ATLRetro

by Melanie Crew
Managing Editor

 

Kike Narcea’s I’LL CRUSH Y’ALL (2023), was the opening night feature at the 16th annual Buried Alive Film Festival (BAFF), Atlanta’s Premiere Horror Film Festival, which ran Sept. 29 – Oct. 1, 2023, invading the historic Plaza Theatre once again. Narcea’s action-packed gut punch of a film is crushing the genre film festival circuit across the US with two wins so far under its bare-knuckle belt, winning the Audience Choice Award at Fantastic Fest during its world premiere in Austin TX, and hours after this interview, the film took in another win and was voted Best Feature at Buried Alive. There’s nowhere to go now for this killer film, but up!

ATLRetro sat down with actor Mario Mayo Piedra [“Gabriel”/”Tarado”] and one of the film’s producers Jaime Arnaiz Rebollo of JAR Produccion in the Twin Peaks-inspired room at The Plaza to get down to brass tacks about the film, the inspirations behind the making of I’ll CRUSH Y’ALL and the current state of action/horror film in Spain.

ATLRetro: Are you guys having a good time at Buried Alive Film Festival? Favorite films you’ve seen at the festival?

Jaime Arnaiz Rebollo: Great question. First of all, we’d like to give a big shout out to Josh Gould the Director of the festival. He has treated us great, and we are actually feeling like we’re home over here. The theatre is amazing. The smell, whenever you enter, is like coming back to our youth. I mean, this is a very nice place, the theatre inside is also, and the audience was great. So, yeah, we are having a really good time. And from my point of view, the project that I liked most from what we saw is a short film called “Bookworm” directed by a Spanish guy also, named Javier Yanez. It’s actually very interesting. It’s related to manga, and it has some horror. It’s about a librarian. It’s pretty interesting.

Mario Mayo Piedra: We have seen a lot of short films, and we were very interested in “Bookworm.” I have seen a lot of short films with many good qualities and the features are great, too.

J: We saw this 10th Anniversary screening of THE DEMON’S ROOK, directed by James Sizemore and it was a very interesting movie. It was selected for Sitges and Fantasia and other places. The movie was very interesting, especially since they had such a low budget. They had this props designer that made these awesome devils and monsters.

M: And zombies.

J: It looked very good.

M: Yes, I remember James’ film.

J: Yeah, we were here also with the producer team. He’s from Atlanta and he was actually really excited about screening the movie here. Josh is part of the cast also. The movie is very funny actually.

M: Yes, it was very funny.

How did you get involved with I’LL CRUSH Y’ALL? Any special backstory about getting involved in this film?

J: Yeah, it’s all Mario’s fault. (laughs) I mean, I’m the producer, along with four other producers from Spain who are Kiko and Javie Prada (The Other Side Films), Bruno Martin, and Jesus Loniego, along with our own company, but we all got together because of Mario. He’s the spiritual producer of the movie who has been behind our backs the whole time whipping us and crushing us all in order to motivate us. He’s been the heart of the movie, the project.

M: I have a love for working in movies like this kind because I think in Spain we have a lot of potential for doing these kinds of movies, but I think in this moment, we have a poor production of action movies. I think we can do more and more and more, and a good job of these movies, actions movies. For example, our neighbor France makes a lot of action movies, but in Spain…

J: We don’t do that many over there in Spain, no.

M: Yes. And I think we can do it.

J: Actually, I agree with Mario. One of our main goals is to create this branch of movies of live action. We have many references in Europe, in Asia, and the States about live action, but we don’t have that much content of live action in terms of content in Spain, but we have Mario who has this huge camera presence and a very strong physique-

M: Thank you.

J: -and he is a very good actor also, so we want him and all our cast actually to become new action heroes and new action villains. That would be only if we could go step by step by step by creating new projects and I’LL CRUSH Y’ALL did really well and it’s doing very well. We are now preparing the sequel, I’LL CRUSH Y’ALL 2, where Mario is going to be smashing more heads (laughs).

M: Ha!

The film just won the Audience Choice award at Fantastic Fest. What was it like winning that award at the film’s world premiere?

J: Goosebumps. I mean it’s awesome. I’m an independent producer with this low budget movie and with our own resources. We don’t have any funds from the government from Spain, no funds from a funding company. We did it with our own resources. And getting this award, this Audience Award at Fantastic Fest, which is one of the ten largest genre festivals in the world, it’s an awesome achievement. Last year, this award was won by THE MENU, so last year THE MENU was here and this year I’LL CRUSH Y’ALL is here, so not bad at all. I mean, we are actually living the American dream. This is the land of opportunities, and this is actually a small one getting a great opportunity, so I think that this is actually paying off for the year we invested in this, not only this movie, but, our careers, professionally.

M: It was great! Now I am at the same level as Ralph Fiennes, as an actor. No?

J: Yeah, yeah, yeah.

M: Sorry, Ralph. (laughs)

J: And it’s also been an amazing time because we didn’t know actually how the movie was going to do in the market and as soon as we got the award, the very next day we started getting proposals and opportunities, so right now we are just making decisions for the movie to be screened all around the world.

Clearly this is a very physical film, it being about “crushing” folks. What was the most physically difficult part to film?

M: Maybe all of the filming – we filmed the movie in six weeks and during the filming I lost more than 5 kilos because it was very physical and I sweated a lot, a lot, repeat, repeat, repeat, but I think that is important because you can choose the better frames, the better scenes and I remember all of the filming was very hard.

Were the fight scenes choreographed or were most of them improv?

M: No, they were prepared.

J: They were prepared because Kike Narcea, he’s a great choreographer, he’s the director but he’s a great choreographer because he’s seen a lot of movies (Asian, French, Italian, German, all of the countries) and he loves action movies. And when we were on the set he had very clear ideas.

So, he pretty much had a vision?

Both: Yes, yes.

J: Our director is a geek.

As we all are.

J: Yes. That is why we are here. He’s a geek. He has a great background in action movies and not only action movies, but all types of cinemas and he really had a clear idea of the movie in his mind. So, whenever we were going to shoot any scene he would sit down with the team beforehand and then after that with the cast and he will explain everything to the team first, then he will explain everything to the cast and then they will try to do some testing, but he had everything ready, like “You are launching the punch and halfway I’m cutting so you don’t need to do it all the way.” So, he has perfectly clear in his mind the editing of the movie, so that actually helps us a lot. Although, there is a scene in the movie that was improvised. Only one scene. Can you guess?

Was that the pallet scene?

Both: Yes, yes.

I only know that because I was at your Q&A, and it was mentioned there.

J: Yes, it’s actually a very unique scene for us. A very interesting scene.

The pallet scene is where a lot of the comedy kicked in for me.

J: Yes.

So, what was it like working with the dogs?

M: Wow, marvelous. I love dogs. I am more friends with dogs than with people. I have cats, I have a dog and I love animals.

J: It’s great. It was amazing to me. They were very nice.

Did they take direction well from the Director?

J: Yes, so usually you should never shoot with animals or kids because it’s really hard, but on this occasion we were very lucky because the owner of the dogs is one of the cast members. So, this scene where the dogs are actually eating from a guy, they are killing him, and the truth is that, as he is the owner, we just put some jam on him and the dogs were kissing him, but on the screen it actually seems like they are feasting on him. It’s actually very cute. They didn’t die during the movie, a little spoiler, but everybody was like, “Oh the dogs,” you can see them at the beginning of the movie, and I don’t know if people were thinking, “Oh, they are going to die,” but in the end they don’t die and they have a very important role.

M: And their sounds helped a lot for scenes like this [dog eating the man], the sound-

J: The sound designing, yes, we did a great sound design and all the music of the movie, everything just fits perfectly. The music composer is Daniel Maldonado, who is a Spanish composer, and he did a great job. Also, the final song that we have in the movie, which is like the main track, it was composed by the owner of the dogs – he’s the owner of the dogs, the owner of the house, he did the main theme – we got a lot of great things from Diego Paris, thank you for everything Diego – we love you.

Anything else you’d like our audience to know about the film?

J: For sure. We are very happy and pleased about getting this award at Fantastic Fest and hopefully we may get some awards here at Buried Alive. It’s up to the jury. But we are working really hard in order to get the movie on all platforms and theatres. We’ve already got some offers from American distributors, but we want to keep on working, not to just be on the American market but also the whole world and this is because, as I said before, we are really willing to make a new branch of movies, action movies, with Mario as lead role.

And you said you’re working on a sequel?

J: We are working on the sequel. We actually do have half the script and we have the whole plot idea. Also, we are already gathering the actors to cast and gathering the funds. If everything goes well, maybe next year or in two years we will be done with the sequel.

What is your favorite action film from any time period that’s important to you and epitomizes what you love about the action movie genre?

J: I have two references. I’m not the director, so, for sure this question would be much better answered by Kike, but from my point of view as a producer, I have two references that for me I would like to achieve the quality of entertainment. The first one is a movie called AIRBAG. It’s a Spanish movie directed by Juanma Bajo Ullow. It was a movie shot in the late nineties, early 2000s and is very funny. It’s an action and thrill movie, but it’s all fun and—

M: Manic comedy.

J: Comedy. Everybody is crazy and the characters are unique people. And I think we have similarities in our movie. And another production I really love is HOME ALONE. I mean, actually, we don’t have Macaulay Culkin in our movie, but we have Mario Mayo, which I think he’s going to have a great career.

There’s actually a line in the movie about HOME ALONE, correct?

J: There’s a line that we actually speak about it and it’s just because Kevin McCallister stays in his house—

M: I am Kevin McCallister.

J: Yes, and he has to keep it from these burglars. Mario is like Kevin McCallister. He has to remain in his house, and he has to keep his house safe from all these people that are coming over. So, more or less, there are some similarities, but I would love as a producer the success of those two movies. I mean, for me HOME ALONE is the best reference along with INDIANA JONES and THE GOONIES—the most well-known movies ever and AIRBAG – I’m pretty sure for every Spanish person thinks it’s one of the funniest movies and I invite you to see it because I’m sure you will enjoy it.

M: I think for example, this movie looks like, more or less, FIRST BLOOD, Sylvester Stallone, he doesn’t want to have problems but problems find him and maybe my character is more or less like Rambo. And also, there is a kind of movie or cinema in Spain called cine kinki (cine quinqui)—

J: Not the English “Kinky.” In Spain in the 80s we had a big problem with drugs, heroin, and we have a lot of crime, and we have this urban tribe called kinki people, which were like outsiders, ex-drug dealers, ex-consumers and they were involved in crime, robbery and stealing and so that way of life was called the kinki life—being underground, and being an outlaw. So, during the late 80s and 90s this new branch of cinema called the kinki cinema was about that type of people. It was just resembling what our society had and in our movie we are showing a little bit of the low-income part of society, so it has some reminders of those kinki movies.

M: Yes.

J: It’s not the same kinki as you have here.

M: No. Many years ago in Spain, many directors were filming film kinki.

J: So basically, we did a movie to have fun, we enjoyed the filming and what we liked most is that the audience liked the movie. I mean, it’s very interesting how we showed the movie in Spanish and most of the jokes are internal Spanish jokes.

M: Yeah.

J: But we were shocked that the American audience reacted very well with those jokes. Although they didn’t understand all of them they got many of them and also we were told that our translation is not the best and so we have to keep on working on it, but it’s only been the third screening ever, so we’ve only been showing the movie for one week in only five theatres that have seen the movie. And we are just getting the first feedback.

Nice! What’s next for you guys?

M: Now I am working with Alex de la Iglesia in a serial for Netflix, and it’s a small character, but it’s great. Working with Alex is awesome. He is one of my favorite filmmakers. I expect I will work with him again on another project.

J: Well, I’m studying to become a pharmacist. I’m in my fifth year of school for this career. Because cinema is a little like a roller coaster – it’s tough to survive because of this.

M: He’s a great producer. You are going to be a producer, a great producer. There will be more than what we’re doing now.

So, a legal drug dealer then?

J: I’m actually going to spend all the money I get from drug dealing on cinema. But legal drug dealing (laughs). No actually, I’m studying the career, but at the same time I’m doing all of these productions. We are preparing a new movie we are shooting in February which will be directed by Bruno Martin, and we are going to be co-producing it and also I shot three different short films this year.

M: Yes, I am also in this film.

J: He is also in this new film that we are going to film, but as I said, we shot three different short films this year with different genres. One of them is action – fights between the Spanish mob and Chinese mob. We have a drama about a mother and daughter who get evicted from their house and she tells her daughter that they are going on holiday, so the daughter doesn’t realize what is actually going on. We have this other project called SHAKESPEARE IN SMOKE, directed by Francesco Cocco. It’s like an essay about what it is to be an actor your whole life. Three different actors who are different ages, but they all have the same path, and they share their experiences. And I’m in many other projects but at the moment we would like to enjoy and harvest all that we have already planted.

The Ninth Annual Buried Alive Film Festival; Saturday, Nov. 22, 3:00 p.m. – 12:30 a.m.; Sunday, Nov. 23, 1:00 p.m. – 10:30 p.m.; Fabrefaction Theatre; Tickets $50 (all access, both days), $10 per programming block, available here. Opening night party Friday, Nov. 21, 8:00 p.m. – 11:59 p.m. @ Joystick Game Bar.

By Aleck Bennett
Contributing Writer

Need a reason to be bloody thankful this month? Well, here’s something to make your twisted Thanksgiving complete: the notorious Buried Alive Film Festival (BAFF) is back for its ninth reincarnation! Atlanta’s favorite, longest-running horror film festival will be at Fabrefaction Theatre on November 22 and 23. This year, Festival Director (and ATLRetro Kool Kat of the Week) Blake Myers and the Buried Alive team have exhumed three features and 50 short films—almost 20 hours of programming including nine American premieres and three world premieres! With a host of filmmakers in attendance, this year promises to be a glorious celebration of horror, further sealing Atlanta’s place as the horror capitol of the nation!

The weekend kicks off in style with an opening night party at Joystick Game Bar on Friday, Nov. 21, from 8 p.m. to midnight. Come on out and meet the filmmakers behind this year’s fearsome feast of fright! But pace yourself, because Saturday’s programming starts off at 3 p.m. with Shorts Program 1: Tentacles, Kidney Stones and Cannibalism. This exploration of the darkly comic and disturbingly surreal spans the globe, from here to Turkey and back again. Highlights include the post-apocalyptic doom of THE LAST HALLOWEEN, a disorienting trip with four Turkish policemen into the gaping maw of Hell in the highly acclaimed (by no less than Eli Roth and Richard Stanley) BASKIN, the hilariously gory DEAD ALIVE-meets-“Love Potion Number 9” French splatstick of SPEED FUCKING and the world premiere of local director Jay Halloway’s subterranean terror UNDERLOCK.

BAFF reconvenes at 5 p.m. for Shorts Program 2: Some Real, Some Fake, All Fucked Up. Taking a more realistic turn than the previous program, these shorts focus on the horrors of the here-and-now, ranging from the twisted psychosis of EXTREME PINOCCHIO, also French, to the provocative documentary GLASS EYES OF LOCUST BAYOU. The standouts in this category—along with those previously mentioned—include the American premieres of the funerary revenge short PARA NOCHES DE INSOMNIO and the expertly executed murder of RELLIK.

After a short break, we’re back at 7 p.m. to ponder love, desire and the meaning of “togetherness” in Shorts Program 3: Healthy Relationships. Whether living or dead, functional or dysfunctional, human or inhuman, all of the permutations of companionship are on display in this variety of shorts. Two noteworthy local entries make debuts during this program—Brandon Delaney’s first-person dialogue MY BOYFRIEND’S BAG in its world premiere, and local filmmaker James Sizemore’s Satanic opus GOAT WITCH which hits Georgia screens for the first time. Also getting American premieres are two UK shorts: SKIN, which turns the hostage/captor relationship on its head, and the unsettling physical manifestation of a deteriorating relationship of SPLIT. Add in the Norwegian sadistic ANGST, PISS AND SHIT and the fetish-laden morgue visit of I AM MONSTER, and you’ve got an evening full of romance. Well, in a manner of speaking anyway.

Night falls with the festival’s first feature program at 9 p.m. This kicks off with two shorts: the tortured texts of M IS FOR MOBILE and the Georgia premiere of Patrick Longstreth’s Tybee Island-lensed giant monster rampage HELLYFISH. That’s followed by the world premiere of ATLRetro Kool Kat Eddie Ray’s long-awaited second entry in his epically comic tale of devil worship, rock ‘n’ roll warfare and government conspiracies, SATANIC PANIC 2: BATTLE OF THE BANDS!

As the festival heads into the wee hours at 11 p.m., the second feature program of the night is Andres Torres’ horrifying journey through the seedy underbelly of the New York art world and into the twisted mind of a lonely hot dog vendor, BAG BOY LOVER BOY. Driven by killer performances and an escalating sense of discomfort, this film—which meets us at the cross-section of William Lustig’s MANIAC and Roger Corman’s A BUCKET OF BLOOD—is well worth staying up for. The evening closes with a French short film that explores the unease lurking under the comforts of HOME.

Feeling rested? Slept well after the horrors of the night before? Already got your brunch on and ready to go? Good! Because Buried Alive rises again Sunday at 1 p.m. with Shorts Program 4: Scary Animal Monsters from Outer Space at Your Service. As the program’s title suggests, the selection here is widely varied. The subjects range from the whimsical DEAD HEARTS to the vengeful water spirits of SHUI GUI, from a killer’s paranoia in SEMBLANCE to the wild Australian pathogenic zombie-kangaroo horror of WATERBORNE. Receiving its American premiere is the hilarious BUDGET CUTS, an instructional short on how to maintain your serial killer lifestyle when time and money are tight. Also making its American debut is THE BEAR FAMILY SECRET, a stark and powerful tale of homebound human horror set during the Brazilian dictatorship of 1970. And on the local front, Dayna Noffke unveils her latest work, RECOMPENSE, in its world premiere! It’s a twisty little gem in the EC Comics tradition, in which a prisoner finds out just how much his freedom will cost.

The first feature program of the day follows at 3 p.m. The supporting short, DONE IN, follows a man’s reminiscences as he pens his farewell to this world. In the featured slot is the American premiere of veteran Japanese director Hisayasu Satô’s HANA-DAMA: THE ORIGINS. A visually explosive exploration of the torment a young girl faces at school and at home, the film takes a novel path in its tale of revenge: a bullied student becomes possessed by a flower, the Hana-Dama, which makes manifest the secret desires of all those who have caused her pain.

At 5 p.m., we leave the realm of the photorealistic behind and enter Drawn and Quartered: The Animation Program. This series of shorts is bookended by the works of Edgar Allan Poe, in adaptations from Moonbot Studios: visually stunning old-school animation adaptations of THE RAVEN and THE CASK OF AMONTILLADO. In between, the festival is serving up two tales of teddy bear terror in MEAN TEDDIES and UNICORN BLOOD, the final evolution of life rising from a wasteland in Germany’s OMEGA, a wacky SHINING-inspired tale of wacky sibling rivalry and murder in the witty THE LAST RESORT and a knowing tale about the importance of choosing the right doctor in EYE IN TUNA CARE. On the local front, Amanda Smith presents a disturbing stop-motion account of a romantic dinner gone horribly awry in TRUE LOVE, and Wally Chung presents a cautionary warning about conformity and discrimination in TALL EVIL. One entry that stands out, however, is Finnish director Tomi Malkki’s FIST OF FIRE (aka TULIKOURA), the surprisingly touching story of a dying death metal drummer, his faithful dog and his post-mortem journey. Maybe my love of Finnish metal is showing through, but the short is moving and ghoulishly funny in addition to being totally and brutally metal. Malkki also will be in attendance, all the way from Finland, to talk about his film.

The second feature program of the day starts at 7 p.m. with another local offering: the Georgia premiere of Robert Bryce Milburn’s AMERICAN HELL, a short glimpse of the nightmare of isolation a family confronts when they are subject to a home invasion. That provides a perfect lead-in to the feature attraction, Adam Petke and Sean Blau’s THE SUNDERLAND EXPERIMENT, quite simply one of the most gob-smackingly original films this festival has to offer. This quietly building piece of cosmic horror is set in the isolated, fenced-off desert town of Sunderland. Something identifying itself as an “angel” has converted the town into a strange simulacrum of everyday society, and the adults into its surrogates. The children can either accept the angel’s “blessing” and become like their parents, or become the “fallen” and are left to fend for themselves in the wasteland surrounding the town’s border. One of the young men, David, is destined to learn the truth about his family, the town, and the true nature of the angel that controls their lives. It’s a stunning piece of work.

The festival closes on a holly jolly note at 9 p.m. with Shorts Program 5: A Very Special Zombie Christmas. MR. DENTONN opens the proceedings with the fairy tale-esque story of a sinister visitor that enters homes through mirrors and steals children’s souls. Afterward, we take a peek into the Troma-esque comedy of CHRISTMAS EVE PET MASSACRE, where the world’s worst family finds that their pets are more than glad to bite the hands that feed them. Then it’s off to Latin America for ZUGAR ZOMBIE—a potent cocktail of political corruption, the undead and grand irony. Finally, we wrap things up at the festival much like we started: with a delicious look at Halloween. This time, it’s Jonathan Rej and Shane Morton’s ATLANTA ZOMBIE APOCALYPSE. A group of rowdy youths (the best kind) find themselves trapped in a cheesy haunted house when the zombie uprising breaks out. Is it all part of Professor Morté’s spook show? Or is it all too real? A labor of love from pretty much everyone involved with the dearly-departed Halloween haunt of the same name and the Atlanta horror film scene, it’s a gut-busting and gut-munching RETURN OF THE LIVING DEAD-styled throwback to the heyday of ‘80s zombie horror. Stick around afterwards to find out the Festival winners (Disclosure: ATLRetro Publisher/Editor Anya Martin is a judge). It’s also the perfect way to close yet another fantastic run of the Buried Alive Film Festival.

Aleck Bennett is a writer, blogger, pug warden, pop culture enthusiast, raconteur and bon vivant from the greater Atlanta area. Visit his blog at doctorsardonicus.wordpress.com

 

THE DEMON’S ROOK (2013); Dir. James Sizemore; Prod. Tim Reis; Starring Ashleigh Jo Sizemore, James Sizemore, John Chatham; Test Screening; Wed. Apr. 3, 9:30 p.m., Plaza Theatre, Suggested donation $5; Trailer here.

By Josh Lowder
Contributing Writer

There are slap-happy, slimy, death-masked, gassed-out, creeper-features – as well as other such hyphenated, superlative-worthy schlock-mares that we’ve all known and loved since first sight, so long before my dog CeeGee and I killed crocs with sharks on SyFy. Then there are our most nurtured, formative dreams that reach out to us from our collective pasts to where we sit in the blissful ignorance of adulthood, slapping us into a working fervor. No? Well, fortunately the Black Riders are in this business of making awesome, chief among them is named Loup’Rah Garomore (a.k.a. James Sizemore, but what boring rubbish are Christian names when it is the darker palate from which we draw our pigments…we’ll stick with Loup’Rah Garomore).

When confronted about this sinister priory of Black Riders by Rondal at the Strange Kids Club website way back in 2011, nothing was held back and things got super-serious:

“I formed a secret art society with a couple close friends back in 2006 known as The Black Riders. We all had four things in common that we wanted to have fun celebrating in the society: our love for righteous art creation, cryptozoological creature study, veganism, and metal music. We dubbed ourselves the three elders, giving each other monikers. I was given the name Loup’Rah Garomore by my brother Lycanthropus Galleytrot. Ever since then, I’ve gone by that name when creating my art. Lycanthropus, Mudrot and I created a pretty strange set of induction rights, and since then we occasionally induct new members into the fold. As of now, we only have nine members. I guess you could say it’s a pretty exclusive society, but that’s the way we like it.”

The earnest eyes of a dedicated special effects meister, and his team of shiny-eyed believers, pierce the murky bog clogged with so many of our computer “enhanced” chiller reels and have brought to bear a sincere glimpse into the wilding world of inspired lore and lingo that their tireless fingers and worn sculpting tools, brushes and swabs, have brilliantly shape. Some of us do still enjoy a potable slice of context with our three-hour-application monster make-ups, but with the line between flesh and art so successfully blurred with each new creature revealed in the small sample leaked to us last Halloween in the trailer, the urge to press pause and gawk might best the quest for “what happens next.” Still, don’t think that this is any reason to dismiss the journey. It’s there for a sincerely dark and ominous reason. Behold…

On THE DEMON’S ROOK from Demon himself:

“The story follows a young boy named Roscoe who finds a portal to another world where he is taught magic by an exiled demon elder. Confined to their mystical cave, Roscoe is raised up by the demon elder in secret. Once he is discovered by three other demons, Roscoe must escape to avoid their wrath. Through desperation, he is forced to escape through the portal that leads back to our world. Unbeknownst to Roscoe, he leads the demons to discover the portal for themselves. Once the demons pass through, a nightmarish foray of summoned monsters are unleashed. One demon possesses the minds and will of all whom she crosses, another transforms a man into a murderous beast, and the other summons an army of the dead to do his bidding.“

Loup’Rah Garomore, the undisputed head on this corpus cinematique – FX master, commander, and cramps to prove it, producer, director, star, husband, you name it – has faced a lot of hot-light interrogation by a number of amazingly in-depth fan and genre websites that delve much deeper than I thought possible without a medical degree and an endoscope. And after a few gently invasive exchanges via emails with this bearded peach-stater, I realized that here was a man ready to let his work speak for itself despite his complete availability to me. Moreland, Georgia can be proud of this native son and his demonic generosity of spirit and wealth of energy for us all to see through his mind-expanding kaleidoscope of hopeful oblivion. This energy he shares knows very few bounds and is steeped with experience at work and at the front of the classes leading the way – his zest for new knowledge gets qualified and solidified by passing it so readily to those eager to learn. This qualifies him to make a monster movie with fewer regrets than most first-time film makers partly learning as they go.

Within this word-starved format satiating our inquisitive minds, it is one quote in particular from the past two years’ interviews of Loup’Rah (by those who have been brave enough to utter his summon-word), that I pry liberally to parse out the best possible passionate opinion to put us in those new seats, walking across that new carpet – seeing the refurbished Plaza and enjoying the best popcorn in town. This would normally make for a genuinely worthwhile experience on its own merit, and then BOOM, demons.

When Undead Backbrain at Roberthood[dot]net teed it up for him with a 100-word essay request, the everything-man drove it home in an A-Team-constructed iron horse:

“I could do that in two words: It delivers. But I’ll elaborate… ever see a trailer or poster art for a movie that gets you totally pumped to see it, but then when you finally do, you feel cheated because they showed all the best parts in the preview, or it was nothing like advertised? This ain’t that movie. THE DEMON’S ROOK is the real deal start to finish. See the poster art [at the top of the article]? That’s accurate. See the trailer? Only the tip of the iceberg. This is the ultimate low budget fantasy-horror movie.Buy Klonopin Online offers a lot of depression treatment varieties. You’ll be high-fiving strangers, guaranteed. 100.”

Now, when you remember the dark and sequestered nights staying up with one of your seminal UHF movies, that smoke-filled foam-carved cave teaming with beasts and maidens in just wisps of clarity in the snowy 14-inch technicolor or B&W tube you’d boosted from the kitchen or your neighbor – relax that reflexive memory muscle and let this feature return you to that moment with a far clearer vision, wisdom and the same solid wizardry of the old masters.