New York City Horror Fest

by Marleah Martin

In the week leading up to October 31st, The Big Apple gets geared up for Halloween- the haunted houses are in full swing, costume shops are swarmed, and pumpkins pile up outside every corner bodega. Needless to say, it was fitting that the New York City Horror Film Festival is scheduled in that final week before Halloween, kicking off on October 24th with an opening night party. 31 short films and 9 features were screened over the course of the festival, which serves as a forum to spotlight independent horror films. Though it is an industry event, I was quick to discover that the festival is quite fan-friendly, giving horror enthusiasts not only the opportunity to see the latest work of up-and-coming filmmakers, but a chance to meet some of them as well.

Michael Hein (Festival Director) and Anthony Pepe (Programming Director) warmed up the crowd at the opening night party, and would give similarly fun and energetic introductions to programs during the festival, illustrating their strong dedication to this event as well as their zeal for the horror genre.

The opening night party was held at Don Hill’s in Tribeca, and after a slow start got into full swing, no doubt aided by the live bands and free Hobgoblin beer. Additionally, a selection of short films- half a dozen that would be screened during the festival, as well as a few classics- were shown at the party, to get the crowd into the spirit. Several of the directors, actors, and crewmembers were present, and I was thrilled to find that everyone I approached was quite willing to chat with me about their work.  I was already familiar with Phil Mucci, having attended the premiere of his debut film The Listening Dead, and we discussed the contrasts between that film and Far Out, which would be showing at Friday night’s program. I also met Tom Wendling, an amiable guy and first-time director, who was thrilled to have had Wish You Were Mind selected for the festival. Another filmmaker whose directorial debut would be screened was Joseph Ypsilantis. A young man fresh out of film school, he approached me early on in the night with press sheet in hand, and spoke with great enthusiasm about his film Skin Deep.  Highly motivated with a knack for networking, if there was a go-getter award that night, he would have taken it home. This, combined with his clear devotion to his craft, will surely take him far.

The party was a success, having accomplished the goal of getting the attendees psyched to see some scary movies over the next few days.

Shorts screened at the opening night party included Stink Meat- Jeff Speed, Far Out- Phil Mucci (review included with Program 1), Wish You Were Mine- Tom Wendling, Crazy Love- William van Cuyck, Egg Ghost- Dongkeun Lee, and Zero Hour- Dave Colonna (review included with Program 10).

STINK MEAT- Jeff Speed:

Only 5 minutes long, Stink Meat doesn’t waste much time in getting right down to business; if what you look for in horror is to be wholly disgusted and appalled, this is up your alley. A girl finds herself chained to a chair, and struggles to get free- it’s obvious she’s in for something dreadful. We’re not kept waiting long; a ghastly and terrifying sack-headed creature soon emerges, and reveals the remains of two corpses- presumably the girl’s parents.

What ensues from here is an unbelievably sickening gross-out fest to rival any of the most shocking scenes in horror, as it smashes taboos to the ground. Of course the film is not at all in good taste and is gratuitously gory, but the high quotient of the blood-and-guts factor is exactly what many horror fans find irresistible.

EGG GHOST- Dongkeun Lee

The sole animated selection for the festival, Egg Ghost is based on an old Korean folktale of a faceless ghost who stalks and steals the face of an unlucky soul.

And there’s the plot. But despite having knowledge of the film’s outcome, its stunning animation make it fascinating to watch. Lee has created a unique cast of characters that are remarkably believable in their reactions to each other, and it’s not often one sees this level of humanity in an animated film with no dialogue. The high-energy soundtrack complements the minimalism of this charming 3-minute piece.

WISH YOU WERE MINE- Tom Wendling

A music video with a cinematic approach, Wish You Were Mine is based on Mary Shelley’s Frankenstein. A doctor mourning the death of his wife stumbles upon an idea on how to bring her back to life- and proceeds to assemble body parts from a cemetery in hopes to recreate her.

With the look and feel of a silent film (complete with title cards and a highly expressive style of acting), Wish You Were Mine is notable for its lovely cinematography and art direction, not to mention the simple but catchy power-pop tune that accompanies it.

We know the story, and therefore know the doctor will certainly fail. The juxtaposition between this and the intense emphasis given to the doctor’s obsession aptly captures the tragic element of a familiar tale.

CRAZY LOVE- William van Cuyck

A disturbing tale about romantic obsession, Crazy Love is told from the point of view of Charlie, who sets his sights on Brenda, and just knows she has to be his girl.

It’s dark comedy, underscored by a cheerfully jangly folk tune that plays in the background with lyrics like “and if your mouth weren’t taped shut you’d give me your undying love”. Robert Ashe, Jr. is perfectly cast as the creep who will stop at nothing to get the woman he wants. But despite the one-liners and aforementioned musical accompaniment, the jokiness is somewhat lost in the shuffle given the highly unnerving subject matter- laughter giving way to just plain cringing.

Program 1: 10/25/07, 7 P.M.

The screenings commenced on Friday night at the Cantor Film Center. There was a great turnout for Program 1, where three shorts and the Director’s Cut of Hostel with a never before seen ending would be screened, followed by a Q&A with director Eli Roth. After the already high energy in the crowd was intensified with rounds of horror flick trivia and giveaways hosted by Mr. Hein and Mr. Pepe, it was show time.

FOET- Ian Fischer:

Pronounced “feet”, the film tells the tale of a pro-lifer who falls in love with Manhattan’s latest fashion trend, handbags only made available to only a select group. It isn’t long before we’re let in on the dreadful secret behind these luxury goods.

While the concept is in all reality quite gruesome, the characters’ comical superficiality make it impossible to not giggle at the preposterous lengths they’ll go to- and moral compromises they’ll make- in order to be a part of the fashionable “it” crowd. A short and rather disturbing nightmare sequence serves as the pivotal moment to qualify this piece for horror status; otherwise, it comes off more as a dark comedy. Indeed, with its morbid humor, the film exaggeratingly violates standards of political correctness in order to brilliantly tie in troubling aspects of social issues such a human rights, gender bias and racial discrimination with its grim commentary on consumerism.

CRITICIZED- Richard Gale:

In “Criticized”, prominent film critic Darian Stonehall (John Lynd) writes a scathing review of a new horror film, and is abducted by the film’s mentally unstable director, Arthur Lements (Brian Rohan), with the intent of revenge.

As one can imagine, the premise will likely generate a running joke amongst critics (if it hasn’t already) with satirical allusions to a fear of retribution were they to state that they witnessed nothing less than a cinematic masterpiece upon seeing this film. Thankfully, in this writer’s opinion, praise for Criticized is well-deserved. The film was a crowd favorite as well and received an enthusiastic response from the audience.

From the very beginning, a sinister tone is set and it’s quite clear something awful is going to happen- it’s just a matter of time.  Gale maximizes that sinking feeling of dread the viewer feels for all it’s worth. As the plot’s direction is revealed piece by piece, Arthur’s horrific intent is fully revealed and the slow, steady crescendo is just as excruciating as the prolonged climatic scene it builds up to (which, due to its originality, no doubt has the potential to become iconic in the world of horror film). Excellently scripted, the element of dark humor mixed with a sincere, fleshed-out emotional life that exists in the characters’ interactions could almost lead one to believe that perhaps the terribly inevitable can somehow be averted. Wickedly funny and terrifying all at once, Criticized is exactly the type of thrilling experience horror fans love, and exemplifies the spirit of the genre.

FAR OUT- Phil Mucci

Set in 1972 Hollywood, a producer’s swinging party takes a strange turn when an uninvited guest comes for more than sex or drugs.

Visually appealing and auditorily stimulating, Far Out’s strong points lie in its art direction. Paying homage to B-horror cult classics, the short 5-minute piece is a colorful feast for the eyes. Gorgeous set and costume design contribute to the creation of a psychedelic paradise that simultaneously hints at ominous undertones. The wonderfully campy dialogue is unwavering, even when the film takes a bizarre turn upon the arrival of Carmilla (Carly Turnbull), the alluring party guest whose presence soon turns the plot towards the grisly- though, in a delightfully absurd twist, the characters seem impervious to her unusual behavior.

HALFWAY- Karl Holt

A man awakes to find himself captive in an unknown location, with video equipment filming in different parts of the room and a moving sack. What follows is an unsettling series of events brought on by the man’s desire to unravel the mystery behind his perplexing circumstances, and to do the right thing.

Eerie lighting, shaky camera work and jump-cuts serve to further convey the feelings of disorientation and panic experienced by the main character. Though the ending may be somewhat predictable, this short piece delivers a good scare.

Program 2: 10/26/07, 7 P.M.

Program 2 began with a decidedly smaller audience than the previous night, but excitement pervaded the group nonetheless. Four shorts and a feature would be screened tonight (unfortunately, I would only be able to catch the first three).

After a round of horror film trivia- this time a bit more challenging- along with a good amount of schwag being handed out, house lights went down and we were on with the show.

THE LYCANTHROPE- Lucas Peltonen

After waking up in bed next to an eviscerated corpse, Jonah (Paul Diomede) is convinced he is a werewolf, and asks his best friend Harris (Damani Rivers) to kill him in order to prevent the slaughter of any more innocent victims.

There are certainly a few laugh-out-loud moments here- Rivers’ and Diomede’s have fairly good comedic timing, with a nice rapport between them.  However, beyond this, the film comes across as trite, reminiscent of a fun side project made by a couple of schoolboys for the amusement of their friends.

To be sure, there’s always a place for camp in horror, but it’s a tricky angle to play- there’s a fine line between so-bad-it’s-good and just plain amateur. Unfortunately, this film likely will fall into that latter category with its reliance on slapstick clichés. However, if one can tap into their more juvenile senses, this can be enjoyed for what it’s worth- a goofy gallows comedy that serves up plenty of gore.

THE WAKE- Matthew Byrne

A boy is tied to a table for days at the mercy of a mysterious older woman who hangs a rotting cabbage over his face. As the story unfolds, the truth behind the tortuous treatment is revealed.

The Wake stands out in such striking contrast to the splatter and torture porn films that have come to be so popular in the world of horror as of late. With its understated dignity and concentration on the element of suspense, it could be considered a response to the growing trend of inundating the audience with revolting scene after scene in order to keep it engrossed. This film requires a little more patience, but it’s well worth the wait. Dialogue is minimal, and the film’s focus is on the powerful simplicity of its imagery- the commonplace transformed into the significant- as the plot slowly but surely builds up to its shocking conclusion.

As it is stylized as something along the lines of an American folk tale, The Wake has an otherworldy sense. Yet at the same time, the characters’ inner lives and strong investment in the boy’s predicament are expressed poignantly by the talented cast, giving an utterly realistic feel.

The film does finish off with a creepy climatic scene, but it may not hold the level of shock value today’s horror film aficionado would expect. Admittedly, I myself had been expecting a bit more, though this could attributed to desensitization from seeing so many of the aforementioned flicks competing to out-do each other in terms of gore and social taboos. The Wake is a nice change of pace- it has substance and its appeal lies in what is not said and seen- leaving much to our imagination. And as the saying goes, there’s nothing scarier than that.

WINTER’S WARMTH- Jacob Dolgy

Gus, a ragged street dweller wishes to feel the comfort of another human being as he is convinced he is dying. Sweetie (Lauren Bullivant), friend of Gus (Adam Tomlinson) and a street walker, insists that he’s not and leaves to attend to business. Her intentions are much more menacing than to merely turn a few tricks.

The film was not particularly engaging- from the start, the writing was off and the actors’ delivery not much better. As they unconvincingly rehash the subject of Gus’ discomfort, there is little to keep the audience’s interest. Even Bullivant’s pretty face (too pretty perhaps, for the role of a world-weary hooker) cannot distract from the superfluous and repetitious dialogue.

As this is a horror film, and given the clues dropped in from the script early on, what ensues from there is not at all that surprising. A closing moment that should have perhaps warmed the hearts of the viewer instead falls flat, given the disappointment felt from having just watched a film that did not have any sort of compelling direction to go in, or real purpose behind it.

Program 5: 10/27/07, 5 P.M.

I was really looking forward to this program’s diverse lineup. A psychological horror, a ghost story, a brutal slasher and a screwball comedy gone gory promised to be a nice mix.

SKIN-DEEP- Joseph Ypsilantis

When she chooses a handsome hunk over a disfigured admirer, a superficial young woman becomes the target of a sick game that could take away the one thing she cherishes most…her beauty.

Opening the film is a montage that appears to be comprised of clips filmed for a dating website. The girls detail what they’re looking for, and while they may touch on personality traits, their main concern is physical appearance- the phrase “blue eyes and great abs” is creepily looped over and over at the intro’s end, setting the stage for what’s ahead.

The plot takes a familiar twisted morality-tale approach- innocent victim messes up (in the eyes of the psycho, anyway) psycho teaches victim a lesson, bad things happen to victim. Nonetheless, Skin Deep has its genuinely unsettling moments. It’s not so much due to the actual harm inflicted on the victim, which is more implied than shown. It’s the interplay between Tory Eletto and Patrick Heusinger that’s truly agonizing. Though at times it does come off as a bit naive in that the same lines we’ve heard before on the matter of attraction are presented as original ideas, each party does successfully prove the other to have highly skewed perceptions in a struggle for power. As the two sides clash against each other, immediate action is suspended and we are left to only imagine the dark possibilities that could await the victim as her fate hangs in the balance. A surprise twist, if not an altogether clear one, concludes a film that all in all could be considered a fine directorial debut.

NUMBER 44- by David Pro

When a young couple is kidnapped at a summer carnival, they find themselves in a life or death situation.

In Number 44, what we see is essentially the retelling of a serial killing based on true events- and not much else. It was difficult to find any real objective here other than to horrify the audience with how cruel and deranged human beings can be. Kevin Gorinshteyn and Joseph Panwitz are strong- characters that are so believably portrayed make the film all the more painful and unbearable to watch. But without any sort of humor to lighten the mood, groundbreaking material, plot twists, or retribution, Number 44 is a tough one to sit through and in the end amounts to an utterly dismal experience.

THE HAND- David Lilley and Stephen Gray

Paying homage to Asian horror, The Hand is the story of Ye-Ling, who is plagued by nightmares. She awakes in the hope of finding comfort in the arms of her boyfriend (Nicky Goh), but a much worse fate awaits her.

With the heart of the film being a fear most can relate to- things that go bump in the night- this short film holds your attention. It’s strong in its simplicity- one room, two characters; though one character is mainly left to fend for herself when confronted with a menacing presence.

The plot scenario does play out to be a bit vague. However, one gets the sense that it’s easier said than done to give a full understanding of what exactly is going on when dealing with such abstract concepts in such a short period of time- the film would likely benefit from further development. Yet overall, it’s visually striking- beautifully shot, the film offers some spooky special effects, clever camera work and its share of jumps.

BOTCHED- by Kit Ryan

After a jewel heist goes wrong, a professional thief (Stephen Dorff) is obliged to do one more job. After that job is bungled as well, he finds himself dealing with twin serial killers, a group of hostages and the real possibility of a horrible death.

Botched starts out as something of a suspenseful thriller with a dash of humor thrown in. It quickly morphs into an off the wall mix of wacky slapstick and B-movie horror with gore galore.

The film is meant to be a lowbrow slasher comedy that doesn’t pretend to be anything more. Sight gags, over-the-top acting complete with phony accents, and plenty of violence come in bulk. But after the initial ingenious- and genuinely startling- sneak attack on the part of the villain, the scare factor goes downhill and the focus is on the cheap laughs.

Granted, the approach is rather amusing at first, but as the film goes on, it seems to lose ground with no real aim except to show exhibits a to z of creative slaughter mixed in the vein of a French farce. It’s not to say that some won’t find that to be enjoyable- there were in fact a couple of scenes that elicited cheers from the audience. But if you’re looking for that feeling of apprehension, intelligent and witty dialogue, a gripping storyline, and to be jump-out-of-your-seat frightened, you may quickly tire of the madcap chase scenes as the characters act on one inane decision after another.

Stephen Dorff and Jaime Murray do their best as the straight-man and woman characters, but their talent and good looks cannot compensate for what the film lacks. That being said, if you check your brain at the door, keep expectations low and take it for what it is, the film can certainly provide a measure of entertainment.