Two years before fellow short Lights Out, there was another little horror preying on our fear of being alone in the dark. Ben Franklin’s eerie office slice Lock Up is a tense, fun 3 minutes, in which an everyman pencil-pusher realises that, under cover of mostly darkness, an empty office looks nightmarishly different.
Well-acted with some great makeup and some efficient editing, this is cautionary tale against all of you schlubs working late. Unless you get overtime or time off in lieu, don’t. They can’t make you!
I can safely say I’ve seen and/or heard every type of human be slaughtered in this naughtily gruesome comedy short.
More enjoyable to me than the mildly similar Deathgasm, Chris McInroy‘s SFX-laden Death Metal is a devilish treat for gorehounds. An adult slacker and musician is gifted an impressive guitar (literally fashioned from an axe), a cursed-object heirloom that promises its wielder infinite death-metalling power.
Unfortunately, our protagonist is too excited to stick around to hear the 3 simple rules [don’t play in daylight, don’t use it for money, don’t play it like you’re wanking], and bolts down to the park to start some mid-afternoon busking. No sooner does he do said penis-strumming move, than the axe flies out of his hands and literally shreds everything in sight in a gloriously gruesome never-ending POV shot.
Memorable, and not just for metalheads. But the music’s not half-bad, either.
I’m not sure how to spell the name of this film. The actual short has it listed as ‘The Copy-Writer’. The trailer says it’s ‘The Copy Writer’. It’s actually spelled ‘Copywriter’. I know, because I used to be a fucking copywriter.
In hindsight, that should have been a clue. But I don’t like to form an opinion until I’m done with a short (even a 9-minute one), and I can safely say this was, to put it kindly, lacking.
The story is simple enough: a young horror novelist holes himself up in rented room to prep for a non-fiction project. But soon he’s plagued by nightmarish visions of weird figures and something something losing his mind.
It claims to be Lovecraftian but I see no evidence of it here. My friend pointed out the possibly deliberate The Shining reference in both this short’s set-up and the pattern of the wallpaper (a dead ringer for the carpets). The final scene has distractingly awful sound quality and hammy, unconvincing acting from a detective type, making the rather stilted acting from the lead seem more tolerable. The short’s Facebook page has some stunning graphic design, but this is less than the sum of its faults and awkward to watch.
I saw this 2-minute short seemingly repeatedly pop up in my news feed in a post from Horror Society and thought, ‘nobody can’t spare 2 fucking minutes’.
Glad I did. Much like Lights Out, 12AM it uses its simplicity to great effect: one actor, zero dialogue, trim edits in a single scene, played out in real time, revolving around a relatable fear: that groggy, half-waking state between sleep and awake.
(SPOILERS AFTER THE JUMP)
Excuse the poor English dub, but, like YouTube’s poor rendering of an already bubbly print, you get used to it.
Yesterday was Dia de los Muertos and, in the spirit of the day, Muñecos Infernales/The Curse of the Doll People, by Benito Alazraki, was profferred by a half-Mexican ghoul/friend.
Right. As penance for missing a single day on year 4 of my Hallowe’en marathon, I’ve decided to ‘punish’ myself by trying, for the second time, to consume one horror thing per day for the next year. It’s probably too much pressure, but I have a friend who regularly watches this kind of crap with me, so perhaps he’ll spot me or something.
Last night’s entry was the perfect antidote to a Hallowe’en hangover (both literal and emotional): the sumptuously designed Treaters. Boasting production design and props that would rival most feature-length films, this perfectly encapsulates the spooky, colourful, indulgent wickedness of the season (and makes me sad that it’s over for another year).
Set in England, two teens meet up with a third kid they met online, a clown-costumed little shit who promises them the candy heist of their lives. Borrowing some of its tension-setting from both Don’t Breathe and every snacking kid ever, the trio must sneak into the odd setup of a woman’s lounge (where she’s watching some fairly fucked-up animation) to get to her wonderfully impressive sweet shop. Naturally, the gang go nuts – literally like kids in a candy store – but the plot thickens thereafter. No spoilers, but it toes just the right line between gruesome and magically Burton/Selick-y. A trick and a treat.
Yeah, I’ve seen John Carpenter‘s Halloween before. But, honestly, not for a long time, and never in a cinema, and certainly not in a screen full of other people who have seen it so many times that they laugh at both every awkward line delivery and the iconic moments when Michael Looks Really Quite Threatening and Scary.