ALL THE COLORS OF THE DARK
TUTTI I COLORI DEL BUIO
1972, Severin Films, 94 min, Italy/Spain, Dir: Sergio Martino

Adding an occult flavor to Italy’s giallo sub-genre, Sergio Martino diverged from the straight-razor serenade of Dario Argento’s black-gloved killers for this psychedelic nightmare. Undisputed giallo queen Edwige Fenech stars as Jane, who is plagued by recurring dreams of a knife-wielding maniac. When medication and psychotherapy fail to alleviate the visions, she turns to magic. But the black mass (conducted by Italian genre heavy Ivan Rassimov) backfires and her nightmares become all too real. Also featuring giallo regulars George Hilton and Susan Scott, ALL THE COLORS OF THE DARK is a kaleidoscopic frenzy of murder and madness bathed in an acid-rock score by Bruno Nicolai.


HALLOWEEN (2018)
2018, Universal, 109 min, USA, Dir: David Gordon Green

Jamie Lee Curtis returns to her iconic role as Laurie Strode, who comes to her final confrontation with Michael Myers, the masked figure who has haunted her since she narrowly escaped his killing spree on Halloween night four decades ago. Master of horror John Carpenter executive produces and serves as creative consultant on this film, joining forces with cinema’s current leading producer of horror, Jason Blum (GET OUT, SPLIT, THE PURGE, PARANORMAL ACTIVITY). Inspired by Carpenter’s classic, filmmakers David Gordon Green and Danny McBride crafted a story that carves a new path from the events in the landmark 1978 shocker.


MONSTER PARTY
2018, 83 min, USA, Dir: Chris von Hoffmann

When a trio of teen thieves infiltrates an elite dinner party by posing as servers, they find themselves wholly unprepared for what’s on the night’s menu - they’ve stumbled upon homicidal upper-class cultists in the throes of 12-stepped, stop-the-slaughter recovery! All hell breaks loose when the stickup goes south and the upwardly mobile murderers shed social graces in favor of their sociopathic sensibilities. Featuring pitch-perfect performances and garnished with salty social commentary, Chris von Hoffmann’s sophomore feature is funny, frightening and flush with enough practical effects and gore to sate even the most demanding horror fans.


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