Razor Reel 2017 Gets a Killer Lineup - Dread Central
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Razor Reel 2017 Gets a Killer Lineup



Some killer films will be playing at this year’s Razor Reel. Read on for more about the annual event that’s coming up in Bruges, Belgium.

Razor Reel 2017 Celebrates Tenth Anniversary with International Favorites
Razor Reel 2017 is all but ready to gear up. With three more weeks to go until the kick-off of the Flemish genre festival’s tenth edition, the full lineup has been revealed.

From October 26 till October 31 Bruges will once more play host to an international selection of fantastic films worth your time. The 2017 program opens on a highly idiosyncratic note with Yorgos Lanthimos’ THE KILLING OF A SACRED DEER, a pitch-black tragicomedy that merges myth with psychological revenge. Closing the festivities on Halloween is Joachim Trier’s THELMA, a classy riff on the horror of repressed lust. In between these two showstoppers there’s no shortage of gems to discover. Read on for the full announcement below.

Leading into the weekend, Friday’s programming starts with Nathaniel Atcheson’s close-quarters sci-fi mystery DOMAIN, which is followed by HOUNDS OF LOVE, Ben Young’s buzzworthy debut that may well go down as one of the most emotionally gripping survival thrillers of the decade. Also on Friday, Simon Rumley swings by to introduce Belgian audiences to the head-trip that is FASHIONISTA before creatures come knocking to claim the night in B-movie romp IT CAME FROM THE DESERT.

Saturday opens with 78/52, Alexandre Philippe’s expertly researched documentary exploring all facets of Alfred Hitchcock’s famous shower scene from PSYCHO. From an international master of horror, Razor Reel’s focus hones in on homegrown terror with Steve De Roover’s FORGOTTEN SCARES. The documentary sets the record straight on the little known history of Flemish horror cinema. It is accompanied by retro screenings of MALPERTUIS and THE ANTWERP KILLER.

For those favoring more international genre offerings, Bill Watterson’s much-hyped DAVE MADE A MAZE stops by for a visit while Benjamin Diouris’ MERRICK, a post-outbreak narrative that strikes up friendship between a former boxer and a teenager, could be a discovery of sorts. The evening promises thrills in spades with the action-packed combo of 68 KILL and MAYHEM. Capping things of in perverted fashion is Dominic Brunt’s ATTACK OF THE ADULT BABIES, a midnight nasty if ever there was one.

The home country focus spills over onto Sunday, which opens breezily enough with a family-friendly screening of ZOMBILLENIUM. The animated film, a Franco-Belgian co-production, is followed by a lecture on the works of the much-missed George Romero, whose legacy is honored throughout the day with screenings of DAY OF THE DEAD and THE CRAZIES.

Also on Sunday, the Young Blood competition starts its search for the best directorial debut or sophomore genre film of 2017. Thailand, Brazil and South-Korea all weigh in. While Nattawut Poonpiriya’s BAD GENIUS transplants a crime caper to a high school setting and filters its nail-biting suspense through an academic lens, Gabriela Amaral Almeida’s FRIENDLY BEAST (O Animal Cordial) sees the veneer of civility crumble away as a few too many people are ensnared in a huis-clos set-up. Cho Sun-Ho’s A DAY (HA-ROO), meanwhile finds a troubled father stuck in a time-loop mystery as he desperately tries to save his daughter’s life.

Ryan Prows’ LOWLIFE, a genre hybrid primed for cult status, and Finish action flick RENDEL close out an evening sure to satiate thrill-seekers.

The Young Blood competition continues on Monday with screenings of Sadrac Gonzalez’s BLACK HOLLOW CAGE and Attila Gigor’s WELL (KÚT). The former thrives on the uncanniness of its sci-fi mystery and setting while the latter builds up to a tense confrontation at a gas station where different walks of life are forced to intersect as puzzle pieces slowly fall into place.

On Monday, Mariana Palka’s BITCH rattles the foundations of patriarchy with a feminist satire that is sure to leave an impression while JAILBREAK provides the bone-crunching action in a prison brawl from Cambodia. Haylar Garcia’s GNAW sinks its claws into viewers with a unique take on relationship abuse and Simeon Halligan’s HABIT proves that all is not well in a massage parlor with debauched appetites.

Before wrapping things up with the paranormal prowess of THELMA, Tuesday finds the final Young Blood film making his way to the big screen. In HOUSEWIFE Can Evrenol delivers the unholy offspring of Giallo and H.P. Lovecraft. One last documentary puts a legendary stuntman in a well-deserved spotlight: TO HELL AND BACK: THE KANE HODDER STORY. Also screening on the final day is Elisabeth Schuch’s THE BOOK OF BIRDIE, a debut that marries piety and sacrilege to offer a singular take – both dark and dramatic – on coming-of-age conventions.

On the short film front Razor Reel pulls out all the stops to help bring no less than 37 works from 12 countries to Belgian audiences.

A Lovecraftian shorts program on Saturday beckons with both THE CALL OF CHARLIE (Nick Spooner) and SOUND FROM THE DEEP (Joonas Allonen and Antti Laakso).

Horror-comedies take center stage on Sunday with screenings of RIP (Alberto Pintó and Caye Casas), WASTE (Justine Raczkiewics), GREAT CHOICE (Robin Comisar), MEOW (Chris Jopp) and GRANDMA’S HOUSE (Joshua Giuliano).

Monday packs thrills: CREEPER (Drew Macdonald), REWIND (Rubén Pérez Barrena), VOID CHAIR (Xavier Miralles), THERE IS NO DOOR (Ward Crockett), IMBROGLIO (Christopher Zatta), AMY (L. Gustavo Cooper).

Halloween is jam-packed with witchcraft and possession: THE HOUR OF DARKNESS (Domenico De Feudis), DRYAD (Thomas Vernay), BIRTHDAY (Alberto Viavattene), THE CLEANSING HOUR (Damien LeVeck).

A talented young film collective hailing from France, Les Films de la Mouche, takes a special spotlight with screenings of MARGAUX (Rémy Barbe, Josephine Hopkins and Joseph Bouquin) and AND THE DEVIL LAUGHS WITH ME (Rémy Barbe).

The Méliès d’Argent competition shines a light on Europe, scanning the continent for the best fantastic short film of 2017. Set to compete against one another are Charles Cheval’s PETUL, Pablo S. Pastor’s BYE BYE BABY, Josephine Hopkins’ THE DAY MUM BECAME A MONSTER, Marie Dvorakova’s WHO’S WHO IN MYCOLOGY, Lieven Vanhove’s NIMMER, Angel Gómez Hernández’s BEHIND and WASTE, co-directed by Alejo Levis and Laura Sisteró.

Finally, eleven more shorts are paired with feature films on the big screen: Oliver Park’s STILL, Kim Geon’s KEEP GOING, Jason Tostevin’s BORN AGAIN, David Jeffery’s GIRL #2, Remi Weekes’ TICKLE MONSTER, Vanessa Gazy’s HIGHWAY, Alex Clark’s THRESHER, Charlie Mayforth’s MISTER POPULAR, SPOOKED (co-directed by Gil Gloom and Emma Gloom), Charlotte Dewulf’s AMPERSAND, and DARREL (co-directed by Marc Briones Piulachs and Alan Carabantes).

For more information about the feature films, short film lineup, the competitions and guests, head on over to the Razor Reel website.

Follow the Razor Reel Flanders Film Festival on Facebook for more updates in weeks to come.

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Thelma Is Fantastic and Now You Can Watch the Opening Scene



One of this year’s most beautiful and subdued horror films is Joachim Trier’s Thelma (review), which opens in Los Angeles tonight. To give you a bit of what the film is like, The Orchard have released the opening scene, which shows a man and his daughter hunting in the bleak Norwegian winter. When they come across a young deer, the true intentions of this trip become apparent…

Having seen Thelma, I can tell you that it’s truly something special. It’s a slow burn, to be certain, but it plays out gorgeously, resulting in a film that has yet to leave my mind.

Related Story: Exclusive Interview with Thelma’s Joachim Trier

Locations and tickets for Thelma can be found here.

Thelma, a shy young student, has just left her religious family in a small town on the west coast of Norway to study at a university in Oslo. While at the library one day, she experiences a violent, unexpected seizure. Soon after, she finds herself intensely drawn toward Anja, a beautiful young student who reciprocates Thelma’s powerful attraction. As the semester continues, Thelma becomes increasingly overwhelmed by her intense feelings for Anja – feelings she doesn’t dare acknowledge, even to herself – while at the same time experiencing even more extreme seizures. As it becomes clearer that the seizures are a symptom of inexplicable, often dangerous, supernatural abilities, Thelma is confronted with tragic secrets of her past, and the terrifying implications of her powers.

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Award-Winning The Child Remains Playing Tomorrow at the Blood in the Snow Festival



The award-winning supernatural thriller The Child Remains, which has been on the festival circuit, is returning to Canada to play tomorrow night at the Blood in the Snow Film Festival in Toronto. Tickets for the screening, which is at 9:30pm, can be found at the festival’s website.

The film has won awards in festivals across Canada as well as Best Foreign Feature at the Unrestricted View Horror Film Festival in London, UK.

Described as The Shining meets Rosemary’s Baby meets The Orphanage, the film stars Suzanne Clément, Allan Hawco, Shelley Thompson, and Geza Kovacs. Directed and written by Michael Melski, who co-produced the film alongside Craig Cameron and David Miller, The Child Remains is aiming for a Canadian theatrical release in Spring 2018 and a US theatrical release in October 2018.

An expectant couple’s intimate weekend turns to terror when they discover their secluded country inn is a haunted maternity home where unwanted infants and young mothers were murdered. Inspired by the true story of the infamous ‘Butterbox Babies’ and their macabre chapter in Canadian history, The Child Remains is a twisting supernatural thriller that emphasizes story and suspense over shock and gore.

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Tony Timpone’s Elegy – AFM: A November to Dismember



It used to be that the toughest thing about visiting the global cinematic bazaar known as the American Film Market was squeezing in as many movies as humanly possible before your eyes exploded like Cameron Vale’s in Scanners. At this year’s 38th annual AFM, held November 1-8 in Santa Monica, CA, I watched 17 movies in five days. Don’t be too impressed. That’s a big drop from past years, where I’d see as many as two dozen films during that span.

This year marked my 21st AFM jaunt, and change has been in the air for some time at this industry confab. Two screening days have been shaved off the program, and theater screenings have lost the 5pm and 7pm slots. Much of the Z-grade schlock has been whittled away and there does seem to be a higher level of product on display. No longer does every other movie star Joe Estevez. Now it’s Nicolas Cage! Sales companies feverishly hawked Cage’s VOD-bound Primal, The Humanity Bureau and Looking Glass, in addition to a plethora of cute puppy and sappy Christmas cable-ready movies.

So where’s the horror, you ask? You can still discover it at AFM, but 2017 offered a disappointing allowance for the most part. To put it into perspective, the opening day of my first AFM in 1998 yielded John Carpenter’s Vampires and Spain’s Abre Los Ojos (remade as the mediocre Vanilla Sky in the US) back-to-back (not to mention The Big Lebowski from the Coen brothers). For 2017, I did not see one film as good as those (well, maybe one…). Not a total washout, mind you, as I’m sure you will add a few titles to your watch list after perusing my AFM 2017 screening report.

I Kill Giants:
A lonely teenage girl (Madison Wolfe) defends her coastal town from invading goliaths in this somber tale directed by Denmark’s Anders Walter and written by Joe Kelly from his graphic novel. Not exactly a feel-good movie, I Kill Giants deals with bullying, depression, isolation and terminal illness. It intersperses the somberness with some excellent FX scenes involving the giants, who emerge from the surf and dark woods to taunt our young heroine. Not only is I Kill Giants too downbeat for my tastes, last year’s underrated and underseen A Monster Calls covered many of the same emotional beats much more eloquently and movingly than here.

** 1/2

Spanish helmer Alex del la Iglesia (Day of the Beast, Witching & Bitching) produced this Terry Gilliam-esque dark fantasy, about a cursed medieval-age blacksmith and his battle of wills with a demon out to claim his soul.

Directed by Paul Urkijo Alijo, the movie is like a Hieronymus Bosch painting come to life. Its climactic trip to Hell stands out as a highlight, pitchforks and all, as do the superb practical makeup FX.


Bad Samaritan:
A parking valet (Robert Sheehan) at a ritzy restaurant borrows the patrons’ cars to rob their homes while they’re eating in this thriller directed by Dean (Godzilla) Devlin and written by Brandon (Apt Pupil) Boyce. As he rummages through the house of the arrogant Cale (former “Doctor Who” David Tennant, cast against type and looking like a less seedy Charlie Sheen), valet Sean discovers an imprisoned woman, the waiting victim of the rich serial killer. The cops don’t believe the robber, but the bad guy catches onto him and soon begins destroying Sean’s life and those around him. Though Bad Samaritan builds some good suspense and remains moderately gripping, Devlin (late of the embarrassing Geostorm, which Irishman Sheehan also appeared in) is no Hitchcock. And at 107 minutes, the movie overstays its welcome.

** 1/2

Anna and the Apocalypse:
Christmas, teenagers, music and zombies… Anna and the Apocalypse has it all. As the snow falls and Yuletide cheer builds, a living dead outbreak hits the quaint British town of Little Haven. Can teen Anna (Intruders’ Ella Hunt) and her friends make it to their high school auditorium for presumed safety? Well, they’ll try, singing and dancing (and bashing in undead heads) along the way. OK, so the movie’s cute and a raucous scene of zombie mayhem in a bowling alley scores a strike, but the problem with Anna is the songs just aren’t that memorable. Where’s Richard O’Brien when you need him?

** 1/2

Incident in a Ghost Land:
Writer/director Pascal Laugier took our breath away with his vicious Martyrs in 2008, but 2012’s underrated The Tall Man garnered little notice. Packing a ’70s horror vibe, his latest recaptures some of Martyrs’ uncomfortable female-inflicted brutality. Two young sisters and their mom head to a remote family house, which is soon invaded by two ruthless psychos. Though the story echoes Tourist Trap and High Tension, Laugier pulls the rug out from us at a key point and takes us down an even darker path. I wish the villains had a little more depth here, but In a Ghost Land has enough shock and thrills to satisfy fright fans.


Cold Skin

Cold Skin:
Laugier’s fellow extreme Frenchmen, Xavier Gens, terrorized us with his Texas Chainsaw Massacre pastiche Frontier(s) in 2007 and explored postapocalyptic horror in The Divide (2011). Now he tries his hand at a Jules Verne-style creature feature. In the early 20th century, a weather observer (David Oakes) arrives for a year-long assignment at an isolated island near the Antarctic Circle where he meets the misanthropic lighthouse keeper (Ray Stevenson). A race of pale-skinned fish people dwells in the seas and raids the island at night in several bravura action set pieces, their motive unknown. The real threat here may be Stevenson, who keeps one of the creatures as a pet/sex slave. Gens plays the story like a fable, but ultimately I had a hard time warming up to Cold Skin. Where the movie succeeds is in the creature FX and photography departments.


Let the Corpses Tan:
French directors Hélène Cattet and Bruno Forzani won over the horror arthouse crowd with their giallo tributes Amer and The Strange Color of Your Body’s Tears. Their latest flashy exercise tackles the much-loved Italian Spaghetti Western genre, but relocates the story to modern day and a Mediterranean hilltop villa. A gold-robbing gang holes up in the scenic, sun-drenched location, with a woman artist and her friends get caught in the crossfire when two cops arrive. The filmmakers do a fine job of paying homage to Sergio Leone and Ennio Morricone here, but we’re talking style over substance. None of the characters really pops, and the whole thing grows a little tiresome. Fans of Cattet and Forzani and arty shootouts will still dig it.

** 1/2

After the weekly US shooting sprees of Vegas and Texas, this was the last movie I wanted to embrace. A group of friends find themselves stranded in the middle of nowhere after a sniper cripples their car. Said sniper then begins blasting away at the college kids in graphic fashion, brains splattering the asphalt in gruesome close-up. Director Ryûhei Kitamura (The Midnight Meat Train, Versus) does some flashy camera things, but the movie is so damn mean-spirited that it just left a bad taste in my mouth. The lowdown on Downrange: the story’s not very plausible nor the characters very likable.

* 1/2

Ghost Stories:
Just when I gave up on AFM 2017, the last movie screening I attended turned out to be not only the best genre film of the market but one of the best of the year period (IFC releases Ghost Stories next April). Supernatural debunker Professor Goodman (Andy Nyman, who co-wrote and co-directed with Jeremy Dyson) examines three extreme hauntings which just might make a believer out of him. Adapting their successful London play, Nyman and Dyson riff on past British horror anthologies Dead of Night and the ’70s Amicus flicks, but with a modern sensibility. Ghost Stories achieves its scares with class and distinction, as well as terrific makeup FX and a memorable supporting turn by The Hobbit’s Martin Freeman.

This one will send you out singing too; the “Monster Mash” plays over the end credits!

*** 1/2

So even though this year’s AFM was a bust, you will likely spot me canvassing those comfy Santa Monica theaters (kudos for solid projection, luxurious seating and friendly staff at the Arclight, AMC, Broadway and Laemmle) again next fall. On the market and festival beat, hope springs eternal!

For more information on the AFM, go to www.americanfilmmarket.com.

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