It’s time to visit the misspent youth of the team, hurtling back to 1998 for Jake West’s “Razor Blade Smile”.
A film that shows that a coffin can make a lovely centrepiece gun rack in any bedroom; highlights that vampires are the only ones not showing off their fangs at a Goth club; and bravely needle drops “Bela Lugosi’s Dead” like “The Hunger” just didn’t happen.
Razor Blade Smile made something of a splash when it came out - a flashy/trashy horror with camp laughs, nudity, gore and an icon in the form of Eileen Daly’s rubber cat-suited vampire assassin, it felt utterly different to anything else emerging from the doldrums of the British film industry. Made on a shoestring budget, but never aiming for anything less than spectacle; time hasn’t necessarily been too kind to it visually, although ironically it’s the (then) state of the art computer generated imagery that has dated the worst. More importantly; it’s shoot-outs and fetish wear aesthetic predates both The Matrix and Underworld franchises. Whilst some minor roles may feature less than stellar acting, the main cast are giving their all, with Daly cementing her place as a British scream queen, and a genuinely brilliant turn from Christopher Adamson as the villain.
Watch (or re-watch) to avoid spoilers and join us.
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It’s time to visit the misspent youth of the team, hurtling back to 1998 for Jake West’s “Razor Blade Smile”.
A film that shows that a coffin can make a lovely centrepiece gun rack in any bedroom; highlights that vampires are the only ones not showing off their fangs at a Goth club; and bravely needle drops “Bela Lugosi’s Dead” like “The Hunger” just didn’t happen.
Razor Blade Smile made something of a splash when it came out - a flashy/trashy horror with camp laughs, nudity, gore and an icon in the form of Eileen Daly’s rubber cat-suited vampire assassin, it felt utterly different to anything else emerging from the doldrums of the British film industry. Made on a shoestring budget, but never aiming for anything less than spectacle; time hasn’t necessarily been too kind to it visually, although ironically it’s the (then) state of the art computer generated imagery that has dated the worst. More importantly; it’s shoot-outs and fetish wear aesthetic predates both The Matrix and Underworld franchises. Whilst some minor roles may feature less than stellar acting, the main cast are giving their all, with Daly cementing her place as a British scream queen, and a genuinely brilliant turn from Christopher Adamson as the villain.
Watch (or re-watch) to avoid spoilers and join us.
It’s time to dig out your 70s glam hits and make weird proclamations in your best falsetto as we try on Osgood Perkin’s “Longlegs”.
A film in which T.Rex are finally released from the tyranny of “Billy Elliot”; the devil is in the details (usually the corner) and nothing says happy Birthday like a shrieking man putting his balls into your head.
Riffing on the 90s idea of the serial killer film - a police procedural dressed up as a horror film - Longlegs takes a horror film and dresses it up a a police procedural, to incredible effect. With a tantalising mythology of its own, which seems to be akin to that in Perkin’s earlier “The Blackcoat’s Daughter”, plus a cast all bringing their A game, this moody and chilling thriller rightly did excellent work at the box office. This success also came through an extremely well-designed promo campaign, and word of mouth that reached far beyond the horror community, meaning this deliberately weird and uncomfortable film is practically mainstream, without any apparent concession to get there.
Watch (or re-watch) to avoid spoilers and join us.
Welcome to Horror
It’s time to visit the misspent youth of the team, hurtling back to 1998 for Jake West’s “Razor Blade Smile”.
A film that shows that a coffin can make a lovely centrepiece gun rack in any bedroom; highlights that vampires are the only ones not showing off their fangs at a Goth club; and bravely needle drops “Bela Lugosi’s Dead” like “The Hunger” just didn’t happen.
Razor Blade Smile made something of a splash when it came out - a flashy/trashy horror with camp laughs, nudity, gore and an icon in the form of Eileen Daly’s rubber cat-suited vampire assassin, it felt utterly different to anything else emerging from the doldrums of the British film industry. Made on a shoestring budget, but never aiming for anything less than spectacle; time hasn’t necessarily been too kind to it visually, although ironically it’s the (then) state of the art computer generated imagery that has dated the worst. More importantly; it’s shoot-outs and fetish wear aesthetic predates both The Matrix and Underworld franchises. Whilst some minor roles may feature less than stellar acting, the main cast are giving their all, with Daly cementing her place as a British scream queen, and a genuinely brilliant turn from Christopher Adamson as the villain.
Watch (or re-watch) to avoid spoilers and join us.
