Review of Zombiehagen at We Are Indie Horror

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Danish short film, Zombiehagen, belies the recent trend of zombie films being more action than horror. In fact, director Jonas Ussing has created a film that not only thrills but manages to evoke some real emotional pathos in its brief running time, while using only a handful of actors.
Read the full review at We Are Indie Horror. Published 11/18*16

Review of Abbey Grace at We Are Indie Horror

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The latest film distributed by Uncork’d Entertainment, Abbey Grace, comes from director Stephen Durham, known as producer of The Butchers and Death Factory. Durham co-wrote the film with David Dittlinger for 2nd Nature Films. Durham’s film fits nicely under 2nd Nature’s aegis and current focus of action-horror films, as it’s a tightly-focused genre exercise.
Read the full review at We Are Indie Horror. Published 11/11/16

Review of Krampus Unleashed at We Are Indie Horror

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Director Robert Conway subverts a lot of expectations in Krampus Unleashed, his follow-up to 2015’s Krampus: The Reckoning. Rather than deliver a sequel, the director has created an entirely new take on the Krampus myth. The film comes complete with a new look for the Christmas demon, which is a far more traditionally European take on the creature than the rather more streamlined look of Conway’s previous film.
Read the full review at We Are Indie Horror. Published 11/3/16

Review of short film ‘Wink’ at We Are Indie Horror

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Horror short, Wink, from Space Oddity Films, is an adorable three minutes of terror and violence. The film company makes films which “explore technology’s impact on culture and how that relationship will shape our future,” and a horror short featuring a murderous emoji definitely fits that outline perfectly.
Read the full review and watch the short at We Are Indie Horror. Published 10/27/16

Review of ‘Tabloid Vivant’ at We Are Indie Horror

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Kyle Broom’s Tabloid Vivant stars Jesse Woodrow and Tamzin Brown as Max and Sara, an artist and art critic, respectively. The pair meet cute at the film’s beginning, only to fall into a relationship wherein the two intertwine to the point of absolute artistic madness. From the outset, the film plays with the conceits of a bygone era sitting side by side with modern technology, in order to demonstrate that the obsession with fame isn’t so new, after all. Using throwback imagery, such as the song “Cheek to Cheek,” rear-projection in the driving sequences, and frequent references to the Black Dahlia in conjunction with more modern touches, like meta discussion of art and scenes of grim violence. It’s as if director Broom has made a serious Charles Busch picture.