CREEP (2014) and CREEP 2 (2017) are deceptively simple yet highly disturbing films that demonstrate why independent horror deserves more attention and respect.
I wanted to curl up and die in this beautiful, horrible world.
Living Among Us (2018) is the second feature-length horror movie by indie writer/director/producer Brian A. Metcalf (The Lost Tree, 2016). It’s a competent production. The film boasts a cast that includes Esmé Bianco (Game of Thrones, 2011-3), James Russo (Donnie Brasco, 1997), William Sadler (The Shawshank Redemption, 1994), and the late John Heard (Home Alone, 1990). Yet, its story is familiar and weak, as is its POV video aesthetic. Its production design and acting also could have been better, even given the limitations of its low budget. The film’s negative aspects outweigh the positives, especially for the seasoned horror fan.
The script and direction lean so heavily on wanting to appease a built-in audience that it never tries very hard, despite the exasperating visuals.
Shot in black-and-white for the drive-in and grindhouse circuit, this surrealistic, low-budget, independently produced horror movie became a cult classic decades later through repeated late-night showings on television. Its director, Herk Harvey, an experienced and award-winning industrial filmmaker, came up with the basic concept for the story while driving past an abandoned lakeside pavilion in Utah — the one that figures prominently in the film — on a business trip. Imagining the danse macabre at the film’s close, he convinced co-worker John Clifford to write a screenplay based on it. The result was “Carnival of Souls” (1962), Harvey’s first and only completed narrative fiction feature. Although consigned to relative obscurity for many years, this movie is now recognized as a genre antecedent and a stylistic precursor for well-known, unconventional films like George A. Romero’s “Night of the Living Dead” (1968) and David Lynch’s “Eraserhead” (1977).
Not unlike I Spit on Your Grave and Ms. 45, M.F.A. contains scattered kernels of revelation.
Chris Bickel’s indie film THE THETA GIRL is splatter gore with intelligence and a conscience.
A Catch in Time: Chapter One is an intriguing teaser for a work of potential greatness.
Difficult art doesn’t exist to be accepted and loved. It exists to exist.
As the title character in THE WOMAN (2011), Pollyanna McIntosh is a finger-chomping, scowling badass, and, in my opinion, one of the most interesting characters in modern horror.