New Indie Horror!
THE COLLINGSWOOD STORY
Sunday, October 16 at 5:30pm
(2002) dir Michael
Costanza w/ Stephanue Dees, Johnny Burton, Vera Madeline [80 min]
experiment in the supernatural, director Michael Costanza's tense
exercise in terror is that rare example of a hyper-low budget shocker
that actually manages to be creepy, scary, devilishly inventive
and captivating. When his girlfriend Rebecca Miles (Stephanie Dees)
went away to college garage worker Johnny (Johnny Burton) thought
webcams would help them keep in touch. But chatting on her birthday
idle curiosity leads to dark secrets being uncovered when they contact
on-line psychic Vera Madeline. For she tells them the house Rebecca
has rented was the site of horrific murder. Worse, the slaughter
was all tied to a deadly ancient French cult that worshipped at
altars drenched with the blood of human sacrifice. Packing more
genuine fear in its short running time than a host of mega-million
horror blockbusters, Costanza's inspired premise is conceptually
clever and atmospherically chilling. Well acted by the very likable
leads, superbly written with the accent on total believability,
masterfully directed (the moody black-and-white inserts rival the
visual hallucinations in The Exorcist) and expertly edited, the
final heart-pounding 30 minutes is classic genre moviemaking."
Opening Night Selection!
Franka Potente in
Thursday, October 13 at 7:30pm
(2004) dir Christopher Smith w/ Franka
Potente, Sean Harris [85 min]
So this is what happens when you fall asleep
in a subway station. Kate (Run Lola Run's Franka Potente) is a London
party girl with big plans. Apparently, George Clooney's in town
and, after knocking back a few drinks at a little soiree, she decides
to seek him out. Unfortunately, by the end of the night, she finds
herself with a far less attractive mate. Unable to find a cab, Kate
decides to wait for the last subway of the night. Already intoxicated,
she has a few more drinks and nods off in the station. When she
awakes, the station is empty, the last train is gone, and Kate is
locked in. Frustrated by the inconvenience, she soon learns that
things are far worse than they seem. As it turns out, the subway
is home to a sadistic, demonic creature with an appetite for human
flesh (24 Hour Party People's Sean Harris). Stuck with only a homeless
guy and a dog for protection, Kate must contend with rapists, rats,
and even the occasional subway train as they join the beast in a
night of torment that she will not soon forget...
Spanning a single night and roughly one
location (a subway station), CREEP demands that Franka Potente sustain
the panic and desperation of Run Lola Run for another 90 minutes.
With a breakneck pace and virtually no lulls, this is the kind of
action-oriented horror that is all too rare these days. Dark, dirty
and claustrophobic, the film has a bleak view of humanity that only
serves to magnify the threat of its demented villain. The beast
in question is unusually disgusting and vaguely resembles SIN CITY's
sadistic man-monster, Marv. He tears bodies apart and conducts himself
with a minimum of moral rectitude, even by homicidal monster standards.
While this diabolical fright fest won't wow you with its subtlety,
if you're looking for good old-fashioned thrills and chills, CREEP
will definitely creep you out. notes from the Fantasia Film Festival
New England Premiere!
Intense Thriller From Canada!
THE DARK HOURS
October 15 at 10:00pm
(2005) dir Paul Fox w/Kate Greenhouse,
Aidan Devine, Gordon Currie [80 min]
In this taut psychological thriller, psychiatrist
Samantha Goodman decides to spend a quiet weekend at her winter
cottage with husband David and younger sister Melody. But a surprise
visit from a former patient changes everything. Harlan Pyne is a
violent sexual offender seeking twisted revenge for the treatment
he received. With no escape possible, Harlan and his accomplice
Adrian force their victims to play a series of devious games, mirroring
the psychological tests Samantha subjected him to in the asylum.
Unexpected secrets are forced into the light, as Samantha struggles
to turn the tables on her tormentors.
"In spite of the genre reaching popular
heights not seen in two decades, it has become increasingly rare
to encounter a genuinely hard-edged horror film, let alone a Canadian
one. With THE DARK HOURS, Paul Fox has brilliantly reworked a vicious
horror subgenre that was a staple of the subversive '70s, creating
an engrossing film that is equally intelligent, moving and ferocious!
It is a harrowing portrait of psychological mutation in the face
of physical decay, anchored with strong, authentic characters and
themes of conscience and ethics. Fox infuses the proceedings with
a subtly surrealistic nightmare tone that gets increasingly distorted
throughout the film's duration, hitting the finale in a smoldering
state of quiet, bloody dementia. The direction, writing, performances
and use of sound are stellar. This film conveys a white-hot sense
of trauma that few manage to achieve and, at times, it is almost
unbearable in its intensity. Mitch Davis, Fantasia Film Festival
New England Premiere!
Thursday, October 13 at 9:30pm
(2000) dir Takashi Miike w/ Kazuya Nakayama,
Ryosuke Miki, Ken'ichi Endo, Susumu Terajima, Beat Takeshi [128
min; in Japanese w/English subtitles]
Almost defying description, Miike's film
opens with found documentary footage about sperm-production in young
males and then turns to a graphically violent recreation of the
execution in 1865 of the 28-year-old Okada Izo, a low-born samurai
who killed in the service of the anti-shogun rebel Hanpeita Takechi.
Fast-forward through 15 decades of Japanese history: suddenly Izo's
spirit possesses the body of a street-sleeper in an alley of Tokyo's
The reincarnated assassin goes on a killing
rampage through time and space, from the Warring States period to
the day after tomorrow, slaughtering everyone from a Buddhist elder
to the prime minister ("Beat" Takeshi in one of dozens of star cameos),
not forgetting his own mother. Nothing can stop him, because Izo
is negation itself: the contradiction spewed up by the "perfect
system" that is Japan. Nothing is immune to his attack, except perhaps
the godlike emperor (Matsuda Ryuhei, dishy in silk) and the maternal
goddess of mercy (the ineffable Momoi Kaori). Standing to one side,
watching and commenting in song, is Tomokawa Kazuki, a radical folkie
from the 1960s.
So, is this the first philosophical splatter
film? A demolition of Japan's body politic? Or maybe a sensitive
account of the programming of male hormones? Miike's answer is up
there on the screen, and my guess is that he's smiling. - notes
from the Vancouver Int'l Film Festival
From the Director of The Grudge!
Sunday, October 16 at 10:00pm
(2000) dir Takashi Shimizu w/ Yuuko Daike,
Makoto Ashikawa, Kahori Fujii [76 min; in Japanese w/English subtitles]
Depressingly, for those of us who are over
30, the director of this intense, endlessly-replicating, somewhat
viral franchise is only 31 years old. Takashi Shimizu's first professional
job a 30-minute short cut to 3 minutes brought him to the attention
of Taka Ichise, the man who pulls the strings of the new Japanese
horror boom, having produced the Ring films and Dark Water. Ichise
had always wanted to make a haunted house film, and Shimizu pitched
him an idea about a house overflowing with homicidal rage, which
pushed Ichise's pleasure buttons. The first two JU-ON projects were
V-cinema releases (shot-on-video productions designed to be released
straight to video it's where splatter-schtick auteur, Takashi
Miike, got his start) that performed poorly. Taking a counterintuitive
approach to that of most US producers, Ichise paid attention to
internet sites proclaiming the JU-ON videos the scariest movies
ever made, and he noticed that they always seemed to be rented out
at his local video store. And so, he authorized a big screen, 35mm
version of the story, written and scripted by Shimizu , and ten
days before JU-ON was released, he greenlit production on JU-ON
2, a big screen extension of the franchise. The first JU-ON came
out and hit big, as did the second, and a long-running gamble finally
"The theme of the first JU-ON is shadow
and darkness. The theme of JU-ON 2 is motherhood," says Shimizu
, and sure enough, while the first movie is a fever dream haunted
house movie that's had its chronology hacked to pieces and stitched
back together again with rotten flesh, the second focuses more on
the plot and characters, and really goes to town with baroque set
pieces involving strange knockings, the infamous throat clicks,
and oceans of black, greasy hair. Besides Shimizu and Ichise, who
both worked on the US remake, the only two people to make it through
both V-cinema films, both Japanese JUON films, and the US remake
are Takako Fuji, who plays the horrifying, silent-screamed ghost
girl, and Yuya Ozeki who plays the little dead boy, Toshio, whose
face has become as common a sight in Japanese video stores as the
big, sweaty, hairy eyeball of The Ring.
Hailed as the scariest Japanese movies
of all time, the JU-ON films don't disappoint with their disorienting,
non-linear slide down a slippery slope to gibbering, surreal madness.
No blood, no gore, no cheap tricks... just pure, skin-crawling,
gut-tightening terror. notes from the New York Asian Film Festival
(Out Of Competition Screening)
New England Premiere!
From the Director of The Grudge!
Friday, October 14 at 7:30pm
Saturday, October 15 at 5:30pm
(2004) dir. Takashi Shimizu, w/ Shinya
Tsukamoto, Tomomi Miyashita, Kazuhiro Nakahara [92 min; in Japanese
A fear-obsessed freelance cameraman (Shinya
Tsukamoto) investigates an urban legend involving mysterious spirits
that haunt the subways of Tokyo, leading him to a disturbing discovery
and a troubling new houseguest. Squeezed in before the start of
production on the big-budget U.S. remake of his The Grudge, this
disturbing new film by Japanese horror master Shimizu gets back
to his low-budget roots shot on video in just 8 days and with
fellow filmmaker Tsukamoto (Tetsuo The Iron Man) in the lead.
"Not only is it [Shimizu's] most interesting
and accomplished work to date, it is also one of the finest horrors
to come from Japan in a long time. Fear junkies certainly won't
come away wanting! Taking his macabre vision one step further with
this Lovecraftian voyage into the netherworld MAREBITO proves that
you don't need big bucks to create big chills, and that a supernatural
horror movie shot on video doesn't have to look like The Blair Witch
Project." Jasper Sharp, Midnight Eye
New England Premiere!
Surreal Japanese Animation!
Friday, October 14 at 5:15pm
Saturday, October 15 at Midnight
(2004) dir Masaaki Yuasa w/ Koji Imada,
Sayaka Maeda, Takashi Fujii [103 min; in Japanese w/English subtitles]
Nishi, an awkward young manga artist in
Osaka, has had a longstanding crush on Myon. Thing is, Myon's got
a thing for rugged Ryo. Matters come to a head at her sister Yan's
yakitori restaurant, in the presence of the girl's dissolute father
who happens to owe a bunch of money to a pair of creepy gangsters,
who've come to collect. Things get ugly, and Nishi gets killed in
a brutal, graphic fashion. End of the story? No way, that's just
the start. Pulling a fast one on God (in all his/her/its infinite
manifestations), Nishi hightails it back to Earth, where he replays
the crime to his advantage, steals a car and grabs the girls. Under
a hail of yakuza gunfire, he bails off a bridge and into the mouth
of a whale. There, he and his two female companions encounter a
tenacious and lively old man who has set up camp in the beast's
belly, longing to someday return to human company on dry land. With
no immediate exit available, the quartet make do fishing, fighting,
making love, weaving tales of strange happenings on faraway planets
and dreaming of life in the real world. Will they ever set foot
Based on the underground cult manga series
by Robin Nishi, MIND GAME is the magnum opus from Koji Morimoto's
maverick anime outfit Studio 4-C and director Yuasa Masaaki. The
studio's staff has previously been responsible for contributions
to Katsuhiro Otomo's Memories and the Animatrix series, but MIND
GAME is far more directly in line with Masaaki's work on Cat
a half-hour brain-bender from 2001. Bearing little if any relation
to the rigidly delineated aesthetics of anime, MIND GAME is
closer to the kaleidoscopic psychedelia of Yellow Submarine and
the philosophical freak-out Waking Life. It's free-association
using the most minor narrative fulcrum to spin off in the strangest
directions, leaves one no choice but to expect the unexpected
and expect it to be bold, brilliantly realized and bursting with
music, color and creative ideas. Employing all manner of animation
devices, from scratchy hand drawings and collage to complex CGI,
rotoscoping and actual footage of the Japanese media personalities
who provided the voices, MIND GAME is nothing short of utterly
unique and unprecedented in the field of animation. notes
from the Fantasia Film Festival
New 35mm Print!
THE MUPPET MOVIE
Saturday, October 15 at 1:30pm
($5 for all!)
Saturday, October 15 at 3:30pm
Sunday, October 16 at 1:30pm ($5 for all!)
Sunday, October 16 at 3:30pm
(1979) dir James Frawley w/Kermit, Fozzie
Bear, Ms. Piggy, Gonzo, and the whole Muppet gang + Charles Durning,
Milton Berle, Mel Brooks, James Coburn, Dom DeLuise, Elliott Gould,
Bob Hope, Madeline Kahn, Steve Martin, Richard Pryor, Telly Sevalas
and Orson Welles! [95 min]
The original is back! After being out of
release for many years, THE MUPPET MOVIE has resurfaced in this
brand new 35mm print! We're thrilled to be amongst the first venues
to feature the film. Now we can once again enjoy the onscreen origin
of one of the greatest performance troupes ever created. Jim Henson's
muppets are beloved by millions and, in this charming musical fantasy,
we follow in the footsteps of Kermit The Frog as he sets out from
the swamp to pursue a career in, what else, showbiz! Hooking up
early with vaudvillian funny-bear Fozzie, Kermit treks across the
country gathering new and interesting friends along the way on
his way to a date with destiny in Hollywood!
New England Premiere!
New From Korea!
Friday, October 14 at 9:30pm
(2004) dir Su-Chang Kong w/ Woo-seong Kam,
Byung-ho Son, Tae-Kyung Oh [107 min; in Korean w/English subtitles]
July, 1971, somewhere deep in the Vietnamese
countryside. Of the 18 U.S.-allied Korean soldiers sent into
area designated Romeo Point on a scouting mission, only one, struck
blind and traumatized, survives. Six months later, however,
voices of the missing unit have been mysteriously picked up by
the intelligence service's radios. Another team, this time eight
is likewise sent to the ominous R-Point, around which certain uncomfortable
rumors seem to circulate. At the head of the team is Choi Tae-in,
himself also the sole survivor of another battle. Guilt, and a
deeper, murkier sense of unease, quietly plague Choi as he and
pass the stone that marks the entrance to R-Point the point
of no return. The stone reads, "He who sheds others' blood will
not return, not even his soul." The skies darken as the men move
toward the desolate, abandoned temple that they believe will provide
The war movie and horror film are two genres
that are rarely fused together, perhaps because the heat of battle
and the civilian's aftermath offer so much all-too-real horror as
it is. But R-POINT explores a different kind of wartime fear, one
no amount of bullets, bravado or disciplined tactics can confront.
There are no Viet Cong, no snipers or booby traps in this godforsaken
corner of the jungle the menace here has no name. A veteran (in
every sense) screenwriter, Kong Su-chang hasn't simply fashioned
a supernatural thriller in a wartime setting. R-POINT is in fact
a reflection on the role of the Korean soldiers in the Vietnam war
lonely, expandable, now largely forgotten and deeply unsure of
their very purpose for being there in the first place. As Kong himself
makes clear, it's a reflection that holds up today, a ghost that
cannot be dispelled as a new generation of Koreans are deployed
in Iraq. notes from the Fantasia Film Festival
Saturday Night Spotlight!
Saturday, October 15 at 7:30pm
(2005) dir Dave Payne w/ Devon Gummersall,
Derek Richardson, Tina Illman, Scott Whyte, Arielle Kebbel, Michael
Ironside [100 min]
When a lonely highway is inexplicably closed,
five students sharing a ride to a party in the desert find themselves
trapped at a deserted travel oasis. Refusing to let the new circumstances
interfere with their fun, they settle in only to be interrupted
by odd, haunting visions of severely mutilated travelers. Gruesome
sighting may explain the sudden abandonment of the motel and diner,
but the appearance of a retiree with a missing wife (cult actor
Michael (Scanners) Ironside) confirms their worst fears. He too
has seen the dying people victims of a killer, one that has likely
taken his wife a killer trailing a dark force of decay and rot.
Led by a blind grad student with heightened senses (played by not-a-kid-anymore
Devon Gummersall (Brian Krakow from My So Called Life)), they must
survive the night and confront what appears to be a terrifying abyss
between the living and the dead. As the body count rises, the bizarre
mystery deepens. Inspired by the classics Carnival of Souls, Evil
Dead, and Friday the 13th, REEKER is a ferociously fun, new-school
hybrid of the slasher/monster/supernatural horror film.
"A good, bloody time in the desert."
New England Premiere!
Asia's New Trilogy of Terror!
Sunday, October 16 at 7:30pm
(2004) dirs Takashi Miike, Chan-wook Park,
Fruit Chan w/ Kyoko Hasegawa, Mitsuru Akaboshi, Byung-hun Lee, Hye-jeong
Kang, Won-Hee Lim, Miriam Yeung, Tony Leung Ka-Fai, Bai Ling [118
min; in Cantonese, Japanese, Korean and Mandarin w/English subtitles]
Exploring the outer limits of the macabre,
three of East Asia's most compelling directors (Japanese cult figure
Takashi Miike, Hong Kong's Fruit Chan, and South Korea's award-winning
Park Chanwook) offer a triptych of horror stories. In Chan's Dumplings
(shot by acclaimed cinematographer Christopher Doyle), a retired
actress wants the rejuvenating effects of a doctor's "special" dumplings,
but discovers they contain a horrifying ingredient; in Park's Cut,
a film director is abducted by a vengeful stranger and forced to
make an impossible choice; in Miike's Box, a beautiful female novelist
receives a mysterious invitation to meet at the site of her twin
sister's death. We're extremely pleased to be presenting the New
England premiere of this highly anticipated trio of stories by three
of the most exciting directors working in genre film today.
"[Dumplings] is incredibly absorbing! [Box]
challenges a person's sense of perception! I was dying to see where
[Cut] was going." Ed Gonzalez, Slant
New England Premiere!
Mormonism's Answer to Reefer Madness Remade!
TRAPPED BY THE MORMONS
Friday, October 14 at Midnight
(2005) dir Ian Allen w/ Johnny Kat, Emily
Riehl-Bedford, Monique LaForce [70 min]
We all know Mormons are evil, but, good
God... this?! Isoldi Keane (New York drag kingpin Johnny Kat) is
the top recruiter in all of Mormondom using his mesmeric powers
to ensnare young girls into his evil Mormon web of passion, polygamy
and pamphlets! Will young Nora Prescott be strong enough to resist
his wicked-sexy Mormon wiles? Will Isoldi marry Nora and take her
away to where the Great Salt Lake meets the Crystal Temple? Or,
will there, indeed, be something darker waiting for Nora! slavery!
sex orgies! Death!? Don't miss out on the fun as we present this
hauntingly hip and hilarious remake of the 1922 cult horror classic,
TRAPPED BY THE MORMONS.
Produced by Cherry Red Productions, a performance
troupe with a nine-year history of producing horny, hoary theater
in Washington DC, TRAPPED BY THE MORMONS was filmed over just four
weekends at a makeshift studio built in a warehouse storage space.
In the months following the shoot, the film was meticulously "aged"
utilizing all the latest technology (like scraping it with dirt).
Voila, a silent film for twenty first century!
"A sexy, hilarious, Grand Guignol of mesmerism,
vampirism, and physical stirrings, wrapped up in a flickering black-and-white
bow!" -Washington Post
"Mormonism's answer to Reefer Madness is
back, in a remake ... that exceeds the original's campy silliness!
Three words: Polygamous zombie vampires!" -Salt Lake Tribune