisseur Colin Minihan (Grave Encounters 1 & 2, Extraterrestrial) blaast het zombiegenre nieuw leven in met deze gefocuste en gestoorde mix van psychologisch drama, buddy movie en horror, die beurtelings doet denken aan genrepareltjes als Train to Busan, Maggie en Swiss Army Man. Inventief, bloedstollend, bijwijlen dodelijk grappig en ja, zelfs hartverwarmend. Brittany Allen (Saw: Legacy, Extraterrestrial) is een openbaring.

  • Thrilling, fascinating, groundbreaking. It's a remarkable work for film fans in general, as well as being one of the greatest zombie movies ever made.
  • A mannered mix of the odd-couple corpse comedy of Swiss Army Man (2016) and the arid maternity ordeal of Monolith (2016), It Stains The Sand Red offers a fresh feminist spin on well-trodden tropes, only reverting to a more conventional kickass routine in its wisely abbreviated final act.
  • Brittany Allen carries the entire film with aplomb, and her performance is up there with the best the genre has had to offer in recent years. Her transformation from fractured party girl to strong, independent mother is fiercely brilliant and believable. At this moment in time, It Stains the Sands Red is the best zombie film since Shaun of the Dead.
  • Allen is incredible as she displays layers and emotions we don't normally expect from characters who tend to simply be fodder for the walking dead. Director Minihan (Grave Encounters, Extraterrestrial) has performed a masterstroke with It Stains the Sands Red. His direction, coupled with Allen's performance, makes for a winning combination that puts a beating heart in the chest of the undead.
  • A taught, tense (and funny) reinvigoration of the zombie genre, It Stains the Sands Red honestlydeserves to be held in as high a regard as Romero's original zombie trilogy. **** 4/5
  • Horror Channel FrightFest: Smart, sharp, savage and unexpectedly moving. The most original zombie movie since 28 Days Later.
  • With a tremendously watchable and heartfelt lead performance, a wholly unique and unexpected central relationship and a damn good sense of humor (the tire/raft reveal) – It Stains the Sands Red is original and endearing. A shining example that there's something new to be culled from the genre created by George A. Romero almost 50 years ago.
  • Sitges 2016: Midnight X-Treme

Let Us Prey

Beschikbaar voor VOD: 6 april 2015
Regie: Brian O'Malley
Cast: Liam Cunningham (Game of Thrones, Hunger), Pollyanna McIntosh (Filth, The Woman), Bryan Larkin (Outpost 3), Hanna Stanbridge (Outcast), Douglas Russell (A Lonely Place To Die)

De eerste werkdag van de overgeplaatste politieagente Rachel Heggie (Pollyanna McIntosh - Filth, The Woman) begint alvast veelbelovend. Op weg naar haar nieuwe werkplek, Inveree, arresteert ze een joyrider. De grofgebekte tiener belandt in de politiecel, in het gezelschap van een moordende dokter en een onderwijzer die zijn vrouw mishandelt.

Maar het is de onverklaarbare komst van een onheilspellende man (Liam Cunningham, Game of Thrones) die Heggie echt zorgen baart. De man lijkt geen natrekbaar verleden te hebben en over zijn motieven laat hij niets los. Tot blijkt dat hij de geest van andere mensen kan manipuleren, en de hel helemaal losbarst... Rechter, jury, beul? Of alledrie?

"Let Us Prey" speelt zich af tegen het naargeestige decor van een hypocriet plattelandsdorpje in de Schotse Highlands, en combineert stijlelementen van Alfred Hitchcock, John Carpenter en Dario Argento tot een wurgend spannende en bloederige horrorfilm.

  • Taste of Cinema names Let Us Prey as one of the "20 European Horror Films From The 21st Century You Must Watch"! Read the full article here.
  • Right from the doom-rock credit sequence of barbed wire dripping with fresh blood, squadrons of crows swarming in slow motion and darkened thunderclouds rolling overhead, O'Malley has marked himself as a talent to watch. Striking a perfect balance of suspense, violence, humour, story and action, LET US PREY feels at once classic and modern. You will not be disappointed. 10 out of 10!
  • Director Brian O'Malley and writers David Cairns and Fiona Watson do an excellent job of navigating the stereotype minefield of this type of horror film, with the hypocrisy and Calvinist repression of the rural community very much to the fore. There are plenty of funny lines, the earliest of which are delivered with characteristic brio by Jonathan Watson of Only An Excuse fame. Credit must go to cinematographer Piers McGrail whose sumptuous visuals add to the tension and creeping sense of dread and bring to mind French slasher flick Switchblade Romance. There's plenty gore to keep horror fiends satisfied, yet enough intrigue and chuckles to appeal to a wider audience too.
  • There is some fun chaos in Let Us Prey's final moments as officers and prisoners battle for survival in a violent frenzy. The setting of a locked down prison also gives things a nasty, claustrophobic atmosphere and Polyanna McIntosh makes a likeable kick-ass action heroine.
  • It is a grim tale of damnation and death which all takes place within a confined space, adding to the tension of the unpredictable plot. From start to finish the film is relentlessly unnerving; full of jumps and twists to keep your fists clenched until its dramatic and operatic finale.
  • If you're looking for a new thriller to watch that'll keep you on edge with what to expect as well as a mysterious protagonist with an attitude and appearance that screams judgment day has come, you'll love Let Us Prey. Director, Brian O'Malley, brings the audience the perfect blend of suspense, gore, and humor. Cunnigham most certainly backs the thought that a person with confidence is sexy, through his tonality and assertiveness in his expression, posture and words. I personally do not think a better actor could have carried out the role. Manipulating and taking souls of sinners has never been more alluringly done.Fire, bloodshed, madness, and the inevitable death to sinners – Let Us Prey will make you rethink your own wrongdoings and repent for them before midnight strikes.
  • The film has a solid cast featuring THE WOMAN's Pollyanna McIntosh as Heggie and Liam Cunningham from GAME OF THRONES as the mysterious stranger. Cunningham is particularly cold and menacing in his role, blending perfectly with the atmosphere created by the score and cinematography. LET US PREY is a surprisingly brutal film with a pitch black soul and just a hint of gallows humor thrown in for good measure.
  • Pollyanna McIntosh owns this movie as Rachel, with the hard-ass rookie cop absolutely holding her own against the other characters, all of whom are against her at various moments. She's a taut mass of determined body language but never becomes monotonous, in part because she's damn good at letting the audience see how much she's trying to look tougher than she fears she may be even while still being fairly formidable. McIntosh is complemented by Liam Cunningham, who is great as a sarcastic spirit of vengeance. Once "Six" reveals himself as not being the victim Rachel expected, Cunningham gets to spot gravelly, disdainful lines at the whole cast of characters in a way that's just barbed enough to get under their skin; is a sort of certainty and control that is obvious without announcing itself. They've got good support, too, with Bryan Larkin and Hanna Stanbridge playing partners in more ways than one, Douglas Russell taking a reserved character in eye-opening directions, and a jail full of folks rope for retribution.
  • This film was really entertaining. It was violent, unsettlingly atmospheric, hilarious in places and shocking in others. A strong cast rounds out this strangely violent tale with a supernatural edge. Highly worth a watch.
  • From the opening shots of Cunningham standing atop a craggy shore, looking for all the world like the world's most sinister puffin, to the fiery, violent climax. Let Us Prey feels truly apocalyptic, and the chilling final shot gives the sense that what we've seen was just the overture to something even more horrifying. Let Us Prey presents a lot for horror fans to love: an interesting idea, held on the shoulders of some very strong performances and expertly maintained atmosphere and tension, with enough violence and gore to keep things interesting without being excessive. With only eight characters, and a few sets, director Brian O'Malley's feature debut strikes a perfect balance of suspense, violence, humour, plotting and action. Prey feels at once classic and modern; the film wears its influences on its sleeve but manages to feel fresh all the same. O'Malley is clearly a fan of early John Carpenter, and Let Us Prey features a glorious electronic score alongside several nods to Assault On Precinct 13. Cinematographer Piers McGrail keeps the shots, tight, closed and claustrophobic, using mostly slow, creeping camera movements and as the film progresses, O'Malley ramps up the tension and the chaos, culminating in a superb, quasi-religious, climax with ample amounts of brutal violence and bloody carnage. Let Us Prey took home the esteemed Melies D'argent award when it made its world premiere at the Brussels Fantastic Film Festival this past March. O'Malley has marked himself as a talent to watch, and this is just the beginning of what looks to be a very promising career.
  • (EIFF 2014 Review): A fucking great time and a new must-see for genre fans. Intense as hell, bloody as fuck and with some of the most twisted humor I've seen in a film, it's just so much fun. The prison setting and themes of retribution and judgment add an extra layer to the whole thing and the characters all give it their all with McIntosh and Cunningham coming out on top, McIntosh might be one of the best final girls I've seen in a long time. Plus Macready who far and away is the most entertaining character I've seen this year. It's a blast and if you're a fan of horror then keep your eyes peeled for when this is released. 9/10!
  • (Grimmfest 2014 Review): Fiona Watson and Dave Cairns' script is superbly lean, yet there is something ambitious at the centre of all the horrific happenings despite such a small-scale. You get the sense O'Malley and his cast have something to say on the darkness of human nature and that anyone can be corrupted... just as long as they're willing to pay the price. Your soul!
  • Let Us Prey is a solid horror tale featuring a badass heroine. The hows and whys put a good twist on the genre, and no matter how crazy it gets, you'll be rooting for Rachel.
  • (Scott Weinberg): Crisply and cleverly put together. On one side we have the insidious and evil Liam Cunningham; on the other is the noble and heroic Pollyanna McIntosh. Basically, Let Us Prey follows one of the golden rules of indie horror filmmaking: take something you like (in this case, Assault on Precinct 13 or any sort of self-contained "ticking clock" thriller) and then combine that with enough fresh material to make your own mark. Let Us Prey is half an homage to horror stories you already know, and half a collection of themes, ideas, moments, and shocks you might not see coming. And even if you do, there's more than enough energy here to keep things fun as it all plays out. Fun stuff.
  • Not since Calvary has there been a film more likely to piss off the National League of Decency, nor has there been one that really tests the definitions and subtexts of faith. Admittedly, this does all that under the guise of being a smart, tense, disturbing, and sly horror film.
  • LET US PREY is one of the more satisfying and utterly savage horror films in recent memory, touching on morality plays while dishing out artful sadism of the highest order. Brian O'Malley refashions familiar fright film tropes and relationships into something much more sinister, all the while providing a somewhat fantastic atmosphere from the combination of a chilling visual composition and provocative cinematic storytelling. Throw in some incredible and committed performances all-around, LET US PREY is the kind of brutal nightmare fare that gorehounds often clamor for but rarely receive.
  • 2014 Brussels International Festival of Fantasy Film: Silver Méliès
  • 2014 Festival de Cine de Terror de Molins de Rei: Audience Award
  • 2014 Toronto After Dark Film Festival: Audience Choice Award for Best Music
  • 2015 Jameson Dublin International Film Festival: MICHAEL DWYER DISCOVERY – Piers McGrail, cinematographer Let Us Prey

The Lodgers

Beschikbaar voor VOD: TBA Q1 2018
Regie: Brian O'Malley
Cast: Bill Milner (X: First Class, Locke), Charlotte Vega (Another Me), David Bradley

1920, het Ierse platteland. De tweeling Rachel (Charlotte Vega - Another Me) en Edward (Bill Milner - X: First Class, Locke) deelt een gruwelijk familiegeheim. Elke nacht valt hun afgelegen landgoed ten prooi aan de sinistere Lodgers, die hen drie regels opleggen: voor middernacht in bed liggen, geen buitenstaanders binnenlaten, elkaar nooit alleen laten. Wie probeert te ontsnappen, zet het leven van de andere op het spel. Dan keert de getroebleerde oorlogsveteraan Sean (Eugene Simon – Game of Thrones) naar het nabijgelegen dorp terug. Hij voelt zich aangetrokken tot de mysterieuze Rachel, die de regels van de Lodgers aan haar laars begint te lappen. Ze wordt meegezogen in een dodelijke confrontatie met haar broer… en de vloek die van oudsher op hen rust.

Regisseur Brian O'Malley (Let Us Prey) verfijnt zijn beklijvende gothic horror-stijl door het beste uit de klassieke en hedendaagse griezelfilm met elkaar te verzoenen: sfeervolle fotografie in prachtige decors, psychologische terreur en ijzingwekkende plotwendingen. En de karakterkop van veteraan David Bradley (Harry Potter, Game of Thrones…) past perfect in het plaatje…

Our Evil

Beschikbaar voor VOD: 14 september 2017
Regie: Samuel Galli
Cast: Ademir Esteves, Ricardo Casella, Sonia Morena

De liefde van een vader voor zijn dochter kent geen grenzen.

Maar er zijn grenzen die niemand mag overschrijden… Wanneer de helderziende Arthur via zijn mentor ontdekt dat de duivel de ziel van zijn 19-jarige dochter Michele komt opeisen, onderneemt hij drastische stappen. Via het deep web neemt hij contact op met Charles, een perverse seriemoordenaar. Die moet zorgvuldig de instructies opvolgen die Arthur hem zal geven. De gruweldaad die hij “bestelt”, moet wel voltrokken worden voor middernacht van de dag waarop zijn dochter 20 wordt…

Getormenteerde zielen, demonen, een mislukt exorcisme, een gefragmenteerde tijdlijn, een surrealistische beeldvoering… deze Braziliaanse horrorfilm trekt alle registers open voor een viscerale, wurgende horrorervaring die nog lang op uw netvlies zal blijven nazinderen. Want zijn kwaad is finaal ook… Ons Kwaad.

  • using impressive physical effects, Our Evil features gruesome gore sequences which hark back to the video nasties of the 1980s and the torture porn of the 2010s but never descend into gratuitousness. The oily, slimy, cleverly-designed demon creatures are supremely squirm-inducing, with stellar make-up effects work from Rodrigo Aragâo. This is a confident, technically ambitious picture, with an especially effective circus-themed score from Guilherme Garbato and Gustavo Garbato augmented by unsettling sound design from Alessandro Laroca and Eduardo Vermond Lima.
  • Alan Jones, FrightFest: Shocking, surprising, gripping and always keeps you guessing.
  • Anton Bitel, Projected Figures: A hitman/serial killer thriller that evokes THE SIXTH SENSE and THE EXORCIST.
  • Becky Roberts, Horror Talk: An imaginative and ambitious revenge story chock full of shocks and surprises.
  • James Whittington, Horror Channel: Vicious and violent with an intelligent surreal edge.
  • Our Evil is an emotionally charged film featuring harrowing acts of violence. It covers a whole spectrum of emotions, styles and horror conventions, and yet manages to hold it all together.


Horror, Thriller
Beschikbaar voor VOD: TBA Q1 2018
Regie: Caroline Labrche, Steeve Lonard
Cast: Diego Klattenhoff (The Blacklist, Pacific Rim), Charlotte Sullivan (Chicago Fire, Defendor)

De radius. De straal. De afstand van een willekeurig punt op de rand van een cirkel tot het middelpunt.

Dat middelpunt is Liam (Diego Klattenhoff - The Blacklist, Pacific Rim), die na een zware crash ontwaakt zonder te weten wie hij is of hoe hij daar belandde. Wanneer hij het nabijgelegen stadje binnenstrompelt, zakt iedereen die te dicht bij hem komt, als een vod met vale ogen in elkaar. Morsdood. Dat gruwelijke besef drijft hem weg van de bewoonde wereld tot Jane (Charlotte Sullivan - Chicago Fire, Defendor) plots opduikt, de enige die zijn “straal negeert” en het kan navertellen. Helaas weet ook zij niet meer wie ze is. Maar is het een virus? Een nare droom? Of iets buitenaards, onvatbaars?

Afstand houden is de boodschap in deze originele, apocalyptische scifi-thriller met elementen van Memento en The X-Files. De producers van Radius tekenden onlangs nog voor culthit Turbo Kid.

  • Radius is a slow-burn moral parable, driving its high-concept premise towards a final reveal that is not only genuinely satisfying, but might well have viewers heading back several times.


Horror, Thriller
Beschikbaar voor VOD: 1 februari 2014
Regie: Bryan Ortiz
Cast: Robert Englund (A Nightmare on Elm Street), Lacey Chabert (Mean Girls), Malcolm McDowell (The Artist, A Clockwork Orange, Halloween), Lou Diamond Phillips (La Bamba, Longmire), John Glover (Smallville), Chris Mulkey (Captain Phillips)

Worden we belaagd door paranormale krachten? Of speelt onze eigen geest ons parten, al dan niet om ons te beschermen? In deze ijzingwekkende anthologiefilm over waanzin en paranoia praat Dr. Stenson (Malcolm McDowell) de kijker doorheen drie schokkende en onthutsende psychiatrische dossiers: Gustav is een labiele kunstenaar die griezelig mooie poppen maakt, maar zelf een marionet is van Sam, zijn louche manager (Robert Englund). Wanneer Sam een monsterbod krijgt, begint hij Gustav onder druk te zetten om zijn creaties te verkopen. Maar Gustav hoort stemmen... Zijn het zijn innerlijke demonen of... de poppen? Steven is een jongetje van acht dat gevangen zit tussen zijn intimiderende vader en een mysterieus schepsel dat hem overal lijkt te achtervolgen. Wanneer zijn bezorgde schooljuf op huisbezoek gaat, wordt ze geconfronteerd met de bloedstollende waarheid... Professor James Silo (Lou Diamond Phillips) voelt het einde van de wereld naderen en laat een schuilkelder aanleggen voor zichzelf en zijn gezin. Zijn obsessie met de Mayaanse profetie heeft echter onverwachte gevolgen...

  • Superlatively shot, this creepy 'Tales of the Crypt' style chiller reminds of us how the mind is sometimes humanity's most powerful weapon. And beware the progressive shift in the ill, from the sane to the insane...darkness descends.
  • an excellent performance from John Glover.
  • The writing is smart and polished, ensuring the film's conceit never slides into gimmickry. There is confidence in the execution and verse in the performances. It has the gait and mien, in other words, of a work produced through creative synergy and synchronicity, not strife and pissing contest one-upmanship. McDowell's Dr. Stenson would probably see such harmonious equilibrium as bad for business, but the even keel in the telling is precisely what allows SANITARIUM's batty stories to succeed so well.


Horror, Komedie
Beschikbaar voor VOD: 11 juni 2013
Regie: Conor McMahon
Cast: Tommy Knight (Waterloo Road, The Sarah Jane Adventures), Gemma-Leah Devereux (Casualty), Ross Noble

De legendarische komiek Ross Noble vertolkt de rol van Richard 'Stitches' Grindle in deze hilarisch gestoorde slashercomedy die met succes is vertoond op Imagine's Night of Terror in Tuschinski en op het BIFFF in Brussel. Jaren geleden legde Stitches de Clown (Noble) op gruwelijk grappige wijze het loodje na een uit de hand gelopen partypoets. Nu keert hij uit de doden terug om zich te wreken op Tommy (Tommy Knight, Doctor Who) en zijn jeugdvrienden, de aanstichters van zijn veel te prille heengaan. Wat voor de grapjassen van weleer een beestig reüniefeest moest worden, ontaardt al snel in een bloederige orgie wanneer er een ongenode, en behoorlijk ondode gast ten tonele verschijnt... Wie clowns al creepy vond, zal zijn mening beslist niet bijstellen na het zien van deze oneerbiedige, inventieve Ierse slasherfilm! En wie zich een breuk lacht: dat was de bedoeling.

  • Variety: his wickedly inventive and super-grisly deeds are sure to satisfy gorehounds everywhere. A choice cut for genre events, the pic should notch respectable biz when it opens theatrically in Ireland and the U.K. on Oct. 26. Ancillary will be booming. the well-paced pic has the look and feel of a 1980s horror throwback, but only a smattering of the knowing, era-specific sense of humor that's helped comparable recent titles like 'Tucker and Dale vs. Evil' and 'Cabin in the Woods' to stand out from the pack.
  • BIFFF Brussel: De Ierse regisseur Conor McMahon (Dead Meat, The Distuber) heeft met Stitches een razend entertainende midnight movie gemaakt die er bij de fans van de slasher films uit de jaren 80tig als zoete koek zal ingaan. Het scenario is zalig hilarisch en inventief, boordevol visuele en verbale humor van begin tot einde. De manier waarop de makers Cutting Crew's 'I Just Died In Your Arms Tonight' in de film verwerken, zal je een fameuze lachkramp bezorgen. De Britse komiek Ross Noble steelt de show met zijn sardonische punchlines en mimiek terwijl hij allerlei jong volk op zeer creatieve manieren naar het hiernamaals stuurt.
  • Empireonline.copm: Deeply icky on many different levels, with Ross Noble's feature debut illuminated by stomach-churning effects.
  • good old-fashioned splatstick slasher, with gore gags that Sam Raimi would surely approve of.
  • Stitches is a riot from beginning to end and a rollicking 80s throwback that anyone seeking some gory fun and gut-busting laughs would be an absolute fool to miss. There's a new lead clown in this circus, and his name is Stitches.
  • This is an enjoyable midnight-movie that doesn't wear out its welcome, has a few good laughs and a lot of gross-out moments.
  • an enjoyable comedy horror that gives the function of intestines a new twist.
  • As horror comedies go, Stitches gets the gore-to-laughs ratio exactly right and is often both inventive and side-splittingly funny.
  • wickedly funny gross-out horror ... Utterly grotesque, it's nevertheless full of dreadful puns which Ross Noble delivers with relish.
  • it's funny, clever, disgusting, repulsive and manically funny!
  • Sitges 2012: Carnet Jove Jury Award

Vamp U

Horror, Komedie
Beschikbaar voor VOD: 1 november 2013
Regie: Maclain Nelson
Cast: Gary Cole (The West Wing, Office Space), Julie Gonzalo (Must Love Digs), Alexis Knapp (Pitch Perfect), Adam Johnson (Frozen)

Sinds hij drie eeuwen geleden per ongeluk de liefde van zijn leven, Mary Lipinsky (Julie Gonzalo), doodbeet, is Wayne Gretzky (Adam Johnson) een vampier zonder trek en zonder... slagtanden. Om de knagende pijn te vergeten, doceert Wayne nu geschiedenis aan Hawthorn University. Een vak waar hij, logischerwijze, in uitblinkt. Om zijn impotentie te verhelpen, schakelt hij de hulp in van zijn vriend en collega Dr. Levine (Gary Cole). Maar niets mag baten... tot in het nieuwe semester plots de verleidelijke Chris Keller (Julie Gonzalo), ten tonele verschijnt! Chris lijkt als twee druppels bloed op Mary en eindelijk schuiven de slagtanden weer als vanouds. Hun passionele affaire brengt niet alleen de geruchtenmolen op gang, maar ook een onstuitbare epidemie van bloedmooie vampieren... De slogan 'Sorority Girls Suck!' krijgt plots een heel andere bijklank in deze lekker weghappende vampierenkomedie.

  • a hilarious, charming blast of fun. I guarantee you will have a good time with this original vampire comedy (which we really don't get too much of, VAMPIRES SUCK doesn't count). I heartily recommend VAMP-U!
  • a fun, quirky movie containing one awkward situation after another that comes together and will get you laughing as it reimagines the original Dracula story.
  • This movie out to be one of the most pleasant surprises I've had for quite some time. An out-and-out comedy, rather than a horror-comedy hybrid, this mines a rich vein of varsity humour while gently poking fun at the current vogue for vampires in popular culture. Horror fans and non-horror fans alike will both find much to enjoy in this well-written and well-performed movie.
  • Much more of a great horror film than it is a comedy, 'Vamp U' is a clever and entertaining vampire film with some clever storytelling devices, a sharp cast, and great atmosphere that hearkens back to the classic horror trash fests of the eighties. It's definitely worth watching for anyone in the mood for a film with its tongue firmly planted in cheek.
  • Vamp U is packed full of vampiry fun. I found myself laughing out loud through out the whole film. I would recommend this over and over to anyone looking for a charming little independent film that more than hits it's mark.
  • horror101withdrac: this is one indie treat that deserves a spot on horror fans' class schedules.
  • It's surely worth a watch. Recommended.
  • A vampire comedy that is actually funny. I had a genuinely good time with where the film was taking me and with its terrific ensemble cast.
  • Los Angeles Comedy Festival 2011: Best Actor, Best Actress
  • Hollywood Reel Independent Film Festival 2011: Best Horror

We Are Still Here

Beschikbaar voor VOD: 8 december 2015
Regie: Ted Geoghegan
Cast: Barbara Crampton (You're Next, Re-Animator), Monte Markham, Larry Fessenden (I Sell the Dead, Hellbenders), Andrew Sensenig (I Love You Phillip Morris, W.), Lisa Marie (Planet of the Apes, Mars Attacks!), Susan Gibney

Deze ijzingwekkende debuutfilm van de beloftevolle Ted Geoghegan vindt een perfecte balans tussen wurgende slow horror en spetterende gore. Nadat hun tienerzoon omkwam bij een auto-ongeval besluiten Paul (Andrew Sensenig - I Love You Phillip Morris, W.) en Anne Sacchetti (Barbara Crampton - You're Next, Re-Animator) om in het rustige, landelijke New England aan een nieuw leven te beginnen. Wat het rouwende koppel echter niet weet, is dat het huis dat ze betrekken al meer dan een eeuw bezeten wordt door een wraakzuchtige geestenfamilie. En welke andere duistere geheimen probeert hun ogenschijnlijk vreedzame dorpsgemeenschap te verbergen? Van alle kanten belaagd moeten de Sacchetti's zowel met de levenden als de doden strijd leveren. Maar kunnen ze hun ziel en die van hun overleden zoon nog redden?

De pers is dan ook unaniem lovend over dit genrepareltje en noemt het één van de horrorfilms van het jaar. Vakblad Variety stelt zelfs dat "huizen zelden zo goed behekst werden als in deze film".

  • Sound On Sight names We Are Still Here one of the 15 best films at Fantasia! Read the full article here.
  • Although the film moves slowly at first, the scares begin picking up after an ill-advised attempt at a seance that naturally goes horribly wrong. And hell really breaks loose in the final act boasting enough bloody gore to appease modern-day fans. Showcasing juicy performances by its actors who tear into their stock roles with admirable conviction, the film looks terrific.
  • Genre fans with a sense of history should make this entertaining chiller a sought-after item. Houses seldom get haunted this well.
  • Once the viewer finds him or herself comfortable with the idea that it's going for mildly-spine-tingling rather than gut-punching and eyeball-violating, all holy hell breaks loose. Which in this case turns out to be a pretty hellishly good thing. The scares and the shocks work very well with the twists of the plot, which are within the boundaries of conventional genre fare but are pulled off with panache and some not-displeasing variation. Also exceptional is the use of a dirty white canvas contractor's tarp hanging off a wall in the grand finale, which really puts the expected exploded organic matter that hits it into bold relief. More than a mere homage, "We Are Still Here" is the kind of movie you wish you could take back in time with you and project in your favorite 42nd Street grindhouse.
  • We Are Still Here is familiar in many ways, but a clear love for the genre and a ridiculously bloody third act go a long way towards making it a memorable entry in the haunted house canon. Geoghegan shows his knowledge and wit without forgetting to embrace the horror of it all, and he delivers old-school terrors without the need for stylized reminders or ironic appreciations. And it's worth saying again that the damn thing made me jump — and I don't ever jump. The Upside: Legitimate jump scares; solid and plentiful practical gore effects; strong atmosphere; shows love and affection for genre; Monte Markham.
  • A wonderfully weird, gory and full of heart and poignancy, We Are Still Here is an assured and well-crafted debut from Geoghegan that's clearly a heartfelt love letter embracing what genre fans enjoy most about horror movies. While it may initially seem like a story we've seen before within the genre, We Are Still Here does an incredible job of taking all the right risks with the film's balls-out third act that makes it a truly inventive standout amongst its supernatural peers of late.
  • Nowadays it's hard to make an effective haunted house movie as we've pretty much seen it all. They range from extremely minimalistic to over-the-top silly. We Are Still Here hits the sweet spot effortlessly and is a horror film that is not only firing on all cylinders but delivers on all counts. Keep your eyes out for this one. It's an old school spookshow that is NOT to be missed!
  • Featuring an insanely large bloodbath, We Are Still Here finally focuses on the house. It isn't a necessarily scary conclusion, but it's thrilling and entertaining in every way. Horror audiences will be sure to be going wild for this ridiculously over-the-top finale.
  • Houses seldom get haunted this well. Has a strange alchemy that makes an audience lean in a little closer, half-knowing what's going to happen but drawn to the details of it. It makes for a terrific little thriller, a quality piece of genre work that pushes all the right buttons in the right order.
  • an impressive feat, but what elevates WE ARE STILL HERE even further is the way it manages, from first line to very last, to imbue its exploration of the outer extremes of darkness and horror with a real poignancy, heart and humanity. Modern horror could use a whole lot more of that kind of multidimensional boldness. Here's hoping this isn't the last trip audiences are able to take with Geoghegan and Co.
  • We Are Still Here is a celebration of the horror of a bygone era, with enough passion, inspiration, and elbow grease to show that it can still be bizarrely gross and terribly entertaining.
  • We Are Still Here gives us a fun romp that has a bloody finale. In addition to the wicked creature design, with the demons even having a smoldering glow, and wonderful performers, the rich history of the house and embrace of gore left this horror fan in a good mood afterward. Short and fun, this is a film that shows someone with a nice balance of reverence and the ability to establish his own charm.
  • As far as creepy goes, this is up there as one of the scariest films this year and it's a surprise that this is Geoghegan's first film. In between the blood soaking and weird happenings, the central cast manage to hold together the film with minimal effort as 84 minutes of terror is pretty persistent. This is a no-holds barred horror that goes from creepy to kickass yet never loses charm.
  • Geohegan bucks the modern horror trend of cheap jump scares by employing measured, lingering shots that force you to look at some things a little longer than you’d want to.  It’s a stylistic choice that puts him fully in control when he has to ramp up the pace as the film flies towards the finale. This level of confidence and elegance make him one to watch out for at future Frightfests.