Terror Film Festival Has Risen Again!

The Terror Film festival resurrected itself from its secret crypt to unleash itself with unbridled lusts for horror, gore, and divine wickedness. For the second year in a row, the Terror Film Festival slithered into the Ethical Society Building in the famous Rittenhouse area of Philadelphia, PA. This year's festival had improved and in fact more aggressive for this young fest, led by an experienced proven group of individuals that has a pristine quality called showmanship. The fest was headed by Felix Diaz, a director in his own right and the event was hosted by the special presenter Princess Horror, the first ever princess of the Terror Film Festival. Their stellar quality showed through the darkness by providing more dedication to the films, filmmakers, and the fans.

Their reign of terror lasted for six days, with 68 films displaying cinematic delights out of the 134 submitted films. There were additions such as a musical act and the awards presented in front of all who attended. Although, a downside was an earlier starting time than that of last year... two hours earlier in some cases. The reason was to highlight more talent, but the attendance did not reflect well in the early shows. Claw and the rest of his team, also designed a Trailer, that presented Princess Horror and snippets of the films that would be showing during the festival, which was accompany by a nod to eerie music and Alice Cooper. Some of the filmmakers had traveled from great distances; in fact, a group even came from as far away as France, to take part in the festival. Many were from California, a scattering came from Tennessee, and all were quite friendly in the audience. However, only a few were on hand from the local area of Philadelphia and New Jersey.

The first night of the fest was Tuesday, October 16, which showed both two segments of short films and two full, length features. This was a special night for fans, for the films were truly a mixed of genres, ranging from artsy to b-movie horror fare to sci-fi bliss. The first special film on the night's menu was BACCHUS, a film from France, later this masterful film would go on to for Best Thriller Short Film. This film dealt with a mysterious painting and incredible trip through life and facing Laurent's nemesis Giovanni. Character, Laurent at the age of 20, must also come to the realization of the secret of his nightmares and conquer them or be destroyed by them. Another incredible and intense actor in this film was Alexandre Dabusco, who has similar qualities to that of actor Antonio Banderas. Ideally, it was very special to see the actual director and star, Laurent Fabre and with part of his cast all from France, in attendance to support their film. The art of this film was both scenic and persuasive while the sound of strings simulated the pulse of the film, again showing to all the importance of the music fitting not only the film but also the scene. The film took two years to complete, but was worth the long time to see it to its completion. Personally, one should be looking for these filmmakers to grace the screen again. However, due to the time of the showing, sadly, a limited audience did dine on it.

The next short film of interest was a family fun flick, something that is truly rare at many horror film festivals; it was THE30 BONES OF UNFORTUNATE JOEY JONES, from directors Kevin and Matthew McManus, of Rhode Island. This film was special because of its moral message to listen to ones' parents about the dangers of eating unexamined candy. However, it was not preaching, rather using the dark humor and rhymes signaling out the 31 days of October into one special night all told in seven minutes.

The first main feature of the night was a film called FLIGHT OF THE LIVING DEAD; the Terror Film Festival was the first festival to present the film. This is truly a low budget horror movie that would not get much attention if it was not for New Line Cinema, backing the film and consequently which was in production prior to the release of SNAKES ON A PLANE. This film is unrelated to the comic book by the same name, creator Scott Ewen. This film starred two seasoned horror actors, Kevin O'Connor and Dale Midkiff, starring in their sixth and fourth horror film respectively. The basic storyline has a mad team of doctors secretly transporting the cargo of an infected person who is the living dead - on a plane that has turbulence and unleashes the plague upon the passengers and crew. The best and most comedic line in the film was "she gumming me to death" in reference to a living dead old woman without teeth trying to feed on Kevin O'Connor's character Frank's arm.

The last feature of the night was DECAYING ORBIT, the sci-fi film, directed by Tim Pyle, which had the honors to close out the fest's first night. The film had character and plot elements that were similar in a form to LIFEBOAT, in which there was betrayal, greed, deception, war, hopelessness of survival, and one additional factor that was presented was a virus. The script was a very twisty, with good tension, special effects and set design for such a low budgeted independent film.

The second night presented pieces that are more thoughtful and some treats to have the audience savor. The program format was a repeat of the previous night, two segments of shorts followed by two full-length features. The first short of creative genius was DOLLHOUSE, a creepy film from Maryland, told through Mark DeGaetani. The film has some tributes to the70's, such as woman's revenge, demonic children, and exploitation, while the lightning is homage to Dario Argento. There is a joyous venture featuring a tantalizing mother, played by Juliette Bennett, who exudes enticing sexuality, similar to Elvira, but never overacting the part. The daughter, Lilly, is quite the character, her creepiness transcends through the film and creep-out the audience. Her freaky doll collection, have an interesting relationship and convey a story for men to watch their behavior or face punishment and a permanent grounding. The creepy daughter is played by the up and coming child actor Christina Barlas. This was another example the fresh films that were presented and teased audiences at the festival.

The next segment had two very different standout films, first was ONE SOUL from director Arun Vaidyanathan, it should be noted that he was the festival's first repeat filmmaker having his work shown at last year's fest. This same director went on to become the festival's first repeat winner for Best Cinematography. His film was a further exploration of his personal views of India customs with venture of love and affection towards parents when faced with the sense of desperation. The cast for this film was the same ones that were in SÉANCE, last years film fest short feature. Two overwhelming hidden notes of ONE SOUL was that it filmed in one fifteen hour shoot day and that actor Valentina Quinn, who plays the mother in the film, is the daughter of famed actor Anthony Quinn.

The other short film, from Denmark, had a silly but funny title, ZOMBIE WESTERN: IT CAME FROM THE WEST, and a wonderful sound of psychobilly and surf music through out it. It plays homage to Sergio Leone's classic westerns referencing Clint Eastwood. The film has a wonderful mixture of puppets and animation that made for a unique experience and dark humor that wonderfully conveyed to the audience.

The first feature was a classic, must see, throwback b-movie of the late 80's, from Prodigy Entertainment, (coincidentally this is their first film), with horror and intentional humor and gore galore. The film, called BRAIN DEAD (no relation to Peter Jackson's classic horror film) had a good solid script, from Dale Gelineau, of which the filmmakers never actually take to a serious standpoint in the film, which actually works for them. It has the commonplace T and A, and very good special effects, from the experienced hands of Gabe Bartalos, for such a low budget horror film. In fact the film has a keynote scene that must be viewed by all b-movie horror fans, and that is the most original way to give birth to a zombie creature, that shatters DAWN OF THE DEAD (2004) birthing event with an up close and personal mannerism. This particular film is destined to become a word-of-mouth fan favorite because it is scary, funny, gory, has zombies, and of course the nudity though not treading new ground but still worthy to be worthy of being a classic in the b-movie cinema.

The entry for the night was a film that harkened back to the old rules of cinema, those being once the film starts no one may enter into the theater. This special film was entitled DIAMOND ZERO which starred actors Bronson Pinchot and Leo Rossi, who was on hand for the film, and would later be a special guest presenter at the awards show. In addition, the legendary Tippi Hedren of THE BIRDS fame starred in this semi-low budget dark thriller/ sci-fi film. In addition, Richard Moll, who starred in HEADLESS HORSEMAN, marks the screen with his presence. Bronson shows off his talents of comedy and drama similar to TRUE ROMANCE and is briefly upstaged by a 'talking turd' - must see for yourselves. The film is both funny and uses a voice over narration that is not annoying to the audience. Leo Rossi's contribution is wonderfully captured and presented in this film; showing his talent and dedication to acting. The plot is original showing greed, lies, deception and corruption. The storyline had twists and turns which are becoming more commonplace in films, this is a guarantee must see film for fans of this genre and for the stars in it do sparkle. This was the second sci-fi film of the fest to have to the honor to close out the night. It also had the luxury of a large crowd to be on hand for it.

By Thursday, the fest was in full swing, with the filmmakers each conversing with each other, some entourages and others alone. Altogether, they combined to make one large family that brought smiles to the event's organizers and had the dark creative genius swelling to the top. There was a constant warm greeting from all of the event organizers and it was not limited or just catering to the filmmakers, but also engaging with the fans a rare quality not present at many festivals. A few problems occurred in the fest, as it does in all fests, but the professionalism was there to cover the issue without making it obvious or affecting the patrons, filmmakers, and the films. Never a moment of panic or outright shouting matches. Everything had the touch of class and style. The format still had no change in appearance in its presentation; except for this night was Grindhouse for it was to have two films of exploitation.

The first short film segment highlighted three films, first film of the day was entitled PIG TALE, a film from Canada, dealt with a child rapist and killer who from the title kills girls with pigtails. The film had the reverse element of the television show GHOST WHISPERER, where the dead speak and torment the living taking justice to him. The rapists like all other molesters tries to justify his crimes, but dead children do not listen rather they have the strength to destroy the evil and the monster. The film has a truly graphic fight scene and sodomy done to the molester that is justified.

Next was EYES OF SAMIR, a corky film, from California, that starred Tony Todd in the briefest of on screen roles since the film COLORS, but still had his passionate strength as an actor. The storyline was the basis of the terrorists versus the American media through displays of imposing wills and displaying these graphic and shocking images on the internet showing the beheadings and executions. The terrorists' sleeper cell had discovered this was the best way to convey their message - live executions equaled better television ratings. However, this film develops into a supernatural thriller with twists, turns, and ends with adventure ready to take hold of society's desirable thirst for higher ratings.

The last standout short was TRAVESTY that starred the powerful actor Duncan Garrow, as one who conveyed his passion for his craft as an actor of a man who kidnaps a woman holding her hostage. The location in this kidnapping horror film plays an important part, so remote, away from the security and confines of society in reality it is Malibu, California, it is for this reason alone that the film must be seen. Duncan Garrow who was on hand for the film stated that "location is a real shack in the Malibu hills of California, that has a real owner, and required very little enhancement for the film, and that helped him use the scenery to add to his characters attributes."

The full length feature that started the evening was TIL NIGHT, a vampiric romance murder mystery, with the underlying theme of one man's darkness that exists in his soul and his drowning in despair and destruction while one woman whose love transcends endless bounds for her true love. Director Matt Boatright-Simon, is a director who can pace his storyline and create a human drama of which had many nods to Alfred Hitchcock with an easy to spot PSYCHO reference, and the surprise and suspense ratio. This film is great if seen with one you care for, as it is not a gore fest, rather it has character development something that lacks in many films today and multiple layers of intrigue. This was truly the first film that is similar to the literary works of the recent, romantic vampiric novel by such writers as, Laurell K. Hamilton. In addition, this film gave new meaning to dining out.

It was then time to ring the Grindhouse elements, that have resurrected themselves due to Quentin Tarantino, the first film was called ADDICTION IS MURDER which had both the event organizers and the audience wondering if it was not an actually snuff film. The film is currently available on Youtube for everyone to debate whether it is real or fake. Please take some time to weigh in; too.

The other film was called WEREWOLF IN A WOMEN'S PRISON, a film that gain a lot of attention on MySpace, this is your basic women-in-prison film, borderline porn, and has the common place lesbian themes, often associated with these films. There was a clear reference to AMERICAN WEREWOLF IN LONDON and a subtle note to BAD MOON. This film is an over the top b-movie of exploitation, funny lines, a werewolf in a hairy costume never taking itself serious and was a big college crowd pleaser. The script by Vincent Bilancio, is campy and film of eroticism, he also gets the opportunity to star briefly as the lead character Sarah's (Victoria De Mare) boyfriend. This film definitely assisted in bringing out more audience members to the remaining days of the festival.

Friday night presented another new element to the festival a musical act, by the name of Lone Vein, however, two more impressive short films were shown before they went on, one about a controversial subject matter and the other was sheer homage that only true horror fans could appreciate. The film dealing with the controversial subject was REPRESSIONS, another film from California, dealing with sexual child abuse, and the adult it happened to, and their struggle to overcome the despair, and anger, the repressive memories from childhood. The subject matter of the film and the presentation clearly demonstrates how overzealous one's assessments can be even for the most sincere professionals. Director and writer Adam Kargman delivers a Hitchcockian film that is tense and has a sordid tale of slow twists and shows humanity's grimness, but never does his film venture into a soap opera, which coincidentally has the lead actress Sharon Case, (The Young and The Restless). Both actors Sharon Case and Debra Hopkins interaction are truly incredible, and the performance is amazing, with each delivering punch for punch involvement in the storyline. Sharon's performance, as the victim is very believable, conveying to the audience her confusion and turmoil from her sessions while Debra's portrays a stunning psychiatrist who is willing to break ethical boundaries and get involved in her patients' world.

YELLOW was the other a short inspiring and impressive film at a mere seven minutes in duration, created by Semin Tareen, this film was a perfect non-speaking homage to Mario Bava and the giallo films of the 70s. The production values were at the zenith levels, with strikingly rich colors and the traditionally haunting blue that was commonplace in Bava and in Dario Agrento's films. The loving tributes come in the form of first the music eerily similar to Goblin and then having it filmed on 16mm to capture Bava's style. This type of film would be a wonderful addition if attached to special editions of Bava's films.

However, the first feature length film of the night was the one of a heated distributors' bidding war, that involved many companies including Lionsgate, created by the talented director, Mike D'Anna, and his film was SIDE SHO. This film takes a surbudan family and tosses them into a whirlwind storyline of a forgotten tourist attraction. This film is production company Lucky Kitty's first film, written by Frank Fox who also owns the production company and used $350,000 of his own monies to have it made, and with the assistance of Savannah College of art and Design, truly created a wondrous set design masterpiece. Mike D'Anna showed his love for horror films with his creativity, by using Hitchcockian techniques' of suspense, instead surprise which was due to onset problems which normally occur on under funded projects though overcame them with professional filmmaker's style. Frank Fox stressed he had "one key stipulation had to under 90 minutes," and with Mike D'Anna's past experience in editing commercials the film clocks in at 89 minutes and is worth every minute of it was a tight storyline. SIDE SHO clearly marks reference to a recent horror film, namely WRONG TURN and then harkens back to the classic and controversial film from 1932 called FREAKS, though D'Anna does pay homage to EVIL DEAD. How? See the film!

Before the last film was to show, the new element added to the festival was the special musical guest Lone Vein that took the stage and with no overproduction values or set pieces the group played a groove that made you feel like you we attending a voodoo ceremony from New Orleans. Singer Plain Jane's performance was reminiscent of Screaming Jay Hawkins, and with fascinating songs that referred to both horror films and stars such as Lance Henriksen. Nevertheless, this session was brief, as they were to be performing at the award's ceremony the following night.

MURDER BELOW THE LINE was the last film of the night, which featured a killer by the name of Cineslayer, which terrorizes a small town and teases the police with videos. Unlike the standardized slasher films produce today that follow a cookie-cutter blueprint, this film by Norman Macera, does give the twists and turns, false endings and a grizzly killer that is outside the norm.

Saturday day and night, was highlighted by five films, and the all important award show to a sold out crowd fill of special presenters, nominated filmmakers, filmmakers in general and of course the fans. However, the first film was the funny horror comedy called THE TOLL, an animation film, in the CGI arena from Hatchling Studios. The film's creation was solely to show other larger studios what they are capable of creating, for a mere $500,000 but the film excels in another area, and that is conducting a lively interview with a troll that runs a toll bridge.

Next film was BY APPOINTMENT ONLY a film title that director John Faust stated has caused confusion with some of the viewers, but that aside, it was another film of the fest, like many others, which showed that Hitchcock's teachings of film presentation and storyline were alive and well. This was also, the second film; of the festival that hinted to the legend of Countess Bathory, the other was THE LURE. Belen Greene plays Jane a woman who wants to restart life, away from the city's turmoil and heads small out of the way town, while Matt Ryan who portrays Lyle is seeking to vacate the small town, both intersect with each other either by choice or face. However, to think, that life is so vastly different in a small town, where incest and horror do not exist is, as we all know foolish to think in horror films. It starred Nancy Sinclair, who appeared in her first horror film, "didn't know how rewarding the genre was," and who showed some quite natural talents in wielding a dagger. This film was dynamic and complex, raging one moment and treading softly, John used Hitchcock's genius and masterful strokes throughout his film, making one wonder if, the Master himself was not onset.

The stellar film was RED HARVEST, which received an award for Best Short, is from Indiana, and was originally slated for a full length feature, but like so many others, the lack funds postponed that concept and instead a shorten script and film was created. The screenplay hints of Poe and Lovecraft traits, and pays homage in dividends to these to writers. Collin Armstrong's script shows 3 drug dealers trying to make a big payday, these 3 actors were the same ones who were to star in the full-length feature, have a run in with a boy who may not be what he appears to have been. The packaging and transportation of the narcotics in the film, makes one wonder if it is not based on someone's real life experience, simply because it is too well done, not even the movie BLOW came close to this display. Unsure what I am exactly referring to then perhaps then it is time to view the film.

Striving forward to awards, the audience was growing as the next film opened on the screen called ELECTRICAL SKELETAL, that homage to Ed Wood and the films of the 50s, that feature a death rock, psychobilly music Casket Architects. Brian Lonano, is now a award winning director, who was a fan at the fest last year, and used stop action animation and curious miniatures set design presented in a black and white setting that is action packed for just five minutes. His film could be dismissed by some individuals as cheesy, however it is not, rather it is perfect for a classic invasion style film that will delight fans of Ed Wood, and is family friendly.

The last film presented before Lone Vein took the stage one last time and the awards show was appropriately called THE WISH, for the audience had gathered, each had one wish - To Win! This film was from the Potent Studios local in Philadelphia, and directed by Christian Jude Grillo, who up until this film had never won any award for any film, but did so by winning Best Screenplay - which left him speechless. His film dealt with an important question and provided a warning to others, the question if a deadly disease was to ravage you, would you wish to outlive it, and accept the consequences. Well perhaps this film will help you to decide, but I would warn as does the filmmaker you to watch it before you play a game with a street vendor.

After another incredible set by Lone Vein, that pounded home, their talents and ready the crowd for the awards, and then Terror Film Festival unleashed its mighty wrath of the awards portion of the festival, which are the Claw Awards.

This young festival had a few notable quality actors on hand to present awards those being Leo Rossi and Tony Luke Jr. Also presented briefly, was outlandish Count Scotulka both a filmmaker and friend of Felix Diaz, who added some comedian presence, Scotulka is famous for his introductions of films at the North Street Bar, on third avenue, in Philadelphia. Princess Horror wore the original dress I DRINK YOUR BLOOD, and was a presenter. The awards also had a tie for Best Actress, which Felix presented himself, had divided the category into two parts, to accommodate these unusual circumstances. Christina Barlas won for THE DOLLHOUSE in the category of Best Actress of a Horror Film while Nancy Sinclair took home the award for Best Actress of a Thriller Film For a complete listing of the nominated filmmakers and their films, and the winners please visit Terror Film Festival's website. Although, thank you speeches were limited Leo Rossi stated, "There is great quality among the independent films that shouldn't be overlooked." Then was Laurent, from France, who struggled slightly with the English language, but was triumphant again, stating the greatest quote of the night "America is the land of the cinema."

Strangely, after what one would deem to be the last day of the fest, hence ending on the high note being the award show, there was to be one last day of films. However, this not the say these films were worthless, in fact that was far from the truth, these quality films sadly were not seen by many fellow filmmakers, much to their loss yet, the audience was entertained with such delights. The final films came from such areas as United Kingdom/ New Zealand; Vermont; California; the cold region of Wisconsin and from the fest's home town of Philadelphia.

First, of significance were NIGHT TERRORS an interesting film from California, and from Taryn Hough who never went to film school, and is a self-taught woman, who funded her film by doing corporate videos, which probably inspired this production as it deals with a man dealing with the conflicting worlds of fantasy and reality. In which, life in many corporate videos tries to sell a happy, blissful positive side while actually, there is nothing but lies and grim reality. It is easy to detect why the film selected to festival, for its very promising, both in cinematic creation and directing style, but like many others well under funded.

Next, was hilarious flick entitled NIGHT OF THE HELL-HAMSTERS from New Zealand and the United Kingdom. The title of this film would have many thinking to just skip it but that is the wrong choice, it has the over-the-top British humor of possessed hamsters battling mankind, and also unkindly eating mankind; too. This film easily hints to THE EXORCIST, but instead of drama and suspense, there is humor, fun, rich gory special effects and silliness. As other films mysterious haunting blue lights assisted in creating a stylized and spooky atmosphere.

Then a truly hidden gem of a horror film called THE CHAIR, formerly known as HUSH, another entry from Canada, from the skillful hands of director Brett Sullivan. The film has a highly intriguing supernatural storyline that hinted to both the elements of the film M (1931), to Poe qualities, and references the movie STIR OF ECHOES. However, only the most aficionados of films will notice that connect between this film and the classic M. A creepy thriller, which has a possessed soul haunting not only a home, but also, the homeowner, Danielle (played by Alanna Chishlom in her film debut) and the entire audience, is on edge. Brett's stirring film is a whirlwind of panic in the final fifteen minutes of this film. This was third film of the festival that was about child molesters though this film was from a completely different angle than the other film.

The Philadelphia film, THE UNHOLY SIDESHOW, came with a spontaneous and unplanned event that the fest's crowd enjoyed immensely which was a sword swallowing show. This show featured the legendary 'Red' Stuart, the Amazing Barry Silver and the director's brother, Jelly Boy the Clown. The event was both shocking and well received by the audience, again making the Terror Film Festival enter into an elite status, of presentation, where only a few other fests only dare tread. The film though dealing with zombies, had a fantastic score, and also has a strong warning label, not for the commonplace violence or gore, that were clearly represented but rather for the real 'freak show' that occurred on screen - with such wondrous talents as, sword swallowing, walking on glass and burying faces into it. Nevertheless one can't forget the hammering of nails to people's skulls, a mind numbing and shocking display that was repeated at the after party event, by Jelly Boy himself and with Princess Horror's help. It is unwise to skip the Terror Film Festival the best things happen so often that it is so hard to believe that much of it is unplanned.

The final film of the night and the festival was BACKWOODS BLOODBATH, a film made in the backwoods of Wisconsin, based on a simple script that had an underlying twist and running along the surface was the urban legend that was feeding itself and the film. This urban legend is the Black Hodag, who is having a human buffet of all you can devour or is someone else becoming the killing machine. Donn Kennedy, the director, delivers an old school horror flick, that is gore packed, paced, and according to him, "we had limited funds, and used the best of the guerilla-type filmmaking lessons: film fast, often, and be eventful with your resources." However, the summary of this film of friends venturing off to redneck woods to spend time together sounds like CABIN FEVER, but unlike that film, this one goes visually for the jugular and rips out the spine in the process.

As the credits rolled on the last film, there was to be one last 'Q and A' session handled by Claw and on the stage was both the filmmakers from the last two feature films, with Jelly Boy the Clown providing a dark comedic answer forum, which was delightful to the audience. As they left the stage, the organizers began to dismantle the set, and transform a horror-filled auditorium back to a white claming room, there was some obviously smiles and happiness intermixed with heartache.

The theater was the douse in darkness, the depression was present to all that fest had ended, even to the city outside, as it seemed to take a moment of eerie silence as The Terror Festival and its possession of the Ethnical Society Building and the organizers was ready to release its grip upon their lives. However, to quote Claw "We realized the festival is a yearlong job, that we love to do for film makers and the fans, but still we wish there was more time to work on the preparation." Nevertheless, the Fest has already begun to call for submissions for its third year, and this year the festival was to be unforgettable, it is one thing to be a part as a filmmaker, but it is also one to be enjoyed and cherished as a fan.