The last day of a festival is an emotionally trying time – you’re pretty much exhausted, but have had such a lovely time you don’t want it to end. A difficult balance. Kicking off the final day were two shorts – Canis: a hard-hitting stop-motion shot that while impressive, definitely wasn’t to my taste and Emptied: a ‘based on a true story’ short about a dentist with a grudge. The first feature of the day was Suburban Gothic, from Excision’s Ricky Bates Jr. Now anyone who has heard me speak about Excision knows I’m not a fan of it at all and I can’t say I’m a huge fan of Suburban Gothic either, but it is a marked improvement. Comedy, particularly the type favoured by John Waters is clearly where Bates’ strengths lie and transporting it into a film about a haunting really, almost surprisingly, works.
Up next was another feature introduced by Brian Yuzna – this time a film he had produced: Dagon. Ahead of the introduction a sea-themed short from the director of last year’s short film winner Angst, Piss and Drid played, which was described as what would be the result of Ingmar Bergman made a straight-up horror film. Dagon itself is an interesting film concerning a town where all the people are changing into…something, based on a HP Lovecraft story. Yuzna’s Q+A afterwards was also intriguing as he was able to discuss his role as a producer and the importance of branding in film distribution.
Following this was the short film shortcase of festival favourites Astron-6. This was downright hilarious – Astron-6 are such an inventive group who really love their subject and are therefore the best people to parody them. My favourite of their shorts has to be Inferno of the Dead, which happily, you can watch for free on their website here. Their short trailers are the kind of things you would happily watch all the way through a festival. Kennedy, Brooks and Sweeny were also on hand to answer more questions.
The next film was probably the one that I had the most reservations about – The ABCs of Death 2. The first one was problematic due to an overuse of toilets (even though T is for Toilet is genuinely great), Nazis and some incredibly lazy film-making from some big names. The second instalment, I’m pleased to report is a far better film, with a balance of the shocking and funny. At the moment I can’t recall any of the shorts I actively hated – whereas with the first I probably had half an arm full of letters I didn’t care for. A Q+A afterwards, including special guests The Soskas via Skype mentioned that each director had been sent a manifesto warning them off certain subjects. It seems that using the first film as an experiment has resulted in learning lessons and vastly improving the second, so much so that I’m excited for the third.
The penultimate film was the secret film and while there was a buzz around several fairly high profile films it could have been the film was nothing I’d even heard of. Asmodexia at first, seemed an appealing film, an exorcism story which had yet to feature in the line up. However, it offers very little in terms of a story that is anything different to a million other exorcism films other than a twist in the tale that takes too long to reveal itself, leaving the film generic for far too long. As an aside, the majority of people said they’d guessed the twist before it was revealed, so they didn’t even have that enjoyment out of it…which is unfortunate. Still, great to see how many people were interested in seeing a secret film as the screening was pretty full.
So we’ve arrived at the final film – the hotly anticipated Dead Snow 2: Red or Dead. From reports before the screening I’d heard that the sequel takes all of those crazy moments from the first film and turns them up to 11 and that is certainly accurate. Backstory and build is pushed aside for more gore and impressive set pieces but it remains well-paced and doesn’t rush to each piece. The cast are engaging, particularly the American group of zombie hunters who are perhaps too keen to journey to save the day – only realising how inept they are upon their arrival. In short, it doesn’t take itself too seriously and does exactly what anyone watching it wants which is all you can ask for.
There you have it – my complete round up of Celluloid Screams 2014. If you’ve enjoyed this please check out more of my work, follow me on Twitter (@caitlynmdowns) and also check out my joint project with Hayley (of Hayley’s Horror Reviews), Ghostface Girls (moviepilot.com/ghostfacegirls), for podcasts, videos and articles. Thanks for reading!