In a French mansion, a photographer is obsessed with reproducing long lost photos taken with the daguerreotype technique of yore. When he hires a young assistant for his project, things get complicated.
Written by Kiyoshi Kurosawa, Catherine Paille, and Eléonore Mahmoudian and directed by Kurosawa, Daguerrotype is a very slow burn of a film that feels more like a drama than anything else. This being said, there are a few elements that will be surprising if the viewer goes into it completely blind and thus will not be spoiled here. Having the genre pre-established as anything other than drama will lead into guessing a few of these. Given the director and his resume, this aspect can be easily guessed. Here he works in a manner where the characters are given plenty of time to develop themselves and their arcs while the story builds around them. The writing and directing of the film feel like a proper mix of French and Japanese cinema in a way that is hard to explain but works wonderfully well here.
One of the highly anticipated releases of 2017, Synapse Films unleashed the new print of the rare horror comedy “Popcorn” for fans with a limited edition release. Months later, they allow fans another chance with a regular Blu-Ray and DVD editions of “Popcorn” with the same deluxe special features and treatment but none of the collector flavor. “Popcorn” is one of those horror comedies that deserve to be consumed by horror movie fans of all kinds, as it’s one of the cleverer meta-horror movies that satirized indie horror, while also delivering its own interesting slasher tale.
From Treehouse Digital and director Peter Stanley-Ward, “Treaters” is a short film that I would love to become the basis for a horror anthology somewhere down the road. “Treaters” is a surefire Halloween treat that works with a sense of whimsy but also has an admirably demented sense of humor that I was sucked in to from minute one. One thing that’s always menacing about Halloween are trick or treaters, because you just never really know who, or what, are wearing those dreaded masks and whatnot.
I give director and writer Paul Etheredge-Ouzts a lot of credit for creating a traditional slasher film with a lot of the conventions turned around for an all gay cast. Every single character in the movie is gay, right down to the psychotic masked killer. Ironically, “Hellbent” does fall in to the traps of conventional slasher films, with people willingly walking in to danger, and a slasher whose origins is completely unexplained. I was disappointed in the latter, as I was expecting a big twist, or at least a link to protagonist Eddie’s past as an aspiring police officer.
Underground film icon Michael Legge is celebrated for his distinctive horror-comedy films that mix the macabre with wonderfully droll silliness. On this episode on “The Online Movie Show,” the Massachusetts-baed creator of such brilliantly batty films as “Working Stiffs,” “Honey Glaze,” “Brain Drainer,” “My Mouth Lies Screaming” and “Monochromia” – as well as his foray into serious horror, “Evan Straw” – discusses his remarkable career and previews his upcoming film “Crawlers.”
The episode can be heard here.
“The Online Movie Show” is produced at Platinum Wolfe Studios.
This is the story of Leatherface. Again. No, “The Beginning” was not his origin, “Leatherface” is. I’m not sure what “The Beginning” was supposed to be. “Leatherface” is the official prequel to the iconic movie maniac, they promise. And once again, like “The Beginning,” 2017’s “Leatherface” is really just a tired, nasty, unpleasant road film following a group of psychopaths. Leatherface’s actual origin is reserved for the final ten minutes where he just reverts to Leatherface mode because—um—it’s familiar! Familiar is good, right? Once again, no one seems to be interested in actually dissecting the madness of Leatherface, or why and how his persona of wearing human skin and carrying a chainsaw relates to him. In the original Tobe Hooper masterpiece,
The definition of disappointing is the big lead in to who or what the Creeper is. The writing makes a big deal about how you’re able to read its origins by touching a severed part of it, even staging a scene where a group of people channel its origins. There’s a close up of its magical spears and emphases on its car which is built like a virtual indestructible tank, and in the finale Creeper wails in anger as crows fly around, reacting to a sign that reads “We know what you are.” Guess what? We’re never told what the Creeper is. There isn’t even a hint of an explanation. The writing tries to cop out by metaphorically explaining that the creeper is a monster that changes and destroys lives. Damn it, to hell with stupid clichés and tell me what the hell the Creeper is!