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Nightmares Film Festival ’18 – Day One

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Nightmares Film Festival has once again returned to the welcoming arms of Columbus, Ohio’s Gateway Film Center and I couldn’t be happier. This is the festival’s third year and it’s bigger than ever. There are more features and more shorts playing this year. There are more filmmakers in attendance for the weekend (100+!). There are more foreign entries, more female-centric selections, and…based on the first night alone…more attendees than ever before!

The festivities kicked off like a windshield-exploding shotgun blast to Tom Savini’s face with a 4K screening of the sleazy 1980 classic Maniac! Seeing such a beautiful restoration of William Lustig‘s disturbing descent into the mind of a kill-crazy madman on the big screen was treat enough, but having Lustig himself in attendance put it over the top. If you’ve never had the pleasure of seeing (or even just hearing) Bill Lustig speak, rectify that pronto. If he ever does an appearance at a screening near you, go!

Sometimes filmmakers might not be all that thrilled to introduce their films, do Q&As, sign stuff, etc. and I get it. They’re speaking about the same films over and over again for decades, so it’s not surprising that many burn out on such topics. Not Bill Lustig. That man is a fireball of enthusiasm and graciousness, with an immensely entertaining sense of humor on top. I’ve now witnessed him speak publicly about three of his films and he has never not given 110% to his audience.

Maniac was but the first of three events this evening. The second screening of the night came in the form of the throwback anthology Skeletons in the Closet. Co-directed by our own Tony Wash, the film mixes chuckles and chills in equal measure, making for a fun time at the movies. If you’ve been hankering for a new horror anthology that sidesteps the grim nature of most recent fare from that subgenre, you might want to give it a look once it hits the digital airwaves.

Sticking comedic horror, the night closed out with an entire block of shorts dedicated to funny frights. Standouts for me included Amigos and Bitten, as well as the short Marta that played before Maniac. All in all, it was a fun way to close out what amounted to a great night at the movies.

I really have to hand it to GFC. The theater is astoundingly dedicated to the horror audience and said dedication extends way beyond NFF. Also playing this weekend are Mandy and (naturally) Halloween (2018), as well as a slew of retro screenings for Halloween (1978), Monster House, Dial M for Murder (in 3D), and Beetlejuice. Later this year they’ll be playing Rear Window, Vampire Doll, Lake of Dracula, Evil of Dracula, Psycho, Hocus Pocus, Phantasm (in 4K), and who knows what else beyond this year’s new horror offerings. It truly is a home for horror. My only regret is that I don’t live close enough to attend them!

Nightmares Film Festival 2018 continues with a stellar Friday lineup that includes The FP2: Beats of Rage, Book of Monsters, the latest indie terror from Found & Headless director Scott Schirmer, a killdozer-sized load of short films, and so much more! Stay tuned for more coverage as the weekend progresses!

Devourer of film and disciple of all things horror. Freelance writer at Bloody Disgusting, DVD Active, Cult Spark, AndersonVision, Forbes, Blumhouse, etc. Owner/operator at The Schlocketeer.

Editorials

Finding Faith and Violence in ‘The Book of Eli’ 14 Years Later

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Having grown up in a religious family, Christian movie night was something that happened a lot more often than I care to admit. However, back when I was a teenager, my parents showed up one night with an unusually cool-looking DVD of a movie that had been recommended to them by a church leader. Curious to see what new kind of evangelical propaganda my parents had rented this time, I proceeded to watch the film with them expecting a heavy-handed snoozefest.

To my surprise, I was a few minutes in when Denzel Washington proceeded to dismember a band of cannibal raiders when I realized that this was in fact a real movie. My mom was horrified by the flick’s extreme violence and dark subject matter, but I instantly became a fan of the Hughes Brothers’ faith-based 2010 thriller, The Book of Eli. And with the film’s atomic apocalypse having apparently taken place in 2024, I think this is the perfect time to dive into why this grim parable might also be entertaining for horror fans.

Originally penned by gaming journalist and The Walking Dead: The Game co-writer Gary Whitta, the spec script for The Book of Eli was already making waves back in 2007 when it appeared on the coveted Blacklist. It wasn’t long before Columbia and Warner Bros. snatched up the rights to the project, hiring From Hell directors Albert and Allen Hughes while also garnering attention from industry heavyweights like Denzel Washington and Gary Oldman.

After a series of revisions by Anthony Peckham meant to make the story more consumer-friendly, the picture was finally released in January of 2010, with the finished film following Denzel as a mysterious wanderer making his way across a post-apocalyptic America while protecting a sacred book. Along the way, he encounters a run-down settlement controlled by Bill Carnegie (Gary Oldman), a man desperate to get his hands on Eli’s book so he can motivate his underlings to expand his empire. Unwilling to let this power fall into the wrong hands, Eli embarks on a dangerous journey that will test the limits of his faith.


SO WHY IS IT WORTH WATCHING?

Judging by the film’s box-office success, mainstream audiences appear to have enjoyed the Hughes’ bleak vision of a future where everything went wrong, but critics were left divided by the flick’s trope-heavy narrative and unapologetic religious elements. And while I’ll be the first to admit that The Book of Eli isn’t particularly subtle or original, I appreciate the film’s earnest execution of familiar ideas.

For starters, I’d like to address the religious elephant in the room, as I understand the hesitation that some folks (myself included) might have about watching something that sounds like Christian propaganda. Faith does indeed play a huge part in the narrative here, but I’d argue that the film is more about the power of stories than a specific religion. The entire point of Oldman’s character is that he needs a unifying narrative that he can take advantage of in order to manipulate others, while Eli ultimately chooses to deliver his gift to a community of scholars. In fact, the movie even makes a point of placing the Bible in between equally culturally important books like the Torah and Quran, which I think is pretty poignant for a flick inspired by exploitation cinema.

Sure, the film has its fair share of logical inconsistencies (ranging from the extent of Eli’s Daredevil superpowers to his impossibly small Braille Bible), but I think the film more than makes up for these nitpicks with a genuine passion for classic post-apocalyptic cinema. Several critics accused the film of being a knockoff of superior productions, but I’d argue that both Whitta and the Hughes knowingly crafted a loving pastiche of genre influences like Mad Max and A Boy and His Dog.

Lastly, it’s no surprise that the cast here absolutely kicks ass. Denzel plays the title role of a stoic badass perfectly (going so far as to train with Bruce Lee’s protégée in order to perform his own stunts) while Oldman effortlessly assumes a surprisingly subdued yet incredibly intimidating persona. Even Mila Kunis is remarkably charming here, though I wish the script had taken the time to develop these secondary characters a little further. And hey, did I mention that Tom Waits is in this?


AND WHAT MAKES IT HORROR ADJACENT?

Denzel’s very first interaction with another human being in this movie results in a gory fight scene culminating in a face-off against a masked brute wielding a chainsaw (which he presumably uses to butcher travelers before eating them), so I think it’s safe to say that this dog-eat-dog vision of America will likely appeal to horror fans.

From diseased cannibals to hyper-violent motorcycle gangs roaming the wasteland, there’s plenty of disturbing R-rated material here – which is even more impressive when you remember that this story revolves around the bible. And while there are a few too many references to sexual assault for my taste, even if it does make sense in-universe, the flick does a great job of immersing you in this post-nuclear nightmare.

The excessively depressing color palette and obvious green screen effects may take some viewers out of the experience, but the beat-up and lived-in sets and costume design do their best to bring this dead world to life – which might just be the scariest part of the experience.

Ultimately, I believe your enjoyment of The Book of Eli will largely depend on how willing you are to overlook some ham-fisted biblical references in order to enjoy some brutal post-apocalyptic shenanigans. And while I can’t really blame folks who’d rather not deal with that, I think it would be a shame to miss out on a genuinely engaging thrill-ride because of one minor detail.

With that in mind, I’m incredibly curious to see what Whitta and the Hughes Brothers have planned for the upcoming prequel series starring John Boyega


There’s no understating the importance of a balanced media diet, and since bloody and disgusting entertainment isn’t exclusive to the horror genre, we’ve come up with Horror Adjacent – a recurring column where we recommend non-horror movies that horror fans might enjoy.

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