The Connolly Brothers played last night, performing for a full house at Riley’s garden pavilion. So much fun … and exhausting in a way that always seems to leave one strangely energized. As a result, I’m up early today, catching up on writing and perusing the reviews for Nightmare Cinema that are continuing to appear a week after the film’s premiere at the Fantasia International Film Festival.
Since I’ve received good feedback on last week’s list of reviews, today’s post is a compilation of additional notices that have appeared over the past few days.
Here we go:
- “This Way to Egress” […] is well-written, very unnerving, and left me creeped the Hell out. [Read more at 366 Weird Movies.]
- It straddles the line of truth and fiction while tackling some serious subjects […]. [Read more at Tranquil Dreams.]
- After years of working in the (admittedly lucrative) world of genre television (Hannibal, American Gods, Black Mirror), David Slade finally returns to film with this black-and-white existential horror piece that chases a sense of unease rather than shocks […]. This is a smart change both visually and tonally from the other segments that gives Nightmare Cinema the breadth that Garris likely envisioned when wrangling the project together. It’s also a welcome return of the brilliant filmmaker behind Hard Candy and 30 Days of Night. [Read more at Coming Soon.]
- “This Way To Egress,” a black-and-white mindmeld that very much enjoys torturing one’s psyche over ghosts-and-goblin haunts [,,,], won’t be everyone’s speed (slow and psychotic), but artistic definition marries sci-fi sensationalism […] with forceful agency. All the right buttons are pushed, making this fanciful Hail Mary the anthology’s most endearing and heartfelt surprise. [Read more at Slash Film.]
Images:
One of the monster faces for “This Way to Egress,” created by Vincent Van Dyke Effects, employing prosthetics and slight digital augmentation. More at Jolygram.
Nightmare Cinema’s Tomatometer score as of 20 July 2018.
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