Category: Comedy

Haunt-Tober 2024 Day 12: Hanky Panky

Posted on by Kstrouse

Haunt-tober 2024 is here and it’s time to dive into the macabre, the strange, and the frightful during this beloved time! Join me as I spend the month discussing new and classic films. 

This delightfully silly slasher is a bout of supernatural fun. Hanky Panky doesn’t take itself too seriously but delivers sharply written humor in a delirious package.

And of course, the strange that encompasses this horror comedy.

Directed by Lindsey Haun, Nick Roth and written by Roth, this zany treat follows a group of friends in a snowy cabin, trapped while a battle of good and evil ensues.

It’s a big cast with a lot of subgenres at play, but it starts with a simple story of a man and his handkerchief.

After the unintentionally invited Sam (Jacob DeMonte-Finn), arrives, he secretly chats with his talking handkerchief, Woody (voiced by Toby Bryan) who encourages him to flirt with Diane (Ashley Holliday Tavares) one of the other guests. When something seems amiss, that very same talky (and horny) cloth, may just be what saves the day.

source: Deskpop Entertainment

The film features a quirky ensemble of characters: Carla (Christina Laskay) and her dull husband Cliff (Anthony Rutowicz), Dr. Crane (Nick Roth) wife Lilith (Azure Parsons), and the campy, incestuous siblings Rebecca (Lindsey Haun) and Norm (Toby Bryan). A suspicious neighbor (Clare Grant) who keeps returning with more baked goods (that are clearly not home made) and of course, Seth Green as Harry the Hat.

It is a spirited film that has a level of absurdity which climbs beyond what you may expect as it bounces between whodunnit, sci-fi and several horror subgenres. In many ways, this is more of a weird pick than a horror, as comedy is the strongest asset that just so happens to be accompanied by qualities found in slashers. The cast is great and are having a fantastic time making this homegrown indie. It’s just 86 minutes, and you get a battle between a top hat and a handkerchief.

Yes. You do.

While this witty yet bizarre film isn’t changing the game of horror, it is comfortable within its own unique skin. The inventiveness is admirable and the talent is on full display as this is not a film you’ll forget anytime soon.

Hanky Panky exists in its own self aware bubble that is both charming and odd as hell. You won’t see another quite like it.

Stay tuned for more Haunt-Tober!

Have you seen Hanky Panky? Let us know your thoughts!

Hanky Panky is currently streaming on Dark Matter tv!

Haunt-Tober Day 23, 2023: HORRORFEST International Film Festival: Glue Trap

Posted on by Kstrouse

A couple gets away to a friend’s cabin for the weekend to reconnect and spend some quality time together. Dan (Isaac Jay) and KJ (Brittany Bradford) have been having a rough time lately and they feel this may rekindle their relationship.

Not long after they arrive an uninvited guest Eliza (Gloria Bangiola) does too, putting a big crutch in their plans. She says that she was unaware it was inhabited and that she was also given the place for the weekend. Their initial skepticism is slowly put on hold as they are forced to be cordial and deal with the unexpected.

Out of kindness, and her general pushiness, they let her in, but for KJ it is especially difficult to hide her unease. Their new arrival has the kind of saccharine personality that grates but can’t really be faulted, putting them in a state of unnecessary and delicate dislocation.

source: HorrorFest International Film Festival

While never uproariously funny, Glue Trap does something even more impressive: it shows a steady hand of clever lines and subtle nods of hilarity. Justin Geldzahler’s writing is wry and engaging, and his dialogue is believable but not without a wink of cheeky goodness.

Much like Speak No Evil did previously, Glue Trap drives with discomfort first, getting under your skin with the fear of social graces and awkward conversations. Lingering, though, is another presence, that gut impression that something is not quite right here.

When it comes to the surface and motives are disclosed, there’s little time to escape.

Justin Geldzahler’s direction is confident and shows immense detail in little things, making this mostly one-location film feel bigger in scope.

I was surprised by the doses of heart that came, especially in the final act, amid horrifying circumstances and humorous musings. Some heady themes beneath the initial conceit and lovely moments of reflection made me choke up. It also captures the difficulties and dynamics in relationships, taking something familiar and placing it within an unfamiliar and horrifying premise.

To say this film grew on me as I watched it and showcased Justin Geldzahler’s excellent feature writing/directing debut would be an understatement. This doesn’t feel like a debut; it’s skillfully done with just the right pacing to make you feel the potential for survival as it slips away.

It is also a lot of fun, what you’d want and hope for when it comes to a horror/comedy. There’s an entertaining feel heightened by a wicked third-act turn.

Glue Trap is a masterful debut feature, showcasing a new and talented voice in horror.

It premiered at HorrorFest International Film Festival and will have its NYC premiere at the Big Apple Film Festival (Saturday Nov 4 at 5:30pm).

Today’s winner:

Haunt- Tober Day 22, 2023: Tales From the Crypt Presents: Demon Knight

Posted on by Kstrouse

While horror movie watching is a year-round event, this is that time of year when all of us can flourish, embracing the weird.

So, come one, come all, beasties unite! It’s Haunt-Tober time!

There is a substantial amount of glee that I feel every time I see Billy Zane punch through a guys head and then have his arm get stuck. It’s a ludicrous scene that is riotously funny. A common turn you’ll find in Tales From the Crypt Presents: Demon Knight right beside a horror based narrative and some unexpected twists and turns that tend to live within the realm of a preposterous nature.

Frank Brayker (William Sadler) – the knight/ is the guardian of an ancient key that can unlock an enormous evil, who is being outsider by the charmingly heinous Collector (Billy Zane).

Collector is a demon that wishes to set an apocalypse onto the world. When Frank takes refuge at a hotel in a small town, with a mix of characters including Jada Pinkett Smith, CCH Pounder and Thomas Hayden Church, he’s forced to hold up there and they all come together to try and stop Collector.

source: Universal Pictures

By all accounts Demon Knight is silly b-movie fodder, but its immensely entertaining all the same. Directed by Ernest Dickerson, there are some scary moments and definitely plenty of suspense, but where the film really thrives is within its openness to the strange and campy demeanor synonymous with the series.

A body horror with ample blood and gory atrocities. The humor is wildly generated from the scenes as they unfold and Billy Zane proves himself to be a hilariously menacing villain.

Sleaze, blood, and lots of severed body parts, Tales From the Crypt Presents: Demon Knight has some scenes that feel like placeholders, but overall works cohesively with its madcap narrative.

It is a campy homage that doesn’t promise any thought-provoking resonance, but will provide some easy thrills and stellar kills. Demon Knight knows what it is and doesn’t hide from it.

Today’s winner:

Haunt- Tober Day 12 2023: The Final Girls

Posted on by Kstrouse

While horror movie watching is a year-round event, this is that time of year when all of us can flourish, embracing the weird.

So, come one, come all, beasties unite! It’s Haunt-Tober time!

Amazon’s recent release of the horror comedy Totally Killer reminded me of another film that deserves more recognition: The Final Girls.

The similarities between the two movies are actually quite astonishing. Both feature a slasher killer and incorporate an element of time travel (or something similar), as well as a young girl interacting with her mother at a similar age.

The Final Girls is original, hilarious, and uniquely fitting as both a homage to the genre and an entertaining new experience in its own right.

In many ways, The Final Girls shares the self-awareness of The Cabin in the Woods, using and playing with the tropes of the genre with comedic ease. However, it also carves out its own presence with a fresh and engaging story.

The film follows Max (played by Taissa Farmiga), who tragically loses her mother Amanda (Malin Åkerman) unexpectedly. When Max attends a screening of Camp Bloodbath, a movie her mother starred in, she finds herself transported into the 80s slasher film with her friends, where she must learn to survive alongside her mother.

Director Todd Strauss-Schulson creates a retro, horror movie-fueled world that immerses the audience and makes them feel as though they are trapped alongside the characters. The film manages to strike a balance between silliness and relatability, making The Final Girls a truly enjoyable experience.

source: Stage 6 Films

The supporting cast, which includes Adam DeVine, Thomas Middleditch, Alia Shawkat, Alexander Ludwig, and Nina Dobrev, adds to the film’s strength. Once in the movie, the characters realize they are trapped unless they play out the events of the film, raising the question of who will survive this time around.

The chemistry between Åkerman and Farmiga is wonderful, and their relationship is touching. This, combined with the sharp comedy, is one of the reasons why The Final Girls succeeds. The film manages to blend heart and gore in a captivating way.

The Final Girls is a hidden gem that fits delightfully well into the subgenre of horror-comedy. It features witty dialogue, entertaining gags, and an underlying sense of emotional reverence.

It is one to seek out and let yourself have fun with. Just make sure you see it to the end.

Who doesn’t love a final girl?

Today’s winner:

Plenty of more Haunt-Tober to come!

TIFF 2023: Humanist Vampire Seeking Consenting Suicidal Person

Posted on by Kstrouse

Under the direction of Ariane Louis-Seize, Humanist Vampire Seeking Consenting Suicidal Person interrogates a novel premise: What if a vampire harbors an inherent distaste for consuming human blood? This unique narrative is wonderfully woven with elements of compassion, humor, and ingenuity.

The narrative orbits around the adolescent vampire, Sasha (Sara Montpetit), who finds herself wrestling with the morbid expectations of her lineage. Her vampiric pedigree necessitates a diet of human blood, yet she finds herself at odds with this gruesome reality. Especially when it comes to taking a life.

From the first frame, I was instantly drawn in by the film’s quirky introduction. Sasha forms an unexpected emotional connection with a clown at her birthday party, oblivious to the fact that he was intended to be her inaugural feast, a tradition anticipated by her vampire kin.

The film deftly navigates the tumultuous waters of emotional trauma and compassion. Sasha’s father (Steve Laplante) exhibits empathy for her quandary, while her mother (Sophie Cadieux) insists on adherence to their vampiric tradition. Sasha’s refusal to succumb to her nature threatens her existence, leading her to find solace in meetings for individuals coping with depression. Upon crossing paths with the suicidal teenager, Paul (Félix-Antoine Bénard), Sasha perceives a potential resolution.

Their relationship evolves into an unconventional alliance, with Sasha striving to circumvent the necessity of ending his life. She posits the fulfillment of a final wish – to retaliate against his oppressor, Henry.

Despite some of the macabre elements, it exudes an endearing sweetness, effortlessly dismantling the barriers of societal norms. It encapsulates the essence of adolescent romanticism and life’s tribulations through a lens of humor and poignant commentary.

source: Toronto International Film Festival

The film’s subdued color palette aligns with its tonal subtleties, while the remarkable performances of the young leads imbue the narrative with a sense of depth.

This melancholic dark comedy breathes new life into the vampire subgenre and emerged as an unexpected gem at this year’s festival, which I found utterly captivating.

Christine Doyon‘s script is a triumphant display of wit and deadpan humor. Sophie Cadieu delivers a stellar performance, her stoic resolve gradually unveiling a captivating expressiveness.

Humanist Vampire Seeking Consenting Suicidal Person intertwines elements of romance and a profound exploration of humanity. The film is a heartwarming and inventive cinematic experience that offers a refreshing deviation from conventional vampire narratives, proving both enthralling and unforeseen.

Simultaneously presenting a tale of supernatural creatures and an exploration of the human psyche, it leaves a lasting impression.

With an artful blend of dark comedy, fantasy, romance, and humanistic exploration, it’s a beacon of inventive filmmaking and is certain to delight discerning viewers.

Let’s breathe new life into familiar tropes or rather… get some fresh blood.

Humanist Vampire Seeking Consenting Suicidal Person had its premiere at this year’s Toronto International Film Festival.

Haunt-tober 22, Day 9: Dead Alive (Brain Dead)

Posted on by Kstrouse

Alright, beasties. It’s that time of year again. For this edition of Haunt-tober, I’m going to do a post a day but, like a great haul after trick or treating, I’m hoping to mix it up and deliver some surprises. There’ll be reviews, new or old, seen/unseen, TV or film. There may also be lists, audio, or video, depending on my wicked mood. I hope you’ll enjoy it and remember: stay weird.

As this film was discussed on a podcast with my other film site, it made me realize that it was really quite the faux pas that I hadn’t yet discussed as such a seminal film in my young childhood foray into the genre. Which film am I referring to? Of course one from the iconic Peter Jackson! It’s got a zombie-esque Sumatran rat-monkey, so much of a delightful comedic center, and plenty of gore, it’s almost a crime not to discuss.

Dead Alive (also known as Brain Dead) was a film I saw as a kid, and its absurd unrelenting dive into bloody and outrageous horror, combining stop motion, gross-out moments, strange humor, and copious amounts of blood, won me over.

source: ORO Films

Dead Alive is in many ways, an embodiment of my intro to horror, this was a movie I watched with my immediate family, extended family, and then family friends, because it was just so memorable that I had to share it. Haven’t seen it? Here you go! It feels like a staple of its time, and it is also it just so iconic, that it can’t be mentioned.

Dead Alive follows the earnest Lionel Cosgrove (Timothy Balme) who wants to appease his mother, not unlike Norman Bates, but is also looking for love, and he’s found it in Paquita Maria Sanchez (Diana Peñalver) who is looking for it directly from her grandmother’s predictions. It isn’t a perfect fairy tale match, but these two are destined in some way. From here, there is a monkey bite from human bite to bite, with numerous victims, and suddenly Lionel has a basement of zombie-like compadres.

As LOTR’s may be Peter Jackson’s magnum opus (thus far) this was an early ode to comical, bloody fun. This is a zombie classic with limbs falling off (into soup no less), a lawnmower as a weapon, and sweet, sweet, romance. Oh, and a rapid rat monkey that’s out for blood. Don’t get too close. It’s got this grainy, b-horror vibe that reminds me of my first VHS watch (yes I’m dating myself). I personally find that comforting. There’s also an undeniable effervescent energy to it that bounces from scene to scene.

It’s got mayhem and it doesn’t shy from its full frontal crimson-stained attack. This is complete camp, absolute gore, and entirety a love letter to horror in all of its generational and various forms. This is both nostalgic and also just plain fun from a stellar director who clearly had a blast working on it.

Dead Alive has killer effects, and eccentric hilarity, and thrives through Jackson’s passion. This is a must-see for any horror-comedy fan.

Dead Alive is currently available on VOD (finally)