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‘Dead By Midnight’ is a Love Letter to the Retro Horror Anthology – Review

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Dead By Midnight

I love horror anthologies, so when I had the opportunity to watch Dead By Midnight (11pm Central), I was thrilled. And I have to say, I was thoroughly impressed. It’s a wildly entertaining collection of cautionary tales that brilliantly executes the creative potential of the anthology format.

Dead By Midnight (11pm Central) is a collection of 6 stories – five separate short segments with one comprehensive plot tying them together. The description is as follows:

It’s Halloween at WKIZ when the malicious Mistress of Midnight arrives to host her annual horror movie marathon ‘Dead by Midnight’. When the WKIZ staff begins disappearing only to turn up in the increasingly darker films, it’s up to line producer Candice Spelling to stop the Mistress of Midnight before her final and most diabolical film goes to air.

And check out this awesome poster design!

via You42

Each of the anthology chapters have a great premise and a solid execution. There’s honestly not a weak entry among them.

The anthology’s main storyline (known as Dead Air, directed by Torey Haas) shows the characters gradually shifting over as “actors” in the movie marathon entries, allowing the film’s cast to showcase their talent with double duty roles. This is a great creative choice that ties everything together very well, giving Dead By Midnight an overarching plot that clearly builds a full story.

It’s also just a very clever way to present an anthology that ties back to the roots of the sub-genre; shows and films like Tales From the Crypt, Thriller, Trilogy of Terror, Waxworks, Hammer House of Horror and The Vampira Show.

I was so happy to see Hannah Fierman (SiREN, V/H/S) as line producer Candice Spelling – she’s such a great talent and she can communicate so much with her physicality and facial expressions (take into consideration that her role in SiREN is mainly non-speaking, and you’ll know what I mean).

Each segment is introduced by the Mistress of Midnight (Erin Brown, Masters of Horror: Sick Girl), the saucy hostess of the Dead By Midnight TV special. She’s basically a hybrid of Elvira and Evelyn (Barbara Crampton’s VHS game guide character from Beyond the Gates) and her coy quips mask her dark intentions.

The first “official” short entry, titled Jersey Devil (directed by Tony Reames), features a punchy script that I greatly enjoyed (written by the segment’s lead actress, Davi Crimmins). The comedic timing of this entry is fantastic and I definitely appreciated the Evil Dead homage of the camera-rushing-at-the-cabin visual gag. Delightful!

The next segment, Creepy Dolls (directed by Eric Davis) stood out for me because of Emma Green’s character, Toni. She’s wise to the ways of a spooky story and shows that it really is easy to incorporate diversity of sexual orientation into the genre.

Director Jay Holloway’s segment, Lost Laundry, uses a combination of stop-motion animation and practical gore effects to turn his story into a fun creature feature. Anyone who has ever had an uncomfortable roommate situation will definitely identify with this short.

Day Three – written and directed by Anissa Matlock – is beautifully subdued in comparison to the previous segments. It’s full of emotion and communicates a deep trauma with characters that are struggling to cope. The climax is stunning with phenomenal practical effects and design. It really won me over.

Dead By Midnight

The last segment, Blind Side (directed by Torey Haas and written by Melissa Oulton) is the nightmare of anyone who relies on prescription glasses. The short’s main character, Rebecca (Jenni McCarthy), finds herself blurrily struggling through a horrific situation and still follows all the logical steps – for once – which deserves applause.

Overall, the film had such a strong group of stories that it would be difficult to pick a favorite. Dead By Midnight (11pm Central) is a killer indie anthology that fully embraces the format and does a damn good job.

Dead By Midnight (11pm Central) will screen as part of the Atlanta Film Festival on April 14th (9:30pm at the Plaza Theatre). You can check out the trailer below.

Craving more horror anthologies? Check out the teaser trailer for Lilith!

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Thrills and Chills: Ranking ‘Radio Silence’ Films from Bloody Brilliant to Just Bloody

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Radio Silence Films

Matt Bettinelli-Olpin, Tyler Gillett, and Chad Villella are all filmmakers under the collective label called Radio Silence. Bettinelli-Olpin and Gillett are the primary directors under that moniker while Villella produces.

They have gained popularity over the past 13 years and their films have become known as having a certain Radio Silence “signature.” They are bloody, usually contain monsters, and have breakneck action sequences. Their recent film Abigail exemplifies that signature and is perhaps their best film yet. They are currently working on a reboot of John Carpenter’s Escape From New York.

We thought we would go through the list of projects they have directed and rank them from high to low. None of the movies and shorts on this list are bad, they all have their merits. These rankings from top to bottom are just ones we felt showcased their talents the best.

We didn’t include movies they produced but didn’t direct.

#1. Abigail

An update to the second film on this list, Abagail is the natural progression of Radio Silence’s love of lockdown horror. It follows in pretty much the same footsteps of Ready or Not, but manages to go one better — make it about vampires.

Abigail

#2. Ready or Not

This film put Radio Silence on the map. While not as successful at the box office as some of their other films, Ready or Not proved that the team could step outside their limited anthology space and create a fun, thrilling, and bloody adventure-length film.

Ready or Not

#3. Scream (2022)

While Scream will always be a polarizing franchise, this prequel, sequel, reboot — however you want to label it showed just how much Radio Silence knew the source material. It wasn’t lazy or cash-grabby, just a good time with legendary characters we love and new ones who grew on us.

Scream (2022)

#4 Southbound (The Way Out)

Radio Silence tosses their found footage modus operandi for this anthology film. Responsible for the bookend stories, they create a terrifying world in their segment titled The Way Out, which involves strange floating beings and some sort of time loop. It’s kind of the first time we see their work without a shaky cam. If we were to rank this entire film, it would remain at this position on the list.

Southbound

#5. V/H/S (10/31/98)

The film that started it all for Radio Silence. Or should we say the segment that started it all. Even though this isn’t feature-length what they managed to do with the time they had was very good. Their chapter was titled 10/31/98, a found-footage short involving a group of friends who crash what they think is a staged exorcism only to learn not to assume things on Halloween night.

V/H/S

#6. Scream VI

Cranking up the action, moving to the big city and letting Ghostface use a shotgun, Scream VI turned the franchise on its head. Like their first one, this film played with canon and managed to win over a lot of fans in its direction, but alienated others for coloring too far outside the lines of Wes Craven’s beloved series. If any sequel was showing how the trope was going stale it was Scream VI, but it managed to squeeze some fresh blood out of this nearly three-decade mainstay.

Scream VI

#7. Devil’s Due

Fairly underrated, this, Radio Silence’s first feature-length film, is a sampler of things they took from V/H/S. It was filmed in an omnipresent found footage style, showcasing a form of possession, and features clueless men. Since this was their first bonafide major studio job it’s a wonderful touchstone to see how far they have come with their storytelling.

Devil’s Due

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Perhaps the Scariest, Most Disturbing Series of The Year

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You may have never heard of Richard Gadd, but that will probably change after this month. His mini-series Baby Reindeer just hit Netflix and it’s a terrifying deep dive into abuse, addiction, and mental illness. What is even scarier is that it’s based on Gadd’s real-life hardships.

The crux of the story is about a man named Donny Dunn played by Gadd who wants to be a stand-up comedian, but it’s not working out so well thanks to stage fright stemming from his insecurity.

One day at his day job he meets a woman named Martha, played to unhinged perfection by Jessica Gunning, who is instantly charmed by Donny’s kindness and good looks. It doesn’t take long before she nicknames him “Baby Reindeer” and begins to relentlessly stalk him. But that is just the apex of Donny’s problems, he has his own incredibly disturbing issues.

This mini-series should come with a lot of triggers, so just be warned it is not for the faint of heart. The horrors here don’t come from blood and gore, but from physical and mental abuse that go beyond any physiological thriller you may have ever seen.

“It’s very emotionally true, obviously: I was severely stalked and severely abused,” Gadd said to People, explaining why he changed some aspects of the story. “But we wanted it to exist in the sphere of art, as well as protect the people it’s based on.”

The series has gained momentum thanks to positive word-of-mouth, and Gadd is getting used to the notoriety.

“It’s clearly struck a chord,” he told The Guardian. “I really did believe in it, but it’s taken off so quickly that I do feel a bit windswept.”

You can stream Baby Reindeer on Netflix right now.

If you or someone you know has been sexually assaulted, please contact the National Sexual Assault Hotline at 1-800-656-HOPE (4673) or go to rainn.org.

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The Original ‘Beetlejuice’ Sequel Had an Interesting Location

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beetlejuice in Hawaii Movie

Back in the late ’80s and early ’90s sequels to hit movies weren’t as linear as they are today. It was more like “let’s re-do the situation but in a different location.” Remember Speed 2, or National Lampoon’s European Vacation? Even Aliens, as good as it is, follows a lot of the plot points of the original; people stuck on a ship, an android, a little girl in peril instead of a cat. So it makes sense that one of the most popular supernatural comedies of all time, Beetlejuice would follow the same pattern.

In 1991 Tim Burton was interested in doing a sequel to his 1988 original, it was called Beetlejuice Goes Hawaiian:

“The Deetz family moves to Hawaii to develop a resort. Construction begins, and it’s quickly discovered that the hotel will be sitting on top of an ancient burial ground. Beetlejuice comes in to save the day.”

Burton liked the script but wanted some re-writes so he asked then-hot screenwriter Daniel Waters who had just got done contributing to Heathers. He passed on the opportunity so producer David Geffen offered it to Troop Beverly Hills scribe Pamela Norris to no avail.

Eventually, Warner Bros. asked Kevin Smith to punch up Beetlejuice Goes Hawaiian, he scoffed at the idea, saying, “Didn’t we say all we needed to say in the first Beetlejuice? Must we go tropical?”

Nine years later the sequel was killed. The studio said Winona Ryder was now too old for the part and an entire re-cast needed to happen. But Burton never gave up, there were a lot of directions he wanted to take his characters, including a Disney crossover.

“We talked about lots of different things,” the director said in Entertainment Weekly. “That was early on when we were going, Beetlejuice and the Haunted MansionBeetlejuice Goes West, whatever. Lots of things came up.”

Fast-forward to 2011 when another script was pitched for a sequel. This time the writer of Burton’s Dark Shadows,  Seth Grahame-Smith was hired and he wanted to make sure the story wasn’t a cash-grabbing remake or reboot. Four years later, in 2015, a script was approved with both Ryder and Keaton saying they would return to their respective roles. In 2017 that script was revamped and then eventually shelved in 2019.

During the time the sequel script was being tossed around in Hollywood, in 2016 an artist named Alex Murillo posted what looked like one-sheets for a Beetlejuice sequel. Although they were fabricated and had no affiliation with Warner Bros. people thought they were real.

Perhaps the virality of the artwork sparked interest in a Beetlejuice sequel once again, and finally, it was confirmed in 2022 Beetlejuice 2 had a green light from a script written by Wednesday writers  Alfred Gough and Miles Millar. The star of that series Jenna Ortega signed on to the new movie with filming starting in 2023. It was also confirmed that Danny Elfman would return to do the score.

Burton and Keaton agreed that the new film titled Beetlejuice, Beetlejuice wouldn’t rely on CGI or other other forms of technology. They wanted the film to feel “handmade.” The film wrapped in November 2023.

It’s been over three decades to come up with a sequel to Beetlejuice. Hopefully, since they said aloha to Beetlejuice Goes Hawaiian there has been enough time and creativity to ensure Beetlejuice, Beetlejuice will not only honor the characters, but fans of the original.

Beetlejuice, Beetlejuice will open theatrically on September 6.

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