Ryan Kruger’s Fried Barry is a wild wild ride to say the least. Gritty, grimy, gross. Those are the three words that first come to mind when watching. The main question on my mind while watching this film- why is South Africa so horny? Director Ryan Kruger joined us fresh out of Fantasia Fest to chat all things Barry and shows off his handmade quarantine chopstick birdhouse. Read my original (spoiler free review) here
In Search Of Darkness II is now on Shudder and if you’re like me, maybe you wanted a list of every movie mentioned in parts one and two. So here’s a gorgeously put together syllabus courtesy of my very organized and wonderful friend @TheDezz !
Absolutely raucous in all the best ways. Ancient Irish vampire lore and excessively fun, gruesome gory bits! Take what you think you know and throw it out the window. Writer-Director of Boys From County Hell, Chris Baugh joins us today to talk about his new film now streaming on Shudder!
Xanthe Pajarillo is here fresh off directing the Fangoria Chainsaw Awards. Join as us we chat the challenges of virtual production, trials and triumphs and ultimately – the importance of making the most of what you’ve got!
Did you miss the live stream? You can check out both the pre-show and the big event in this post
Writer/Director Corrina Faith stops in to chat her new horror film The Power. A beautiful, chilling, atmospheric haunting- now streaming on Shudder. Stop in for the creeps, stay for the fantastic natter. @CorinnaFaith
To get you in the mood and prep your palates, I’ll be hosting a LIVE Fango x Convo panel on April 14th 4PM PT, diving into the history of the Chainsaw Awards with Fango legends Tony Timpone, Mike Gingold, Rebekah McKendry and current EIC Phil Nobile Jr. Click here for full details + to register for the zoom panel
Jakob’s Wife is Travis Stevens’ directorial follow up to Girl On The Third Floor. Written by Kathy Charles, Mark Steensland and Stevens, Jakob’s Wife centers on Anne (Barbara Crampton), the wife of a small town minister (Larry Fessenden) who feels she has been shrinking away, fully absorbed by her “church mouse” pastor’s wife role over the course of the last three decades. Her husband often talks over her, dismissive, and she is largely unseen. Everything changes when Anne has an unexpected encounter, and she becomes absolutely unleashed. This movie takes so many elements of favorite horror films from a bygone era, throws them in a blender and smoothly pours it back out- an entirely new cocktail elegantly mixed with just enough modern updates to make it fresh, refreshing, and brand spanking new.
Barbara Crampton as an often overlooked housewife, reclaiming her power, her voice, her sexuality and her sense of self is a joy to watch. Dripping in dark humor and an absolute bloodbath of gore that quite literally shoots and sprays in a delightful deluge. As Jakob reassures Anne, “This is what I was trained for. To fight evil.” I can’t help but recall another line from a member of the cloth in regards to fighting evil, “I kick ass for the Lord!”. In addition to all the wacky wonderful being delivered here, Anne’s fashion evolution was a special treat in itself.
Overall, this was a really fun one. Seeing it with an audience, the right audience in a midnight movie type setting would really set this unfettered, full throttle. It knows exactly what it is, so it cuts loose and allows free range to play with an abundance of sanguine soaked scenes and dark humor. We don’t get very many lead characters like Anne, middle aged housewives are not typically central to the story and that’s a damn shame. Crampton lifting furniture and dancing with abandon to Concrete Blonde is a prime example of one of these cutting all the way loose moments; but it also has a message at the core regarding relationships and our lives, who we become, how we become. A commentary on feeling stagnant and clawing, gnashing our way out of that stagnancy with fangs bared, to reclaim a sense of self. A journey back to the self, or maybe even becoming the best version for the first time.
Jakob’s Wife premiered as part of the SXSW Midnighters series, and will be available on Shudder in April.
Is it a Sasquatch documentary? Or is it a true crime doc? Yes.
Both of these elements are explored in Hulu’s upcoming documentary limited series, executive produced by the Duplass Brothers. At the risk of spoiling, the first episode is pretty Sasquatch-heavy featuring local Sasquatch experts and enthusiasts. There are also interviews with the guys involved in arguably the most famous Sasquatch footage in existence- the Patterson-Gimlin Film which was shot in 1967 in Northern California. The docuseries centers specifically on journalist David Holthouse. In 1993 Holton was visiting a pot farm in Northern California. It was during this stay on the pot farm that Holton heard a story about three men who were ripped apart on a nearby farm. The claim was that Bigfoot was the culprit. Twenty five years later, Holton returns to the area to investigate what really happened that night. Who were the victims? Was Bigfoot really to blame for the murders? Did those murders even actually occur?
Through a series of interviews with Bigfoot experts and people who are able to reconstruct the environment of the Cannabis industry in the are in the early 90’s, David is led down a dark path in the pursuit of the truth.
Sasquatch is a three-part documentary series premiering on Hulu April 20th
There is so much more here than you might be expecting. Yes, it is a documentary about badass female Mexican wrestlers. But aside from the world of lucha, these women are fighting against machismo and violence in Juarez, Mexico – a place that at one point earned the title of “deadliest city” because its homicide rate was so high. And I don’t just mean homicide across the board, this is primarily gender-based violence targeting women.
This documentary centers primarily on three fighters- Baby Star, Mini Sirenita and Lady Kandy. Outside of the ring we come to know the women as fighters in their day-to-day lives.
Baby Star- A legacy fighter, the daughter of a luchador with no sons, and so he taught his daughters (Baby Star and Little Star) the art of lucha.
Mini Sirenita – A mother and a grandmother, with aspirations of moving to Mexico City to be closer to her daughter, grandchildren and fighting in the big time.
Lady Kandy – Outside of the ring, she is fighting to see her daughters. Her ex fled to the U.S. taking her children with him and along with her rise to success in the ring, we also follow her fight back to her girls.
Directors Paola Calvo and Patrick Jasmin not only allow the audience to see these women as luchadoras, but as mothers. As grandmothers. As strong women existing in this world. All of this set against the backdrop of Juarez, where women are habitually murdered and frequently go missing. The luchadoras run a self defense workshop for women, they take to the streets and protest against violent machismo and femicide. In a conversation about family Mini Sirenita talks about how she felt better off alone as a single parent, “You are your own macho”. For these women, lucha is more than a sport. It is more than entertainment. It is a rebellion. It is a movement.
Fight for your dreams. Fight for you life.
One of the closing shots is a powerful composition featuring a long line of women from all walks of life, stretching across a vast empty desert; the luchadoras stand with them and they collectively stare straight down the barrel of the lens with a defiance that you believe in and root for. A moving portrait of warrior women and a strong reminder that in the end- aren’t so many of us just fighting for a better life?