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Toxic Schlock

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d./w. Tony Newton, Sam Mason Bell; p. Tony Newton, Sam Mason Bell; cast: Martin W Payne, Cindy Valentine, Simon Berry, Chris Mills, Rebecca Rolph, Sam Mason-Bell

A very, very, very strange film, Toxic Schlock promises zombies but they only appear (pretty much out of nowhere) in the last 20 minutes. Three eco-terrorists hole up in an isolated beach-front guest-house owned by an unconvincing transvestite and a squeaky-voiced child-woman (with a Scooby-Doo gimp chained up downstairs). The Seaside Strangler – a naked, clown-faced serial killer – is at large. Too much time is spent on long, talkie scenes that play like comedy sketches without actually being funny. Every so often a new character enters and announces their identity like a bad stage thriller. Eventually the zombies appear and the child-woman turns, without explanation, into a cross between Harley Quinn and The Bride, leading to a largely wordless, stylish, chambara-influenced last five minutes – vastly different to (and better than) anything that has gone before. Distributed by Troma, with Uncle Lloyd and former Michael J Murphy associate Phil Lyndon providing radio announcer voices. Filmed in Clacton and Southsea in 2017.

  • Available to watch on TromaNow


Children of the Lake

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d./w./p. Ian Lewis; cast: Abigail McKern, Eleanor Howell, Ben Cartwright, Charlotte Ammerlaan, Anita Elias, Kevin Analuwa, Yvonne Riley

Intriguing and original ghost story bolstered by some strong acting which more than makes up for a few cut-price visual effects. Joanne and Nick are small-time crooks running a fake psychic/burglary racket who need to hide somewhere when a victim’s son rumbles them. Abandoning their car, they find an isolated house beside a lake. This is home to young, confident Naiad and Queenie, who is convinced that Joanne is her long-lost daughter. The complex story involves a portal to another realm, with Joanne an intrinsic part of the tale and Nick the sceptical mortal caught up in it all. Two ghostly children pop up occasionally. The gradual build-up of spookiness is well-handled in Lewis’ script and direction, with all three leads taking the material seriously. Rumpole offspring McKern is particularly good as the enigmatic Queenie. Lewis’ only other feature was the equally obscure Enchantress. Originally released on the now defunct Indiereign website in June 2008, this has been unavailable for some years and deserves another chance.

Enchantress

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d./w. Ian Lewis; p. Ian Lewis, Melloney Rolfe; cast: Nicholas Ball, Olivia Llewellyn, Sam Hudson, Julian Shaw, Johanne Murdock, Cark Kirshner, Alexandra Legouix, James Simmons, Nika Khitrova, Abigail McKern

Curious second feature from the director of Children of the Lake. Ball (Hazell to viewers of a certain age) plays stage magician Merlin who may be the real thing. For the first hour this is a local politics drama about plans for a new estate involving a corrupt councillor, a dodgy builder and a juvenile delinquent trying to save his gran’s house – all of whom want Merlin’s magical help. The titular enchantress is Merlin’s stepson’s girlfriend Vivianne (Llewlleyn: Mina Harker in Penny Dreadful) who returns from India, announcing that her boyfriend Davie died in a bus crash. In the final act this takes a turn into Monkey’s Paw territory with Viviane persuading Merlin to bring back Davie, plus assorted deaths and two characters turned into gerbils! Technically fine with a decent cast of TV actors, the film’s main problem is that it just takes too long to become interesting. Shot in 2010 as The Death of Merlin, this premiered in Houston in April 2013.

Dark Highlands

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d./w. Mark Stirton; p. Michael G Clark; cast: Junichi Kajioka, Steve Campbell, Fraser Napier, Aria Morrison-Blyth, Barry Thackrey, Alistair Richie, Lucy Philip, Mark Wyness, Mike Mitchell


Largely devoid of dialogue, this impressive game of cat and mouse plays out against the stunning vistas of the Cairngorms and offers something more than just a psycho stalker. UK-based Japanese actor Kajioka plays an unnamed artist who hikes into the Scottish wilds to camp and paint the landscape. He is targeted by ‘the Gamekeeper’, a masked and bekilted nemesis armed with a range of firearms, an RC drone and an unseen (for reasons which become clear but are, to be honest, fairly obvious) dog. Though never explained, a splash panel prologue suggests there is some supernatural element to the Gamekeeper who pursues his quarry at one inexplicable remove, taking him down each night with a tranquiliser dart and even erecting his tent. There’s all sorts of weirdness going on here, lifting what could easily have been a formulaic thriller into gripping, scary, mind-scrambling horror territory. Brian Cox provides brief name-value narration. Stirton and producer/DP Clark previously made ambitious sci-fi epic The Planetand black comedy One Day Removals.


Unboxing Assassin's Revenge, the new Richard Driscoll film!

Assassin’s Revenge

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d./w./p. Richard Driscoll; cast: Steven Craine, Michael Madsen, Patrick Bergin, Bai Ling, Eileen Daly, Rebecca Lynley

Released less than a year after Grindhouse Nightmares, Driscoll’s seventh feature is a rambling, crime-action-noir-horror-superhero-vigilante hodgepodge with all the narrative coherence of a trailer compilation. Madsen (seen only in stock driving footage and one scene with Bergin) is an ex-cop hunting down millionaire psycho William Bard (Driscoll/Craine) who becomes Joker rip-off ‘The Comedian’ after his face is slashed. Bergin is a corrupt New York Mayor; Ling is an exotic dancer who springs Bard from jail; Lynley is Bard’s mother in a Batman rip-off flashback – and Daly is Elizabeth Bathory (or ‘Bathroy’ – inconsistent character names abound). Her irrelevant extended cameo – bathing in either milk or virgin’s blood – is bizarre, even by the standards of a film which seems to change style and plot every five minutes. Some scenes consist almost entirely of badly drawn comic panels with misspelled captions. Stealing ideas/imagery from Kick-Ass, Suicide Squad and especially Sin City, this was filmed (as The Black Knight) in Cornwall and Sheffield in January 2017 with a few green-screen days in LA. With Steve Munroe as a pimp, a teacher named Mary Shelley, a random raven death and Driscoll reciting the opening monologue from Richard III. But no assassins. Sequel The Kamikaze Squad is threatened at the end.

The House on Mansfield Street

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d./w./p. Richard Mansfield; cast: Matthew Hunt, Kathryn Redwood, Daniel Mansfield


When Richard Mansfield upped sticks from London to Nottingham, he incorporated the move into this zero-budget found footager which is vastly better than most comparable films. Hunt is believable and likeable as Nick, a video maker who keeps his hand in with a documentary about his new house in the couple of weeks before starting his new day-job. The Victorian terraced cottage, which is Mansfield’s own (actually on Mansfield Street) has the curious bumps and creaks one might expect from any vintage house, but the weirdness on show gradually increases to moved furniture and eventually actual figures, caught on Nick’s motion-capture security camera. Editing the footage together, he looks for a rational explanation but can’t find one. A pleasant but slightly creepy tarot-reading neighbour doesn’t help. With excellent use of split screen and some nice location work around Nottingham city centre and on the city’s trams, this is another fine slice of James-ian horror from the Mansfield Dark label that will leave you genuinely creeped out.


Possum

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d./w. Matthew Holness; p. Wayne Marc Godfrey, James Harris, Robert Jones, Mark Lane; cast: Sean Harris, Alun Armstrong, Simon Bubb, Charlie Eales

The writer/star of Garth Marenghi’s Darkplace, the funniest British horror TV series ever made, makes his feature debut with an unremittingly grim and bleak tale of mental health problems and child abuse. Philip returns to the run-down house where he grew up with his uncle. Awkward, socially uncomfortable and probably with learning difficulties, Philip carries everywhere a leather bag containing Possum, a large, weird puppet combining a replica of Philip’s own head with long spider legs. Recurring attempts to destroy Possum come to nought, suggesting it might not be real (as may other aspects of the film). Short on dialogue and action, with long, semi-static sequences on featureless Norfolk beaches, this challenging feature is the unholy offspring of David Lynch and MR James. Holness adapted his own short story, written for an anthology of tales inspired by Freud’s essay on the uncanny. Shot in November 2017, this debuted in Edinburgh in June 2018. If you enjoy movies that no-one else you know likes, this could be for you. Music by the Radiophonic Workshop!


Virus of the Dead

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d./w. various; p. Tony Newton; cast: Mhairi Calvey, Nathan Head and many, many more


Virus of the Dead could very well be the ultimate found footage zombie film. The 102 minutes is split into 30-odd fragments telling 22 nihilistic stories, all of which start out unhappy and conclude not much later bleakly and/or suddenly. There’s no first act of scene-setting normality, no strained “let’s film everything” justification. Everyone is either vainly filming their life when the undead attack or making a video message for posterity as ghoulish hordes scratch at the door. As a representation of a global society suddenly splintering into chaos and the immediate, arbitrary destruction of people’s lives, this is bang on the money. Though most of the segments are American, the project was conceived, curated, edited and produced by prolific anthologiser Newton, creator of Troma’s Grindsploitation series and co-creator of much of Trash Arts’ output. British contributors are Christopher Jolley (Whisper), Keiron Hollett (director of the unreleased Blood Curse), Dan Brownlie (Serial Kaller) and Newton himself. Return of the Living Dead 3 scripter John Penney and German trash legend Timo Rose also contribute segments. 

Morticia

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d./w./p. Nabil Shaban; cast: Jenni Young, Karen Douglas, Ricky Callan, Nabil Shaban, Sofie Alonzi, Dolina Maclennan, Andrew Dallmeyer, James Tennant

Interesting and worthwhile, despite low production values, Shaban’s only feature is a character study of a 12-year-old goth. Kylie, who prefers ‘Morticia’, is regarded as the local weirdo by children and adults alike. An able and intelligent child, her poetic school essay about wanting to become a vampire causes chaos when read out in class. She steals a paperback of Dracula from the library and reads it in a churchyard, then steals a bat from Edinburgh Zoo. Her bumptious mother and long-suffering father, a disabled Gulf War veteran, don’t know what to do with her. Eventually her romantic view of death is cracked by overhearing her dad talk about the women and children he was required to kill in Iraq. Right at the end, Dracula himself appears, probably a hallucination. Disabled actor Shaban (still fondly remembered for a role in 1980s Doctor Who) plays a psychologist. Night Kaleidoscope director Grant McPhee pops up in the credits as colourist. Shot in 2009, this premiered at a vampire film festival in October that year.

All the new British horror films released in 2018

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My master list contains 89 British horror features released during 2018. This is slightly down from last year's round-up, which I announced 12 months ago. (It was 107 films at the time but currently stands at 105 as I have discovered prior releases for a couple of titles). We’re still on course to hit a thousand films (since January 2000) sometime in the coming year.

So: 89 feature films. How many have you seen? How many have you heard of? I've managed to catch 38 of these so far.


As ever, I define a film as 'released in 2018' if this year saw the first chance for someone to watch the movie - whether in a cinema, on DVD, on demand or just posted on YouTube - without attending a special event. Some of these films played festivals or had other one-off screenings in 2017 or earlier years.)


Please let me know of anything I've missed, or any other corrections.


  • Abduction 2: Revenge of the Hive Queen (Mol Smith)
  • Anna and the Apocalypse(John McPhail)
  • Apostle (Gareth Evans)
  • Assassin's Revenge(Richard Driscoll)
  • Attack of the Adult Babies (Dominic Brunt)
  • Auraaka The Exorcism of Karen Walker (Steve Lawson)
  • Await Further Instructions (Johnny Kevorkian)
  • The Bad Nun (Scott Jeffrey)
  • The Black Gloves (Lawrie Brewster)
  • The Book of Birdie(Elizabeth E Schuch)
  • Boots on the Ground(Louis Melville)
  • Calibre (Matt Palmer)
  • Cannibal Farmaka Escape from Cannibal Farm (Charlie Steeds)
  • Caught (Jamie Patterson)
  • Charismata(Andy Collier, Toor Mian)
  • Condemnedaka God’s Acre (JP Davidson)
  • Conspiracy X(Sam Mason Bell et al)
  • Curse of the Scarecrowaka Scarecrow Rising (Louisa Warren)
  • Curse of the Witch's Doll (Lawrence Fowler)
  • Dark Beacon(Corrie Greenop)
  • Dark Highlands(Mark Stirton)
  • Dark Vale (Jason MJ Brown)
  • Darkness Comes(David Newbigging)
  • The Demonic Dollaka The Demonic Tapes 2: The Doll (Richard Mansfield)
  • The Devil's Doorway(Aislinn Clarke)
  • Die Gest: Flesh Eater(Tony Newton et al)
  • Dogged (Richard Rowntree)
  • Dragon Kingdomaka Dark Kingdom (Simon Wells)
  • Fanged Up(Christian James)
  • The Ferryman(Elliott Maguire)
  • Fever aka Mountain Fever(Hendrik Faller)
  • Fox Trapaka Don’t Blink (Jamie Weston)
  • Fractured (Jamie Patterson)
  • Ghost Stories(Andy Nyman, Jeremy Dyson)
  • Gore Theatre(Sam Mason-Bell et al)
  • Grim Places(Jason Impey)
  • Grindhouse Nightmares(Richard Driscoll)
  • Habit (Simeon Halligan)
  • Halloween Hell Night(David Black et al)
  • Halloween in Hertford(Michael Curtis)
  • Harvest of the Dead(Peter Goddard)
  • Haunted 2: Apparitions (Steven M Smith)
  • Haunted 3: Spirits (Steven M Smith)
  • The Hell of Ween(Tom Stavely)
  • Home Videos(Jason Impey et al)
  • House of Salem(James Crow)
  • The House of Screaming Death (Alex Bourne et al)
  • The House of Violent Desire(Charlie Steeds)
  • The House on Mansfield Street (Richard Mansfield)
  • Jurassic Predator(Andrew Jones)
  • The Legend of Halloween Jack(Andrew Jones)
  • The Little Stranger(Lenny Abrahamson)
  • Mandy the Doll (Jamie Weston)
  • Maniacal (Sam Mason-Bell et al)
  • Mara (Clive Tonge)
  • Mask of Thorn (MJ Dixon)
  • Matriarch aka Mother (Scott Vickers)
  • Monochrome (Tom Lawes)
  • Monster (Matt Shaw)
  • Old Blood(Denise Channing)
  • Paranormal Farm 2: Closer to the Truth(Carl Medand)
  • Patient Zero(Stefan Ruzowitzky)
  • Polterheist (Paul Renhard, Dave Gilbank)
  • Possum(Matthew Holness)
  • Psychomanteum: Tales of the Dead (Ray Brady et al)
  • Pumpkins (Maria Lee Metheringham)
  • Recovery (Marcus Scott)
  • Redcon-1(Chee Keong Cheung)
  • The Redeeming (Brian Barnes)
  • The Revenge of Robert(Andrew Jones)
  • The Same Circles(Mark Garvey)
  • Shadow of the Missing (Jamie Lee Smith)
  • Sin (Self Induced Nightmares)(Dan Brownlie et al)
  • Slaughterhouse Rulez (Crispian Mills)
  • The Snarling(Pablo Raybould)
  • The Spawning(Simon Riley)
  • Tone Death(John Hickman, Roger Armstrong)
  • Toxic Schlock(Sam Mason-Bell, Tony Newton)
  • Trash Arts: Killers Vol.1 (Sam Mason Bell et al)
  • Twenty Twenty-Fouraka It Lives (Richard Mundy)
  • Virus of the Dead(Tony Newton et al)
  • The Wasting (Carolyn Saunders)
  • Webcast (Paul McGhie)
  • Welcome to Essex(Ryan J Fleming)
  • Welcome to Hell(Sam Mason Bell et al)
  • Where the Skin Lies(Michael Boucherie)
  • White Goods(Bazz Hancher)
  • Winterskin (Charlie Steeds)
  • Writers Retreat (Diego Rocha)


Finders Keepers

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d. Adam Evans; w. Neil Morris, Gary Smart; p. Neil Morris, Gary Smart, Christopher Griffiths, Adam Evans, Stuart Conran; cast: Mark Wingett, Stanley Rawlings, Bruce Jones, Oliver Smith, Kenneth Cranham, Simon Bamford, Neil Cole, Corin Silva, Ethan McKinley


The third entry in the Dark Ditties series is the blackest of black comedies, a 45-minute gory crime thriller which feels like someone cast the Chuckle Brothers in a remake of The Long Good Friday. Two gangsters are searching for a minor accomplice who jumped out of a car with a valuable briefcase chained to his wrist. Two bickering brothers doing a spot of poaching find the briefcase and body and set about seeing what they’ve got… This is a cracking film for sure, but what makes this series so successful? It’s partly the beautifully crafted scripts and adroit direction which introduce us to fascinating, distinctive characters and their thoroughly believable relationships. It’s partly the care that is taken over all the technical aspects: the photography, sound, editing as well as production design, costumes, make-up and of course the prosthetic effects. But mostly it’s the use of solid, professional, experienced casts who imbue these characters with life. On Amazon Prime later this month, DD3: Finders Keepers is unreservedly recommended. DD4: The Witching House is on the way.

The Haunting of Borley Rectory

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d. Steven M Smith; w. Steven M Smith, Christopher Jolley; p. Steven M Smith, Jon-Paul Gates; cast: Zach Clifford, Rad Brown, Sonera Angel, Garry Roost, Kit Pascoe, Jon-Paul Gates, Matthew Fitzthomas Rogers, Georgi Taylor Wills, Anastasia Cane


The late 2010s has brought us micro-genres dedicated to the ‘most haunted house in England’ and supernatural nuns. This latest title from Smith ticks both boxes and underlines his own steady improvement. Where The Howling had some fine moments, this genuinely spooky ghost tale is his first consistently good feature, easily eclipsing both North Bank Entertainment’s A Haunting at the Rectory and Proportion Productions’ The Bad Nun. Clifford (an Aussie) is excellent as an injured GI in 1944, assigned to monitor radio traffic from a country cottage. He has disturbing dreams and visions which he believes are connected with a nearby derelict rectory so calls in Borley expert Harry Price (Brown, director of unreleased 2016 horror feature Last Weekend). Excellent period detail – including some corking 1940s hairstyles – is enhanced by Peter Panoa’s terrific photography (but briefly let down by an anachronistically unshaven British officer). Shot in Devon and Essex in 2018.


Crucible of the Vampire

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d. Iain Ross-McNamee; w. Iain Ross-McNamee, Darren Lake, John Wolskel; p. Amanda Murray; cast: Katie Goldfinch, Neil Morrissey, Brian Croucher, Larry Rew, Babette Barat, Angela Carter, Lisa Martin, Phil Hemming, John Stirling


Enjoyable gothic potboiler of the sort they don’t make anymore, from the director and producer of The Singing Bird Will Come. Assistant curator Isabelle (Goldfinch, who is startlingly good) is despatched to a country house where building work has uncovered half a cauldron, apparently the missing 50% of one held in her university’s collection. In a monochrome 17th century prologue we saw this cleaved in two by witchfinder John Sterne. The resident family – dad, mum and adult daughter who couldn’t more obviously be a lesbian vampire if her name was an anagram of Carmilla – are all creepy, gradually transforming from eccentric into dangerous. With Morrissey as the expository gardener, 29 years after he bought a vampire motorcycle (also written by Wolskel!) and Croucher in the prologue as the cauldron’s original owner. Filmed in Shropshire in September 2016, this had a single screening in January 2017. In May 2018 Ross-McNamee edited frame-grabs into a photonovel.

Point of Death

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d./w. Steve Stone; p. Lionel Hicks, Alan Latham; cast: David O’Hara, Isabelle Allen, Lisa Gormley, Toyah Willcox, Neil Pearson, Bill Fellows


Stone follows the impressive but generic Entity and (frustratingly unreleased) psycho-thriller Schism with this relentlessly creepy nightmare. O’Hara is superb as Alex, a busy businessman who comes home to his wife and 12-year-old daughter in a state of high tension. A weird-looking storm is rolling in across the countryside, a rowan tree in the garden has died, and Alex is hearing his family say inexplicable things that they haven’t said. It’s fairly clear early on that nothing is real and the resolution was obvious and expected even before the original title, In Extremis, was changed to this clangingly unsubtle new one. Nevertheless a brilliant lead performance, Stone’s unerring direction and some great visual effects make for a thoroughly satisfying movie. Name-value actors Willcox and Pearson cameo as a patient and a doctor in the third act; Toyah also sings over the credits. Fellows is a homeless man near the start. Shot in 2015, this premiered (under its shooting title) at the East End Film Festival in June 2016.
  • Released on VOD platforms on 11th February.



Elevator to Insanity

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d./w. Nik Box; p. Nik Box, Ameng Zang; cast: Gus Capucci, Bryony, Kurt Dirt, Rob, Yuqi Zhang


Utterly extraordinary avant gardefeature from Dead Good Films Like. It’s black and white, it has no (English) dialogue and most of its 70-minute running time is a young man standing patiently in an ever-rising lift. If you’re looking for a narrative feature, you’ll loathe this. But if you appreciate the weird and experimental, you might strangely enjoy it. After about five minutes of nothing happening, a young woman gets in and travels one floor. About five minutes later, she does so again. The third time she gets in, the man tries talking to her in Greek, to no effect. Later, other things happen, including repeated brief views of a woman dancing in a corridor and a third woman who gets in the lift and lets out a single continuous scream for three minutes. Box moves his camera around enough to keep our attention, and Capucci does a sterling job as the mysterious central character. Towards the end he does arrive somewhere, trust me. Shot at the University of Central Lancashire in 2015.

The Casebook of Eddie Brewer

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d./w./p. Andrew Spencer; cast: Ian Brooker, Peter Wight, Louise Paris, Bella Hamblin, Erin Connolly, Natalie Wilson, Rob Stanley, Alison Belbin, Sean Connolly, Tom Roberts, Glen Hill, Sarah Horner


Comparable to Ghostwatch in both theme and quality, Spencer’s second feature is one of the great British screen hauntings, anchored on a superlative performance by Brooker. Eddie Brewer is an old-school paranormal researcher, keen to find evidence but careful and cynical. A TV documentary crew follow him but this isn’t found footage, simply incorporating some TV footage into the main narrative. He’s investigating a little girl with an invisible friend and spooky activities in an old Council-owned building: two cases which eventually overlap. Eddie’s antagonistic relationships with the film crew, a sceptical academic and other ghost-hunters meld perfectly with the growing supernatural ambience which builds to a genuinely frightening conclusion. Starting life as a ten-minute short in 2001, Casebook was conceived as TV series than became a feature, eventually re-envisioned for TV in 2019. Filmed in Birmingham from November 2010 to January 2011, it premiered at a local festival in March 2012. Essential viewing.

Burning Men

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d. Jeremy Wooding; w. Jeremy Wooding, Neil Spencer; p. Fiona Graham, Jeremy Wooding, Michael Vine; cast: Edward Hayter, Aki Omoshaybi, Elinor Crawley, Katie Collins, Christopher Fulford, Joseph Milson, Sarah-Jane Potts


Although sold on its unusual changeable-POV style (developed by Blood Moon helmer Wooding on the sitcom Peep Show), Burning Men’s real distinctiveness comes from successfully melding the road movie and folk horror genres. Aspiring musicians Ray and Don try to raise enough money to fly to Memphis by selling off their vinyl collection. They steal a mega-rare black metal record and travel up the eastern side of England, pursued by angry Scandinavian bikers, towards a dealer who is prepared to pay top dollar, but may be a Nazi. Ray sees demonic visions which might be caused by the record, or could be drug-induced. Despite the POV gimmick, DP Jono Smith captures expansive views of the English landscape, including the Angel of the North, complementing the poetic script and rounded characters. With UK18 director Tiernan as a record dealer and Corrie’s Denise Welch as Ray’s mum. Co-scripter Spencer was editor of the NME. Shot in February/March 2017 in London, Great Yarmouth, Norwich and Gateshead, culminating on Lindisfarne.

Richard Driscoll news: Conjuring: Book of the Dead

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I know you love to keep up to date with Richard Driscoll news, so here’s the latest.

For some time now Driscoll has been talking of making an MR James adaptation, a remake of Night/Curse of the Demon. It looks like he might finally manage that as he has teamed up with a New York company called Monarch Films for his next movie, Conjuring: (The) Book of the Dead.

I say “next” but obviously this is mostly footage that was shot years ago for the putative sequel(s) to Evil Calls. All the usual suspects are present in the cast list: Craine, Madsen, Ling, McCoy, Anthony, Sizemore, Tobias, Sutton, Anderson, Donovan, Daly and The Ask. However Driscoll has also shot some new footage, down in Cornwall, featuring an actor named Laura Frances-Martin.

The film is “based on M R James novel Casting The Runes” although of course 'Casting the Runes' is actually a short story. Not that it matters because, since this is mostly existing footage, it probably has minimal connection with MR James. In fact, Conjuring: (The) Book of the Dead features the Necronomicon, which would seem to make it the first ever MR James adaptation based on the work of HP Lovecraft.


Synopsis: “A vivid horror epic about a writer of graphic novels who is given the task of writing a biography on the foremost occultist Aleister Crowley. Things start to go wrong when he discovers a rune inserted in Crowley’s diary.”

Having abandoned his less-than-successful crowdfunding attempts, Driscoll has secured some investors to finance post-production, a couple of folks named Maria Norman and Galen Walker who have had their small fingers in some deep pies over the years. This lets Driscoll proudly boast that his new film is “from the executive producers of Se7en, Highlander, The Fugitive, Public Enemies and Teenage Mutant Ninja Turtles”.

Monarch Films are a distributor who mostly schlep low-level B-movies and, oddly, space exploration documentaries (always cheap to make as all NASA footage is automatically public domain). In October, they uploaded a trailer to Vimeo, ready to flog this at the AFM.




And then last month Driscoll uploaded a different trailer (shorter, some different clips, clearer dialogue and without all the nudity) to his own Vimeo channel. I can't embed this (because of the Vimeo settings) but I can link to it...



What I particularly love about this second trailer is dear old Dudley Sutton mispronouncing ‘Necronomicon’. No reflection on Sutton (a fine actor, sadly missed) but it says something that Richard Driscoll not only used that take, he has actually put it in his trailer.

The only other video on Driscoll’s Vimeo channel, incidentally, is an animated explanation of a way of (legally) claiming back tax on investments in small companies, which someone made in 2013 and which has now been topped and tailed with the logo of his company DRagon Films. So it’s not just a film about tax avoidance, it’s somebody else’s film about tax avoidance which Driscoll is passing off as his own!

Monarch’s catalogue of available films also includes The Legend of Harrow Woods, Kannibal (as Headhunter 3D), Grindhouse Nightmares (under its original title of Grindhouse 2wo), Assassin’s Revenge (as The Assassinator) and Eldorado, in its 90-minute cut, as A Bad Day in Death Valley.

Speaking of which, that film is now available on Amazon Prime and other platforms as Hangover in Death Valley, credited to Driscoll's occasional directorial pseudonym 'Gideon Quin'. Blimey, it’s got more titles than a Jess Franco feature.

I will keep my eye out and let you all know if/when Conjuring: (The) Book of the Dead (or any other new Driscoll product) appears.

Frankenstein’s Creature

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d. Sam Ashurst; w. James Swanton; p. Craig Hinde; cast: James Swanton


The first British Frankenstein film for 45 years (TV movies and US co-productions notwithstanding) is an extraordinary avant-garde piece of filmed theatre. Swanton (Double Date) debuted his one-man adaptation of Shelley’s novel in 2015, telling the well-worn tale entirely from the Creature’s viewpoint. Film journo Ashurst shot this in 2018 as a single take – static, wide shot, monochrome – yet this is much more than just a camera pointed at an actor. Swanton performs his 90-minute monologue in an alcove of an old church, his only props some clothes and a wooden chest, his face pancaked like Conrad Veidt in The Man Who Laughs, his theatricality and voice just this side of Donald Wolfit. Sometimes he approaches the camera and addresses us directly, sometimes he is still for over a minute, sometimes Ashurst overlays images of Icelandic wilderness or close-ups of Swanton. Mesmerising and utterly brilliant, this premiered at the 2018 Frightfest. Lawrie Brewster released a limited run of 200 DVDs. You do need to be reasonably familiar with the novel and not (like the bozo who reviewed this for Variety) just have seen a couple of Frankenstein films.
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