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“3 Dead Trick or Treaters” Must be Seen to be Believed

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As a reviewer in a genre of films that is overrun with sequels and remakes, it starts to feel impossible to be surprised anymore so it’s nice when a film catches you completely off guard.  It’s even better when that film is so engaging that you leave the theater and discuss it with fellow theatergoers for hours.  That was the case when I and a fellow writer from iHorror settled in to watch 3 Dead Trick or Treaters at the Nightmares Film Festival in Columbus, Ohio.

The anthology film revolves around a paper boy who, in the course of his job, stumbles upon three graves marked with crosses and various trinkets.  On each cross is a story, and as he picks up each piece of paper, we’re drawn into the the tale of that particular grave’s resident.  Each tale is beautifully arranged and filmed and the dialogue free nature of the film as a whole really opens you up the emotional experiences of each character and the horrors they are drawn into.

As the credits rolled at the end of this chilling horror film, I knew two things:

  1. I’d just seen something completely original.
  2. I had to talk to the man who made this film!

Within hours, I had tracked down writer/director Torin Langen and we were working to set up a time to chat about his remarkable anthology film and how it came to be.  As luck would have it, Langen was as interesting as his film and it turns out it was quite a journey to bring each segment together.

“We started filming back in 2012,” he began, “and I guess it was four years in the making, beginning with the first segment called Fondue.”

Each year, in October, he and a group of actors and crew he describes as “enthusiastic non-professionals” would gather in the same locations to film for a few days on what one couldn’t even call a shoestring budget.

“We never had a grand scheme for what the finished project would ultimately be,” he said.  “We would plan the next segment and shoot it in the autumn so that everything would have the same appearance and then the rest of the year I’d be working on post-production along with my friend and composer, Stephen Schooley, and other small projects I had going.”

Langen, who credits the DIY/punk scene of southern Ontario for some of his inspiration, also began submitting Fondue to festivals to gauge audience reactions and because he didn’t want to suddenly have a full feature that no one had ever heard of before.  It did just what he needed it to, and kept the creative juices flowing.

As I said before, this film is completely dialogue free.  Not a single word uttered in the entire film.  It’s a bold move in 2017 and though I had my own theories as to why he’d made this choice, it was still enlightening to hear his answer.

“Each segment, to me, is a ritual,” he said.  “You don’t have to speak during a ritual behavior because you know every action and movement by heart.  The audience is being let in on the ritual by the lead character or a reluctant accomplice.  I really wanted it to be mood driven and the lack of dialogue helps with that but it also forces the audience to pay more attention.”

That’s also where the film’s amazing score comes into play.  Schooley, who composed the music for every section of the film except Fondue was a composition student and playing in an ambient band when Langen met him, and because he was a student at the time, he had access to score the film with actual musicians and instruments rather than relying solely on synthesized music.  The overall effect of cellos, violins, guitars,drums and piano gives 3 Dead Trick or Treaters an aural quality one often doesn’t find in micro-budget independent films and adds even more to the intensity of each scene.

“The music did so much of the speaking for the characters,” Langen explained.  “It worked as an extension to their emotions with upswings in tone in moments of surprise and slowly building themes for their dread.”

The two together, with a set of actors that I still can’t believe aren’t trained professionals, were able to create something so unique that it is hard to classify, but I hope we’ll see more of it in the future.

For now, 3 Dead Trick or Treaters is making the rounds on the festival circuit.  Langen has also arranged viewings of the film around the world in various art galleries and underground theaters in places like Singapore, Japan, and Shanghai.  For a complete listing of where the film will be playing, visit Langen’s website!

3 Dead Trick or Treaters (2017) – Official Trailer from Torin Langen on Vimeo.

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‘Strange Darling’ Featuring Kyle Gallner and Willa Fitzgerald Lands Nationwide Release [Watch Clip]

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Strange Darling Kyle Gallner

‘Strange Darling,’ a standout film featuring Kyle Gallner, who is nominated for an iHorror award for his performance in ‘The Passenger,’ and Willa Fitzgerald, has been acquired for a wide theatrical release in the United States by Magenta Light Studios, a new enterprise from veteran producer Bob Yari. This announcement, brought to us by Variety, follows the film’s successful premiere at Fantastic Fest in 2023, where it was universally praised for its creative storytelling and compelling performances, achieving a perfect score of 100% Fresh on Rotten Tomatoes from 14 reviews.

Strange Darling – Movie Clip

Directed by JT Mollner, ‘Strange Darling‘ is a thrilling narrative of a spontaneous hookup that takes an unexpected and terrifying turn. The film is notable for its innovative narrative structure and the exceptional acting of its leads. Mollner, known for his 2016 Sundance entry “Outlaws and Angels,” has once again employed 35mm for this project, cementing his reputation as a filmmaker with a distinct visual and narrative style. He is currently involved in adapting Stephen King’s novel “The Long Walk” in collaboration with director Francis Lawrence.

Bob Yari expressed his enthusiasm for the film’s upcoming release, scheduled for August 23rd, highlighting the unique qualities that make ‘Strange Darling’ a significant addition to the horror genre. “We are thrilled to be bringing nationwide theatrical audiences this unique and exceptional film with terrific performances by Willa Fitzgerald and Kyle Gallner. This second feature from talented writer-director JT Mollner is destined to become a cult classic that defies conventional storytelling,” Yari told Variety.

Variety’s review of the film from Fantastic Fest lauds Mollner’s approach, saying, “Mollner shows himself to be more forward-thinking than most of his genre peers. He’s clearly a student of the game, one who studied his forebears’ lessons with adroitness to better prepare himself to put his own mark on them.” This praise underlines Mollner’s deliberate and thoughtful engagement with the genre, promising audiences a film that is both reflective and innovative.

Strange Darling

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Sydney Sweeney’s ‘Barbarella’ Revival Forges Ahead

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Sydney Sweeney Barbarella

Sydney Sweeney has confirmed the ongoing progress of the much-anticipated reboot of Barbarella. The project, which sees Sweeney not only starring but also executive producing, aims to breathe new life into the iconic character that first captured audiences’ imaginations in the 1960s. However, amid speculation, Sweeney remains tight-lipped about the possible involvement of celebrated director Edgar Wright in the project.

During her appearance on the Happy Sad Confused podcast, Sweeney shared her enthusiasm for the project and the character of Barbarella, stating, “It is. I mean, Barbarella is just such a fun character to explore. She really just embraces her femininity and her sexuality, and I love that. She uses sex as a weapon and I think it’s such an interesting way into a sci-fi world. I’ve always wanted to do sci-fi. So we’ll see what happens.“

Sydney Sweeney confirms her Barbarella reboot is still in the works

Barbarella, originally a creation of Jean-Claude Forest for V Magazine in 1962, was transformed into a cinematic icon by Jane Fonda under the direction of Roger Vardim in 1968. Despite a sequel, Barbarella Goes Down, never seeing the light of day, the character has remained a symbol of sci-fi allure and adventurous spirit.

Over the decades, several high-profile names including Rose McGowan, Halle Berry, and Kate Beckinsale were floated as potential leads for a reboot, with directors Robert Rodriguez and Robert Luketic, and writers Neal Purvis and Robert Wade previously attached to revive the franchise. Unfortunately, none of these iterations made it past the conceptual stage.

Barbarella

The film’s progress took a promising turn approximately eighteen months ago when Sony Pictures announced its decision to cast Sydney Sweeney in the titular role, a move that Sweeney herself has suggested was facilitated by her involvement in Madame Web, also under Sony’s banner. This strategic decision was aimed at fostering a beneficial relationship with the studio, specifically with the Barbarella reboot in mind.

When probed about Edgar Wright’s potential directorial role, Sweeney adeptly sidestepped, merely noting that Wright has become an acquaintance. This has left fans and industry watchers speculating about the extent of his involvement, if any, in the project.

Barbarella is known for its adventurous tales of a young woman traversing the galaxy, engaging in escapades that often incorporate elements of sexuality—a theme Sweeney seems eager to explore. Her commitment to reimagining Barbarella for a new generation, while staying true to the character’s original essence, sounds like the making of a great reboot.

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‘The First Omen’ Almost Received an NC-17 Rating

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the first omen trailer

Set for an April 5 theater release, ‘The First Omen’ carries an R-rating, a classification that was almost not achieved. Arkasha Stevenson, in her inaugural feature film directorial role, faced a formidable challenge in securing this rating for the prequel to the esteemed franchise. It seems the filmmakers had to contend with the ratings board to prevent the film from being saddled with an NC-17 rating. In a revealing conversation with Fangoria, Stevenson described the ordeal as ‘a long battle’, one not waged over traditional concerns such as gore. Instead, the crux of the controversy centered around the depiction of the female anatomy.

Stevenson’s vision for “The First Omen” delves deep into the theme of dehumanization, particularly through the lens of forced birthing. “The horror in that situation is how dehumanized that woman is”, Stevenson explains, emphasizing the significance of presenting the female body in a non-sexualized light to address themes of forced reproduction authentically. This commitment to realism nearly landed the film an NC-17 rating, sparking a prolonged negotiation with the MPA. “This has been my life for a year and a half, fighting for the shot. It’s the theme of our film. It’s the female body being violated from the inside outwards”, she states, highlighting the importance of the scene to the film’s core message.

The First Omen Movie Poster – by Creepy Duck Design

Producers David Goyer and Keith Levine supported Stevenson’s battle, encountering what they perceived as a double standard in the ratings process. Levine reveals, “We had to go back and forth with the ratings board five times. Weirdly, avoiding the NC-17 made it more intense”, pointing out how the struggle with the ratings board inadvertently intensified the final product. Goyer adds, “There is more permissiveness when dealing with male protagonists, particularly in body horror”, suggesting a gender bias in how body horror is evaluated.

The film’s bold approach to challenging viewers’ perceptions extends beyond the ratings controversy. Co-writer Tim Smith notes the intention to subvert expectations traditionally associated with The Omen franchise, aiming to surprise audiences with a fresh narrative focus. “One of the big things we were excited to do was to kind of pull the rug out from under people’s expectations”, Smith says, underscoring the creative team’s desire to explore new thematic ground.

Nell Tiger Free, known for her role in “Servant”, leads the cast of “The First Omen”, set for release by 20th Century Studios on April 5. The movie follows a young American woman dispatched to Rome for church service, where she stumbles upon a sinister force that shakes her faith to its core and reveals a chilling plot aimed at summoning evil incarnate.

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