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    “AFFLICTED” (TIFF Movie Review)

    Each year, TIFF’s Midnight Madness program provides a home for hungry genre buffs where blood is spilled for adoring crowds to squeal in delight. Pretty well all of the iconic horror directors of the last 20 years have premiered at least one of their features as part of the program, but the finest treat is probably the discovery of new filmmakers bursting onto the scene. This year, the big breakout just might be for first-time Vancouver filmmakers Cliff Prowse and Derek Lee. The duo made the leap from shorts to features with AFFLICTED, their impressive new schlocker that manages to wring a little extra life out of the tiresome found footage genre and even a classic creature as well.

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    Eli Roth’s “THE GREEN INFERNO” (TIFF Movie Review)

    Six years after HOSTEL PART II and a host of acting and producing gigs later, Eli Roth has finally returned to directing. To celebrate, he came back to TIFF’s Midnight Madness program where he enthusiastically debuted his fourth feature for the first audience outside of the post production crew. As you’ve undoubtedly heard by now, it’s a cannibal movie, just like those lovable Italian rapscallions Ruggero Deodato and Umberto Lenzi used to make. Though Roth’s fingerprints are all over his addition to the indigestion-favoring genre, he plays true to the form both in terms of the graphic gourmet content and the themes of civility vs. civilization. It’s both throwback and something disturbingly new that is sure to be controversial for some, beloved by others, and impossible for anyone with a weak stomach or bleeding heart to forget. 

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    Ti West’s “THE SACRAMENT” (TIFF Movie Review)

    More faux doc than “found footage,” Ti West’s THE SACRAMENT exceeds at effectively blurring lines, subsequently succeeding at being horrifying and grounded. From its inclusion of the VICE brand and positing the cult tale as one of their “Guide To’s,” to the rare-for-this-medium proper opening titles to hewing closely to the tragedy of Jonestown and the Peoples Temple, the film presents itself as fictional entertainment about the evil real men do rather than real capturing of supernatural phenomena. The end result is especially unsettling.

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    Creepy Cartoon “DR. SHROUD” goes Indiegogo for Live Action Series

    FANGORIA’s main webhead Robert Feldman quietly keeps Fango’s technical needs met, battling internet gremlins and ensuring that the machine runs with minimal mess. But outside of his role as morbid mechanic, Feldman is also the father of anti-hero DR. SHROUD, the online cult animated series and comic book character that has long been bubbling as a concept for a feature film.

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    “ALL CHEERLEADERS DIE” (TIFF Movie Review)

    Long before they made contemporary controversial horror favorites like MAY, THE WOMAN and THE LOST Lucky McKee and Chris Sivertson were a pair of fresh faced film grads who decided to shoot their first feature together. The result was ALL CHEERLEADERS DIE and though it never got much of a release, it did kick off their solo directing careers. Now over ten years later, the two filmmakers teamed up again to remake that film with, you know, production values. The result is as fun as the title suggests and as giddily violent as their subsequent directorial careers guaranteed. It’s also a bit of an artistic regression as well as a nostalgia piece, though. The movie is as messy and tonally jumbled as most first feature films, with the directors unable to tame their old concept with their acquired skills as professional filmmakers. That quality is part of the wacko charm that earned the flick a spot at TIFF’s Midnight Madness program, it’s just sadly a bit of a step back for McKee in particular.

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    “PROXY” (TIFF Movie Review)

    Ready-to-pop pregnant Esther Woodhouse (Alexia Rasmussen, pictured above) is walking home from an obstetrician’s appointment when she’s brutally attacked in the street by a hooded stranger. It is a harsh and surprisingly graphic opening—one likely to have some movie patrons running for the door—but marks only the beginning of the pitch-black psychosexual terrain to be explored in Zack Parker’s fourth feature, PROXY.

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