Movies
1960 ‘The City of the Dead’ Being Remade
Welsh production company Pillay-Evans Productions announced today that it has teamed up with independent producer Adam Stephen Kelly to produce and develop a remake of 1960’s classic British horror film, The City of the Dead, known in the USA as Horror Hotel.
The film is to be written and directed by BAFTA member SJ Evans, who made his feature debut to critical acclaim with the documentary Tattoos: A Scarred History.
“A young coed (Nan Barlow) uses her winter vacation to research a paper on witchcraft in New England. Her professor (Christopher Lee) recommends that she spend her time in a small village called Whitewood. Things begin to happen in earnest when she finds herself marked for sacrifice by the undead coven of witches” Evans noted, “The remake of THE CITY OF THE DEAD will stay true to the original and concentrate on atmosphere and good old fashioned storytelling, instead of relying on gore or CGI to move the plot along. I grew up watching the classic Universal horrors and was inspired by how the likes of James Whale created this sense of dread and unease with just a look. I want to bring that style of filmmaking back to the big screen instead of another music video, quick-cut horror film. We are all very excited by the prospect of bringing one of the greatest witchcraft films ever made to a new audience and know that fans of the original will be satisfied with the effort we are making to honour this classic.”
Pillay-Evans Productions is fast becoming synonymous with British horror with the upcoming original features SHADOWS WITHIN, NEW YEAR’S EVIL, THE HOUSE ON THE EDGE OF THE PARK PART II, directed by genre legend Ruggero Deodato, and the currently in-production DEAD OF THE NITE, starring horror icon Tony Todd.
Kelly, best known for his work with Ain’t It Cool News under the pseudonym Britgeek, added, “It’s our intention to take British horror back to its roots. With our film, we’re going back to what made the genre we love great. Over the last year or so, we’ve seen attitudes towards the genre changing and audiences are growing tired of being grossed out. They’re after the next big scare. With THE CITY OF THE DEAD, we aim to make a film that evokes emotion from the audience because of its characters, atmosphere and tension, rather than how much blood is spilled. We’re going to combine classic genre tropes with a classic story to create something that will take a 21st century audience for a ride.”
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At the Abigail premiere, Dan Stevens listed Norway among his four favorite vampire movies. “I just saw a great movie recently that I’d never heard of,” he told Letterboxd. “A Greek film called Norway, about a vampire who basically exists in the underground disco scene in ’80s Athens, and he can’t stop dancing ’cause he’s worried his heart will stop. And it’s lovely. It’s great.”
You won’t find a better endorsement than that, but allow me to elaborate. Imagine Only Lovers Left Alive meets What We Do in the Shadows by way of Yorgos Lanthimos. The quirky 2014 effort follows a vampire vagabond (Vangelis Mourikis) navigating Greek’s sordid nightlife circa 1984 as he dances to stay alive. Not as campy as it sounds, its idiosyncrasies land more in the art-house realm. Stylized visuals, colorful bloodshed, pulsating dance music, and an absurd third-act reveal help the existentialism go down in a mere 74 minutes.
With the recent solar eclipse renewing public interest in the astrological event, Bloody Birthday is ripe for rediscovery. Three children born during an eclipse – Curtis Taylor (Billy Jayne, Parker Lewis Can’t Lose), Debbie Brody (Elizabeth Hoy), and Steven Seton (Andrew Freeman) – begin committing murders on their 10th birthday. Brother and sister duo Joyce (Lori Lethin, Return to Horror High) and Timmy Russell (K.C. Martel, The Amityville Horror) are the only ones privy to their heinous acts.
Bloody Birthday opened in 1981 mere weeks before the release of another attempt to claim the birthday slot on the slasher calendar, Happy Birthday to Me. Director Ed Hunt (The Brain) combines creepy kid tropes that date back to The Bad Seed with slasher conventions recently established by Halloween and Friday the 13th – with a little bit of the former’s suspense and plenty of the latter’s gratuity. The unconventional set up helps it to stand out among a subgenre plagued by banality.
Starting in the late ’70s and throughout the ’80s, Italy built an enterprise out of shameless rip-offs of hit American movies. While not a blatant mockbuster like Cruel Jaws or Beyond the Door, 1989’s Alien from the Abyss (also known as Alien from the Deep) was inspired by – as you may have guessed from its title – Alien, Aliens, and The Abyss.
After a pair of Greenpeace activists attempt to expose an evil corporation that’s dumping contaminated waste into an active volcano, the environment takes a backseat to survival when an extraterrestrial monster attacks. Character actor Charles Napier (The Silence of the Lambs) co-stars as a callous colonel overseeing the illicit activities.
Director Antonio Margheriti (Yor: The Hunter from the Future, Cannibal Apocalypse) and writer Tito Carpi (Tentacles, Last Cannibal World) take far too long to get to the alien, but once it shows up, it’s non-stop excitement. The creature is largely represented by a Gigeresque pincer claw that reaches into the frame, giving the picture a ’50s creature feature charm, but nothing can prepare you for its full reveal in the finale.
Set against the backdrop of displaced Syrian and Palestinian refugees, What Is Buried Must Remain is a timely found footage hybrid from Lebanon. It centers on a trio of young filmmakers as they make a documentary in a decrepit mansion alleged to be haunted on the outskirts of a refugee camp. Inside, they find the spirits of those who died there, both benevolent and malicious.
It plays like Blair Witch meets The Shining through a cultural lens not often seen in the genre. The first half is presented as found footage (with above-average cinematography) before abruptly weaving in more traditional film coverage. While the tropes are familiar, the film possesses a unique ethos by addressing the Middle East’s plights of the past and the present alike.
Cathy’s Curse is, to borrow a phrase from its titular creepy kid, an “extra rare piece of shit.” The Exorcist, The Omen, and Carrie spawned countless low-budget knock-offs, but none are as uniquely inept as this 1977 Canuxploitation outing. Falling squarely in the so-bad-it’s-good camp, it’s far more entertaining than The Exorcist: Believer.
To try to make sense of the plot would be futile, but in a nutshell, a young girl named Candy (Randi Allen, in her only acting role) becomes possessed by the vengeful, foul-mouthed spirit of her aunt, destroying the lives of anyone who crosses her path. What ensues is a madcap mélange of possession, telekinesis, teleportation, animal attacks, abandoned plot points, and unhinged filmmaking that must be seen to be believed.
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