Happy April! We hope you and yours are doing well during these bizarre times. What with most things slowing down, I thought it’d be a great time to bring back “Shorts Round Up of the Week” once again with some back logs being cleared out from our submissions. This week we have some great short films that you can check out, now including a science fiction drama, a comedy, and a drama about the #MeToo movement.
If you’d like to submit your short film for review consideration, submissions are always opened to filmmakers and producers.
A film producer reaches out to two podcasters to get them to shoot a documentary about murder and a demon in a wooded area near Los Angeles. They head to the location to gather footage and evidence, bringing along a photographer they know for help. Once there, they get exactly what they were looking for and maybe a bit more.
Earl Bellamy’s “Munster Go Home!” has become one of the most incidentally influential horror comedies of all time. One of the banner pop cult movies of the decade, “Munster, Go Home!” is the extension of the cult TV show that takes them out of their giant mansion, and brings them in to the wide open world. As we’ve seen with the series, the world isn’t too keen on their way of life, either. But they make it work with charm, and a classic sixties drag race. Continue reading
A couple looking to get their first house walks into a real estate office with an over-eager agent who wants to bring them to the perfect house, in the perfect neighborhood, at the perfect price, to raise the perfect family. Getting to the house is only the start of something bizarre and surreal where they learn a lot and go a little mad.
I love “April Fool’s Day,” and I say that as someone that originally hated it. It took years for me to come around on it, mainly because in a decade where we got nothing but slasher movies, we were given one. But we also weren’t given one, either. In either case, if you’re going in to “April Fool’s Day,” it embraces its inherent silliness and mounts tension to be a pretty good statement about the slasher sub-genre while also having a good old time with the audience. It’s become a favorite of the sub-genre, and indicates a point where studios were beginning to satirize the tropes of the sub-genre.
Once artist Snoop Dogg became a gangster rap icon, he inevitably branched out in the early aughts in to bigger pastures. Before he became a family friendly talk show host, he was someone who promoted the image of the pimp, and then became an open advocate for cannabis. In between those hazy days in his late career, Snoop Dogg (or someone in his PR team) decided that they should try to re-condition him in to a horror character. The inevitable product was “Bones” an utterly tepid, dull horror vanity vehicle from the man that gave us “Demon Knight.”