Strawberry Flavored Plastic combines elements of found-footage horror and mockumentary to create a story about two documentarians (Nicholas Urda, Andreas Montejo) making a movie about a serial killer, Noel Rose (Aidan Bristow). With testimonials, first-person video, and video conferencing, the audience learns how this “film” slips out from underneath its makers and how it goes awry.
Starting this month, Dmitrii Kalashnikov’s experimental doc The Road Movie begins a theatrical tour that will last over a year. Toronto’s Royal Cinema is the first stop, and the journey continues through the United States before heading back to Canada next February; it concludes in Boulder, Colorado the following month. That’s impressive for a shoestring indie, especially one that would be “TOO HOT FOR TV”. Twenty years ago, Joe Francis would’ve sold this at 2:00am…
Derivative scares are surrounded by boring filler and exposition in Phoenix Forgotten, a feature debut by graphic artist Justin Barber that’s also been stupefyingly blessed by producer Ridley Scott (Alien, Blade Runner, The Martian).
The Toronto International Spring of Horror and Fantasy Film Festival is a weekend dedicated to genre appreciation conceived by filmmakers Lari Teräs and Jon Lewis. The festival returns to the city’s indie hot spot Carlton Cinema on Friday, April 7 and carries through to Sunday, April 9, promising movie goers an eclectic three-day event filled with music videos, short films, and unique movies that are out-of-this-world.
The Blair Witch Project inspired independent filmmakers and the found footage genre – the resourceful film perfectly executed psychological horror. Blair Witch, the semi-sequel-reboot released this year, delved into the franchise’s psychological lore, but also fancied being somewhat of a creature feature with broader scares.
Capture Kill Release begins in the middle of a devious plot: young lovers Jenn and Farhang (played by Jennifer Fraser and Farhang Ghajar) are toying with the idea of murdering a random person. Their intentions and motives are deliberately foggy, which makes the film’s fly-on-the-wall experience more unsettling, disturbing, and impossible to look away – this is not for the faint of heart.
Sometimes, a film may fail at one or two or even five things. A much rarer find is a film that manages to fail at absolutely everything it attempts. The term “attempt” is important, since The Before Time did unintentionally succeed at making me laugh out loud several times – a much higher success rate than many recent comedies.
Most of what Yoav and Doron Paz offer movie goers in their horror film JeruZalem feels re-gifted. We’ve seen this sort of panicked science fiction in films before – from tent-pole thrillers like Cloverfield to foreign imports like [REC]. While that may sound like the “jaded critic” side transforming me as one of the film’s demons would, I feel like I have a legitimate argument.
By: Addison Wylie There’s nothing new in Always Watching: A Marble Hornets Story that you haven’t already seen in other found footage horrors. See if you can keep score at home: a small news crew ([REC]) are stringing together interviews and B-roll for a project (The Blair Witch Project), when suddenly a box of abandoned videocassette tapes containing disturbingly transfixing footage is discovered (name that Paranormal Activity sequel). A looming creature – evoking infamous Internet legends…
By: Addison Wylie It’s often said that art reflects life. Unfriended turns the mirror towards a modern age of teenagers who sometimes veer on being brain dead, yet can problem solve with the drop of a hat when they need to use technology. Twenty years ago, a movie would only call on one token techie. Now, a movie can afford to fill its roster with this type of character. While Unfriended deals with terrors that…