Penumbra 2011 Fantastic Fest

The “Crazy Religious” horror film can be one of the more interesting of the horror sub-genres, because they’re almost always inherently mysterious along with being potentially frightening. It’s either frightening because there are disillusioned people out killing non-crazy people because they think doing so will give birth to demons or the end of the world might happen, or there are enlightened people out killing non-crazy people because they will give birth to demons or the end of the world will happen. Best case scenario only a few people die horribly. Worse case scenario hell will rise and Earth will die horribly.


Carnival of Souls

Flesh for Frankenstein and Blood for Dracula. Island of Lost Souls. The Most Dangerous Game. The Night of the Hunter. The Blob. For a company perhaps best known for releasing pristine editions of international arthouse classics, The Criterion Collection certainly has a healthy amount of cult films in its repertoire. Cult cinema is often a difficult beast to recognize, for such films avoid the roads best travelled in their journey towards recognition and renown. Unlike seminal films in the collection including The 400 Blows, 8 ½, or Rashomon, cult films aren’t typically met with immediate cultural or institutional recognition upon release, aren’t made by internationally-recognized talent, and don’t always have an immediately traceable history of influence. That is, however, what makes cult films so interesting and so valuable: they emerge without expectation or pretense and signal the most populist and anti-elite means by which a film can gain recognition, pointing to the fact that there are always valuable films potentially overlooked between the pages of history. Herk Harvey’s low-budget drive through horror masterpiece Carnival of Souls (1962), like many cult films, emerged into the top tier of film culture in some of the unlikeliest of ways. Harvey was an industrial and educational filmmaker; the $33,000 Carnival was his only feature work. The film had ten minutes lobbed off of it for its drivethru run to fit more screenings, and was largely a non-event when it first graced American screens. Carnival’s success is owed mostly to genre film festivals, late-night television […]



The word “cult cinema” is thrown about quite liberally in film criticism, but it takes a dense history to firmly qualify a given film as “cult.” Nicholas Roeg’s sci-fi headtrip The Man Who Fell to Earth (1976) is certainly a cult film, as its audience was never “found” in a traditional, straightforward way (i.e., in its original theatrical release). The spotty, complex reception history of The Man Who Fell to Earth has a great deal to do not only with what it was, but when it was. Based on the 1963 novel by Walter Tevis, the film secured financing mostly because of the bankability of its star, David Bowie, in his first starring film role, yet the final product was something of a mystery and an infuriation for initial audiences and critics: a psychedelic bad-trip ruminating on sexual frustration, identity crises, and alcoholism. It was hardly the piece of science-fiction entertainment audiences were used to, as the storytelling frequently cut away to impenetrable, chaotic imagery that was elusive in meaning in Roeg’s signature idiosyncratic visual style. A formal experimenter working with non-experimental material, Roeg made something that was, historically speaking, an anomaly. Just as Roeg’s semi-experiments belonged in neither the movie theater nor the Whitney Museum, The Man Who Fell to Earth sat in a curious liminal space between 1970s sci-fi and New Hollywood countercultural cinema while comfortably embodying neither.



Remember all of those movies you love to sit around watching and loving and talking about? Some of them were directed by women. You didn’t even know that. Did you, you chauvinist pig?



This isn’t news. It’s not even a rumor. It’s just a speculation created by putting two and two together. And today, 2 + 2 = David Tennant is Dr. Who in the feature film.


Cult movie posters are cool enough usually, but when you get some really creative artists to create as they please…you end up with masterpieces.

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published: 01.30.2015
published: 01.30.2015
published: 01.29.2015
published: 01.28.2015

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