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2017 in Review: Pixie’s Horror Picks

Published January 8, 2018 by vfdpixie

 

 

It seems like a blur, but another year has passed. Quite a few horror films made their mark in 2017; some were out of the gate hits while others were divisive. All of them created a buzz and garnered a bit more respect for our beloved horror genre. Here are my top picks from the past year.

Being a programmer for Blood in the Snow Canadian Film Festival, I have a soft spot for indie film. There were a few that I saw at Toronto After Dark and BITS that I must mention for their unique subject matter and execution despite low budgets.

Toronto After Dark Film Festival

Lowlife drew me into the multiple narratives leading up to an insane climax. The charm of this film is its heart and filmmaker Ryan Prows made sure there was plenty to go around. The well written left-field characters amidst the constantly botched criminal antics will make you root for them ten times over. It’s definitely a sleeper hit in my eyes. Read my review on Cinema Axis here.

A total left-fielder at TADFF for me was Beyond Skyline.  This sequel came out of the shadow of its lukewarm and not well received predecessor Skyline to blast it out of the water.  Where the first film followed people in a condo as the world falls under an alien attack, Beyond Skyline picks up from Skyline’s cliffhanger ending. The unlikely redemption lies with Frank Grillo’s action star swagger, a genuinely funny script, great aliens combined with practical and CGI effects, and some kick ass action from The Raid’s Iko Uwais.

Two more After Dark films that still resonate for me are Rabbit and The Endless. Following a twin’s quest to find her missing and thought dead sister leads her into a world of madness, science and an undeniable connection to her sibling. With breathtaking cinematography and scoring that will chill you to the bone, director Luke Shanahan’s Rabbit is visceral and confounding. I reviewed it here.

The Endless also takes you on a journey, one that brings two brothers back to a cult they escaped years ago. Each one recalls a different experience of the commune they once called home, and things become more intoxicating and confusing as realities and perceptions blur. Aaron Moorhead and Justin Benson come back after their indie hits Resolution and Spring with a strong effort that left fans wanting more from this mind-bending film.

Blood in the Snow Canadian Film Festival

My programming rights give me access to incredible indie gems, the filmmakers and cast, and I’m privileged help put on a film festival that gives genre film fans a chance to see some great Canadian talent. This year was one of Blood in the Snow’s best, taking place at the gorgeous Royal Cinema, and all the titles left audiences talking well after the festival was over. You can find the 2017 lineup at bloodinthesnow.ca and check out the feature film award winners for BITS 6th year:

Darken, a dystopian fantasy with strong female leads was our closing night film and won for Best Poster, Best Cinematography, Best Music Score and the lovely Audrey Cummings took home the Best Director prize.

The winner for Best Feature film and Best Screenplay was Buckout Road directed by Matthew Currie Holmes. Based on a notoriously haunted road in New York state, this film was a fun blend of urban legends with great star power including Canadian acting vets Colm Feore, Henry Czerny and Hollywood mainstay Danny Glover.

Fake Blood, a documentary style feature follows two filmmakers who want to explore the effects of violence in film on audiences, eventually coming face to face with some real danger when they flirt with the criminal element. Rob Grant and Mike Kovacs took home the award for Best Editing. It’s a truly disturbing film that kept the audience wondering what was real long after the screening.

Best Actor went to Jeff Sinasac, a long-time actor in the GTA who revealed more of his talents by not only starring in but also directing his film Red Spring, a tense post-apocalyptic vampire survivalist film; while the acclaimed Suzanne Clément took home the Best Actress for The Child Remains, a chilling tale directed by Michael Melski based on the horrific true story of the Butterbox Babies.

Best Special FX went to Kill Order (Meza) and followed a young man who must deal with his superhuman powers, a sinister plot and plenty of danger. A martial arts spectacle filmed right here in Toronto, director James Mark created a real crowd pleaser with tons of stunts and action.

Best Acting Ensemble went to Ryan M. Andrews’ The Art of Obsession. This film, starring our Vanguard winner Ry Barrett, went deep into the mind of a writer and his process; haunted by his muse and his work. It’s a departure from the usual psychological horror and one that will resonate with those who are passionate about what they create.

Pleasant Surprises, The Grotesque, and a Timely Game Changer

There were two films that surprised me by how much I liked them. The first was Rue Morgue’s presentation of The Evil Within. Directed by the late Andrew Getty, a member of one of the richest families in America, the film took a long time to finish due to his untimely death. Frederick Koehler stars as Dennis, a mentally challenged young man who is gifted a mirror he’s seen in his nightmares. It holds a powerful evil and manifests itself as sinister and smarter reflection of himself, taunting Dennis and putting those around him in danger. Koehler outdoes himself playing the two roles, and the mixture of nightmare scenes and long-time horror actor Michael Berryman as the mirror’s evil demon makes this film a one of a kind gem. Thanks to the determination of those involved with the production despite the loss of the director, the film finally got it’s release last year. Rue Morgue issue #177 delves into the trials and tribulations of the film’s journey and is well worth the read.

The second film that surprised me was Darren Aronofsky’s’ mother! It screened at TIFF 2017 and I was prepared to find something to dislike about it since it was so polarizing and a lot of my film critic cronies hated it. While I respect their opinions, I ended up loving it and sat through it another time at home, only to love it even more (and not because Mr. Stephen McHattie is in it…well ok, there’s that, but it’s now one of my favorite films to date). Once again, my full review can be found here.

My only other TIFF 2017 selection that made the list was The Crescent. Hailing from the east coast, this hypnotic psychological thriller about a young mother coming to terms with her grief and the safety of her son in a strange town, in my eyes, didn’t get enough love. The use of art and the scoring by the film’s director Seth A. Smith created a brilliantly eerie atmosphere highlighting isolation and tension. Read my review here.

Shudder Canada has continually impressed me with the unique content they offer horror fans who want to escape the mainstream. One of their films that had a limited screening in Toronto was Kuso. After an earthquake befuddles L.A., several characters and their stories intersect as they try to navigate through their afflicted city. There are a ton of vile moments, along with scathing social commentary and bleak humor. It’s a trying yet exhilarating film filled with music, art and the grotesque by first time director Flying Lotus aka Steven Ellison, better know for his musical and D.J. talents. Be forewarned that it’s not the usual gore and not for the squeamish, and it is most likely not for everyone, but a must-see anyway. Read my full review here.

My favourite film of 2017 is Get Out for so many reasons. I’m going off on a tangent for a moment. In my research for pieces that will be included in an upcoming book on racism in American film, I learned African-Americans were underestimated for their love of westerns. When producers and movie house owners learned that African-Americans did indeed enjoy stories of life on the open range (in fact there is a long history of African-Americans working as cowboys), saving a damsel in distress and immortalizing cowboy action in song, they capitalized on that desire and made Black westerns. While short-lived (spanning from the 1920s-40s), it showed that demand ruled and the creators of media listened. Fast forward to modern-day, where actor and comedian Jordan Peele wrote and directed his first horror film starring a Black actor about the Black experience. It was clever, scathing, and always on point. And the masses, both Black and white (for the most part) loved it. Once again, African-Americans proved that they loved and wanted content in genre films. Instead of leaving it up to the powers that be, Peele took it into his own hands and created that content, opening doors for more people of colour to join in the wave of genre filmmakers. We owe so much to Peele and Get Out, and while there is still so much room for improvement and inclusivity within the film industry, I honestly hope the momentum continues. Read my thoughts on this game changing film here.

For 2018, I hope horror continues to create conversations and include fans of all genders and colours. All the best to you in this shiny new year!

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The Blood in the Snow Canadian Film Festival: Why Toronto Horror Fans Need to Go

Published November 8, 2016 by vfdpixie

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This November 24th-27th, the Blood in the Snow Canadian Film Festival kicks off it’s 5th year. Why is this important? Because it’s Toronto’s only festival dedicated to Canadian genre film. And why is that important? Well, Canadian film, while it’s gaining in popularity, generally doesn’t get a lot of focus, often being overshadowed by big ticket blockbusters. Independent genre film gets even less attention. It’s difficult to see Canadian genre film on the big screen, and that’s where the Blood in the Snow comes in. Festival director Kelly Michael Stewart created the event to showcase Canadian horror, genre and underground film to make sure talented filmmakers get a chance to show their original films in a theatre to genre-loving fans.

This year there will be 33 films which is a record number for the festival. With 9 feature films and 24 shorts, you’ll find everything from documentary (another first for BITS!) to the supernatural; sci-fi and silent film to grindhouse (see below for some of titles playing). All of the films will either be a Toronto or world premiere, making the festival the first stop for anyone looking to see fresh or buzzed-about films that you may not see in wide distribution.

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The festival will also be held in a new venue. After several years at the beloved Carlton Cinema, there was a need to accommodate more people after sell out and encore screenings pushed the theatre to capacity. This can now happen at the Cineplex Cinemas-Yonge Dundas with more available seating as well as the same convenience of transit at the theatre’s doorstep.

BITS is there for horror fans of course, but it also serves the very people they showcase. Industry panels on Friday November 25th will bring you experts in the legal, distribution and funding areas of the film industry who will share valuable advice. It will be a day of insight that everyone who is interested in or already involved in the film industry needs to attend. Separate industry passes are available for the panels and will also get you into 3 screenings of your choice.

As a former pass holder (and now BITS programmer), I’ve met the most interesting people who have become friends and colleagues. There will be a chance meet with other festival attendees and staff, plus cast and crew from the films at The Duke’s Refresher & Bar, a nearby pub that will host the 4 nights of schmoozing after screenings.

So why should Toronto genre fans go to the Blood in the Snow Canadian Film Festival? Because you are a genre-loving, discerning bunch celebrating indie horror and genre films by attending screenings and spreading the word. We live in Hollywood North after all, and we need  to make a place for indie film by supporting our local talent.

You can get passes or individual tickets.  The full festival passes come with some great perks (i.e. a fantastic goody bag), and tickets make it easy for you to pick and choose what you want to see, even though you should see every film at the festival. So what are you waiting for?! Get your tickets before they sell out!

Follow this link for your one-stop shop to passes and tickets: http://bloodinthesnow.ca/BITS2016.html

or visit The Cineplex website here (when you go to purchase, you must enter the location “Yonge Dundas”):  https://goo.gl/yy9cTH

Pixie’s Walk Down Memory Lane and the 40th Anniversary of Black Christmas!

Published December 22, 2014 by vfdpixie

Black Christmas

Black Christmas (1974, 1 hr 38 mins)

My Christmas post for 2014 is about a Canadian classic.  Made in 1974 and said to be one of the first slasher films, Black Christmas has a special place in my heart.  It is not only one of my top 5 horror films, but also a favourite of my childhood friends.  As kids, we would discuss it at length and giggle at the scary parts. They have since moved out of town, but when we come across it on T.V. or pop it in the V.C.R. or D.V.D. player, we always text each other.

When I heard that Rue Morgue was putting on a 40th anniversary screening of the film at the Royal Cinema, I had to go.  Imagine seeing it on the big screen as it was intended with fellow fans as we walk down Memory Lane?  With one of the films stars in attendance?  And the option to purchase a limited edition poster?  Yes please!

The story, loosely based on real murders that happened in Montreal, is about a sorority house that is plagued with obscene calls made by a mysterious and murderous nut-job as he kills the girls off one by one.  It has become an iconic Christmas horror movie that, to the trained eye, uses some very familiar locations and is slice of Canadian history.  From the search party scene filmed in the neighbourhood that I grew up in at Grenadier Pond (the source of some historical myths), to University of Toronto where I pursued higher education, Black Christmas is a map of an old Toronto even though it is set in the fictional U.S. town of Bedford.

Starring Hollywood heavies such as John Saxon, Olivia Hussey, Andrea Martin and Margot Kidder, the organizers invited Art Hindle, who played the fur-clad Chris, to host the screening.  Hindle is a busy Canadian actor who has worked on shows like Beverly Hills 90210 and the award-winning Canadian series E.N.G.  He has a face that is easily recognizable, and it was great to see him in the flesh, wearing the actual fur coat monstrosity from the film that he kept after all these years as a souvenir.

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Art Hindle, second from the left, in his fur coat, with Rue Morgue’s Dave Alexander and Lee Howard with one of his Quiet Room Bears- The special edition Black Christmas Bear

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Art Hindle in 1974 as Chris in all his furry glory with Olivia Hussey as Jess in tow!

Before the movie started, Hindle answered some questions about his experience being in the film.  He said that he took the role of Chris to make money, plain and simple, because he had to support his family.  A chat with Margot Kidder convinced him to go to Los Angeles to find more work because Toronto at the time was not booming in the entertainment industry.  He also raved about late director Bob Clark’s “consummate craft of filmmaking”.  Hindle felt Clark was a genius and cited the classic teen sex comedy Porky’s as a technically advanced film, despite its subject matter; in fact, Hindle pointed out that the crew would often consult Clark beyond his directorial skills because he was so technically well-rounded.

As I watched the film on the big screen, I realized my favourite aspect of Black Christmas was the deliciously slow camera shots that either panned across rooms or came in for close-ups-the epitome of building tension-as well as the killer’s point of view camera work, which was apparently mounted on camera man Bert Dunk’s shoulder.  Along with the tension came the jarring score by Carl Zittrer.  Christmas carols surrounded by jangling discordant notes, eerie wind mixed with moans, and heavy breathing, all culminating when Jess’s high-strung boyfriend Peter (Keir Dullea) blows a gasket and destroys a perfectly good grand piano.  Those angry sounds resonated throughout the film as things got worse.

Another key element was the well-placed comedy.  Writer Roy Moore, along with script revisions from Clark, incorporated dark humour that punctuated the action so cleverly.  Among the most memorable moments were Kidder’s dry portrayal of the perpetually drunk Barb and the fellatio phone number scene, and Sergeant Nash’s (Doug McGrath) general oblivion.  Add the foreboding old school telephone ring which was central to the film and the truly creepy, rambling phone calls, and you have all the ingredients for an entertaining and well-crafted horror movie that has become a cornerstone of the horror genre.

To mark the anniversary, a limited edition poster was created.  Toronto based artist Ghoulish Gary Pullin, who has had a multitude of clients such as Rue Morgue Magazine, Dread Central, and Anchor Bay Entertainment just to name a few, and won for best movie poster for the documentary Why Horror? at the Toronto After Dark Film Festival, was invited to reinterpret the look of the Black Christmas movie poster.  I am not normally a poster type gal, but when I saw it, I needed to have one. Silk-screened and featuring metallic silver inks, it is truly a thing of beauty.  Pullin was actually on site to personally hand out prints and say hello!  He said he was humbled when he was asked to do the poster and was a genuinely nice guy and obviously extremely talented.

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The limited edition poster by Ghoulish Gary Pullin

My first experience with Black Christmas will always be remembered as a popcorn and pyjama movie with close friends, but I had a lot of fun seeing it loud and proud on its historic 40th anniversary.  It was great to sit with an audience as we laughed and shrieked at some old school horror.  Who knew a little film about a crank caller and murdered sorority girls would be such an industry trailblazer!  So glad I made it out to revisit the mystery of Billy, Agnes and the baby!

Merry Christmas, dear reader!

*I would like to dedicate this post to my childhood friends who loved this film as much as I did, and to their loved ones who recently left us.  Terry and Sharon lost their father Desmond on September 3rd, and Tessa and Suzette, Desmond’s nieces, lost their beloved friend Danny December 11th.  May they find solace in the memories and the good times with their friends and family, and here’s to a happier new year for us all.  

Horror-Rama 2014-Toronto’s First Annual Horror Convention

Published November 7, 2014 by vfdpixie

horror-rama

Horror-Rama, Toronto Ontario, Canada, November 1-2, 2014

 

I wasn’t sure I would even get to Horror-Rama due to my work schedule, but a week before the event, I learned that I would be free for an afternoon, so I bought my one-day $25 ticket not sure what to expect.  After checking out the website, I was prepared to part with some of my hard-earned money to get some stuff.  Horror stuff.  Little did I know that stuff was just the gory icing on the horror cake!

Let me back track a little.  You might be wondering what Horror-Rama is.  Put on by Suspect Video owner Luis Ceriz (one of the nicest people I’ve ever met in Toronto who runs one of the coolest movie rental and rare finds stores around) and Fangoria Magazine’s editor-in-chief Chris Alexander, it is Toronto’s first ever horror only convention, and it was a blast!  Catering to the horror fan who loves rare finds and weird stuff, there were many vendors selling DVDs and rare VHS horror films, as well as gifts, t-shirts, and original poster art and illustrations, but I suspect the biggest draw was the celebrity line-up.  Boasting such stars as Barbie Wilde mostly know as the female Cenobite from Hellraiser, Michael Slade author of Headhunter and Ghoul, Nivek Ogre of Industrial band Skinny Puppy (who I listened to endlessly in high school), and Lisa Marie of Mars Attacks, it was a veritable wonderland for fans of all things dark and diabolical.  Tom Savini was also there.  From special effects, to directing and acting, this horror dynamo was a revered name in the line-up.

I at first wasn’t going to attempt meeting him, for one because I thought it would be rammed and kind of like FanExpo, and secondly because I am an introvert by nature with awkward bursts of nuttiness.  I don’t know what to say to celebrities because after all, they are people just like me, and I don’t want to sound like a dork.  What was pleasantly surprising was the celebrity meet and greet area.  It was quite intimate, and it wasn’t crowded when I arrived, so I gave it a shot.  I mean, he was right there. Like, right there!  So I took the plunge, got an autographed photo of Savini and Danny Trejo in Machete Kills, a handshake and a picture taken with him for $30.  Unfortunately, I had nothing witty to say; the nuttiness crawled away and hid, and I didn’t bother to hand him my Rosemary’s Pixie card, even though he does follow me on the twitter (just sayin’).  I just smiled and said thank you.  In my defense, some dude would not stop talking to Savini while I was there, so I think that chatty dude owes me at least $15 for my troubles.  And I will find him…anyway, here is my photo-op with Tom Savini, who was really nice and called me sweetheart, and my weird hair (I swear it looked better in person):

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Pixie and Savini, just hanging out…

As for any other pictures, I didn’t take any at the event because I was there to buy stuff, and kind of forgot in my shopping frenzy.  I can however show you all the loot I got, including a rare find of Henry:  A Portrait of a Serial Killer for $12, and some top-secret but awesome gifts for my salt-of-the-earth-and-weird-like-me friend T-Bone:

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My loot. For obvious reasons, the top-secret gifts are absent because my friend is one of the 3 people that reads my blog…bah ha ha ha! I kid, folks, I kid…

I also wanted to pick up my pass for The Blood In The Snow Film Festival, happening from November 28th-30th at the Carlton Cinemas here in Toronto.  It’s a 3 day festival of 100 % Canadian horror, and it is always a good time. There was an Anchor Bay Screaming Lounge where a preview of the festival was screened, as well as indie horror movies Avenged (2014) and The Devil Incarnate (2014).  Check out the films and tickets for this year’s BITS fest here.  The convention also had a Horror-Rama Hangout, where you could attend Q & A sessions with some of the headliner guests.

I also hit the Black Fawn Distribution booth where there was a bunch of great Canadian independent film for sale.  Better known for films like festival hits Silent Retreat and Discopath, they were promoting a new horror called The Door.  I picked it up and was treated to an autographed copy by one of the film’s stars, Alys Crocker.  I also got a photo-op with her and had a quick chat with the film’s director, Patrick McBrearty.  They were both lovely and I can’t wait to watch this creepy film which caught my eye a few weeks ago on my twitter feed.

I wrapped my visit up somewhat early because plain and simple, I ran out of ducats.  I didn’t want to sell the farm for more memorabilia and movies, so after tracking Luis down to thank him for a great event, I took myself and my horror horde home.  I will definitely go back next year.  Horror-Rama fills a void for those of us that want a more specialized type of convention with all things horror for the die-hard fan and collector.  Go Horror!

 

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