Say That You Love Me - ALL THE BOYS LOVE MANDY LANE (2006)

I remember that time back in school when you return to lessons after a holiday only for your peers to find you have transformed from an awkward ugly duckling in to a sexy swan.  Okay firstly, bad imagery, nobody wants to think about sexy swans.  Secondly, that never happened to me, but I did witness it happen to other lucky biatches.  Suddenly all the boys and girls either want them or want to be them.  Then they want to kill them.

Mandy Lane (Amber Heard, Zombieland, The Stepfather) has done just that; she is now a hot and voluptuous teenager who can command the attention of anyone she wants.  She's modest too, and doesn't seem to be comfortable with all this new attention.  She even has the obligatory geeky male best friend Emmet (Michael Welch, Day of the Dead, Twilight) who is also in love with her.  After a serious bout of jealousy leads Emmet to cause a fatal accident at a party, the two friends go their separate ways, with Mandy blossoming further in the bosom of her new high school hierarchy.

Mandy is invited to a house party at a secluded ranch, where all the boys are after her.  On the first night they drink and take drugs and basically begin the perfect teen horror slasher recipe, leaving themselves vulnerable to what lurks outside in the dark.  Eventually, as you would expect, the other members of the group start to die in truly gruesome methods and the perpetrator is revealed early on.  As a viewer you think that was a bad move, but no, the best is still yet to come.

Apart from a few injury continuity issues (one minute someones face is falling off, the next minute, their face has fallen back on) I don't have a bad word to say about this film.  The colour wash is like a warm bubble bath for your eyes.  I know the cast is almost exclusively teenagers but they are just as credible as any characters in Stand By Me or The Virgin Suicides for example.  They have that dreamy quality to them that could never be confused with a trashy flick.  A tiny bit contrived, yes, but easy on the eye and very smile making.  Director Jonathan Levine's expert touch is complemented by the closing scene's soundtrack of Bobby Vinton's Sealed with a Kiss.

A little Texas Chainsaw in the cinematography, the twist at the end was so surprising it only occurred to me a fraction of a second before the reveal, when I was overwhelmed by both the sadness and excitement you only rarely get in films after you develop an affinity for the victim.  You are them and it is your heart that's beating not quite fast enough to kill you before the killer does.  All The Boys Love... is a modern study of a beautiful and classy 1970's horror that will leave you smiling as though you have something to hide.

Going away this summer? - Island of Death (1977)

Holidays are a time to get away from the stresses and strains of real life and relax in a pretty sun soaked clime. Island of Death opens with just such a scene, as young London couple Celia and Christopher arrive on the Greek island of Mikonos. The architecture and winding streets are reminiscent of Don’t Look Now, with the nooks and crannies and twists and turns that are just begging for someone to run around them in a blind panic later in the film. On the BBFC’s Video Nasty list for its potential to corrupt the mind of the viewer, it doesn’t take long to see why, as the couple have sex in a phone booth while talking to Christopher’s mother. Later that night they make their first killing.

On their first morning at the holiday villa, Celia rebuffs Christopher’s sexual advances. All that traveling and murder have clearly worn the poor girl out. Frustrated, he goes for a walk and encounters an innocent goat. I’m sure you can see where this is going. Later, Celia goes out herself and, apparently rested, seduces a local decorator while watched by Christopher through the lens of his camera. After the deed Celia and Chris nail the native labourer to the ground by his hands then pour white paint down his throat while he is semi-conscious. An ingenious, stomach churning scene it is too, as they laugh wildly and take pictures of the body.

They make their way through the island, first seducing then killing, adulterers, homosexuals and drug addicts. Basically anyone they see as deviant. Christopher in particular sees himself as a bit of an avenging angel, which is ironic considering their own relaxed sexual morals. The film then climaxes in a scene of revenge that is both completely unexpected and slightly out of place.

Both the sex and violence in the film are classic pornographic in their styling. Scenes are broken up into gratuitous black and white snapshots that wouldn’t look out of place in a porn magazine (so I’ve heard). Not five minutes goes by without someone getting it on, with a bit of bestiality and rape thrown in for good measure. Their use of photography in their crimes accentuated this even more, making them able to literally lust over their exploits in the comfort of their own rooms, over and over again.

When viewed through 21st century eyes and with modern sensibilities, it's hard to understand why it was included in the nasties list as it's not particularly difficult to watch. That may either be because I’m not corruptible or I’ve already been corrupted. Either way, Island of Death is a wonderfully vicious and unflinching little film, make no mistake, just not one for all the family.

What dreams are made of - Amer (2011)

In the 1970s Italy was famous for its visually stunning Giallo horror films, full of dramatic and scantily clad full-bodied women, mysterious story lines and eye-candy of all varieties.  This slick French homage to the genre opens with an equally glossy montage, with split sliding screens, blocks of bright colours and a swinging, cheerful soundtrack.  From the outset the styling is brash and colourful and very, very French.  So much so you could be fooled in to thinking you are watching a European sports car advert unfold, rather than the highbrow erotic horror it is.

We meet Ana at three pivotal points in her life.  The first time we see her she is about 9 years old.  A young, affluent Parisian couple argues after finding a small dead bird in the house.  They’re watched by Ana, their daughter, through a key hole.  She runs to her room where she sees her witch-like grandmother, head covered in a black shawl, rising up from behind her bed as though she had been lying on the floor.  Her grandfather is dead in one of the other bedrooms.  And to top it all, she walks in on her parents having sex.  Can’t this kid catch a break?

Next, Ana has grown into an accidentally seductive adolescent; teasing boys and nearly getting into trouble with her short skirt, only to be rescued by her forever furious mother.  We see close-ups of her bare legs as an ant crawls along them, reminding us of her immaturity.  In the final chapter, adult Ana returns to her empty family home and she is transported back in time to her childhood fantasies with tragic consequences.  Whether in reality or in her mind, it is not clear where we leave Ana.  Throughout, her mother looks at her with hatred, and her father with disdain.

Amer is pornographic in its styling and the soundtrack breathy, with flashing primary colours washing the screen making your heart race and close ups so extreme you have to make your eyes wide enough to watch.  A structured narrative is absent here.  Doors slam, transporting you to other rooms, reflections appear in the blades of knives and the film techniques used visually and audibly dizzy the viewer.  In fact Amer treats you to such arty direction you have no option but to smile and perhaps clap and nod in equally arty agreement.

The danger with films such as this though, that leave so much to the imagination, is that you can’t help wondering if it’s all style over substance.  Are you filling in the gaps because the creator wanted you to use your mind and explore all possibilities of the uncontainable story?  Or, is there simply no story at all?  Whatever side of the fence you fall on you would be hard pushed to deny it is visually a thing of beauty, inspired by the stunning Italian horrors of the past, sure to inspire many a young film student’s wet dream in the future.

Love is like a butterfly... - The Collector (1965)

When I was a kid I collected all kinds of crap; stamps, car number plates and the cardboard you get inside the packaging of ladies stockings.  That may sound odd, but it's completely normal, officer.  In The Collector our leading man, Frederick Clegg (Terence Stamp) collects butterflies and more...  The first 15 minutes of the film pass without hardly any need for dialogue as his unusual and, some would say demented, secret life is explained.  He runs gaily through fields capturing butterflies to add to his collection like he's the happiest man alive.  Then he drives into town and kidnaps a pretty young woman called Miranda with the same amount of emotion you or I would display doing our weekly shop, subduing her with Chloroform.

Frederick is not your typical looking psychopath; he's not the scrawny or pale type we've come to expect.  He's actually quite exotic looking with his olive skinned complexion and dark eyes.  Perhaps demonstrating how psychosis really doesn't discriminate.  Once he does break the silence however, in that plain yet hypnotic old fashioned English accent, his calmness gives away his true mental state.

When Miranda (Samantha Eggar) wakes up in his basement she is assured that, despite knocking her unconscious and locking her up, he doesn't want to molester her, as he puts it.  Frederick wants to add her to his collection of pretty things.  He wants to get to know her and for her to love him.  Sounds sweet really.  Except we all know love can soon turn to anger and Miranda quickly realises her only chance of ever being free is to go along with his wishes, give in and pretend to like him.  Unfortunately, Frederick becomes more deluded and convinces himself that the longer he keeps her, the more likely it is she will fall in love with him.  Repeatedly she tries to escape but every time he manages to contain his new possession until the story takes an unexpectedly sad turn.

The situations Frederick puts himself in, his cold thought processes and the consequences this has on others makes for uncomfortable viewing of the highest order.  He makes human life seem disposable like a child that can never find anything to satisfy him.  Terence Stamp plays him with a Norman Bates awkwardness until his mind switches to the job in hand and he's as cool as a cucumber.  Miranda and Frederick's relationship, despite the extreme circumstances, could very easily mirror any new couple.  The insecure partner constantly trying to change or contain the other.  You could argue that Frederick is merely cutting to the chase.  Perhaps he should have pinned Miranda under some glass with his butterflies when he had the chance.

We're going Up North! - The Manchester Horror Double Bill

Anyone who knows me can testify, I'm not that well travelled.  Which is why when The Classic Horror Campaign was asked to go up to Manchester to put on a special weekend of horror film screenings, I jumped at the chance.  We're joining forces with The Lass O'Gowrie pub to screen our favourites Night of the Demon and Vampire Circus on Saturday 23rd July and Cat People and Scream and Scream Again on Sunday 24th July.  Goodness me, it's like we're on tour or something!

As well as the films expect the usual horror giveaways along side some very special guests including author of Beating the Devil: The Making of Night of the Demon, Tony Earnshaw.  He'll be signing copies of his very sought after book.  And horror photographer Amanda Norman will be offering the chance to have a picture taken that will not be suitable for your passport!

Tickets will be available on the door but space is limited so I recommend booking online using the links below.

Saturday 23rd July - Night of the Demon / Vampire Circus BUY TICKETS
Sunday 24th July - Cat People / Scream and Scream Again BUY TICKETS

We'll be seeing you..mwa ha ha ha haaaaa ahem.

The Return of the Horror Double Bill.... Returns!

For all you guys and ghouls out there that miss BBC2′s iconic horror double bill seasons of the 70′s and 80′s, you can relive those halcyon days (or nights!) with the Classic Horror Campaign!The Classic Horror Campaign now has a whole series of events and double bill screenings lined up over the next few months in London, Manchester and Brighton! You can book your tickets in advance to avoid disappointment by going to our page at WeGotTickets.  See below for a round-up of our exciting Summer of Screams!

• Sunday 26th June – Cat People & Scream and Scream Again – Roxy Bar & Screen, London 3pm
• Saturday 23rd July – Night of the Demon & Vampire Circus – The Lass O’Gowrie, Manchester 8pm
• Sunday 24th July – Cat People & Scream and Scream Again – The Lass O’Gowrie, Manchester 6:30pm
• Sunday 31st July - Horror Hotel & Abominable Dr Phibes - Roxy Bar & Screen, London 3pm
• Sunday 21st August – films to be confirmed – Komedia, Brighton 6:30pm

Hope to see you all there!  It'll be a scream, baby.

The Classic Horror Campaign Presents... The Horror Double Bill

Roxy Bar And Screen, 128-132 Borough High Street, London, UK

The months of talk and speculation are over.  This Friday 22nd April sees the very first Classic Horror Campaign film screening at London's Roxy Bar & Screen.  The event kicks off at 3pm with Night of the Demon, followed by the classic Vampire Circus.  There will be horror giveaways, drinks and food available so get there early and pay your £5 on the door.  Check out the event's Facebook page or if you need more information just send me an email.  Also, if you can't make it this time why not show your support by signing the petition and find out how and why The Classic Horror Campaign started in the first place.