Himbos in Peril: The Boxer-Briefs Horror of David DeCoteau

by Patrick Gratton

Marcus Hobson’s body trembled as he felt an external power take control. “Is this what enlightenment feels like?” Nothing’s been the same since the night he met Jaspen Frasier, the president of Omega Alpha Psy. Marcus never saw himself pledging. But that all changed with a single touch, as Jaspen confided in Marcus the secrets of his success. This holy ointment, was god’s, or the devil’s, gift to man to reclaim eternal power. The veil that set him back had been lifted, everything was within his grasp. Exhilarated, he wanted to be free to possess whatever his will desired. He basked in his beauty. His modesty had withered away, he felt free, free of the confines of his mind and soul. What mind? What soul? Little did Marcus know that those were withering away as well.

This is an excerpt from a synopsis of the David DeCoteau film The Brotherhood VII: The Ascension. Or is it? Does the film actually exist? I might have made it up but does it matter? With a filmography whose imagery and plots are so indistinguishably alike, as to make the audience's mind as foggy as the hunky protagonists, who is there really to say?

As a self-described “Gay Roger Corman”, the prolific DeCoteau has 160+ directorial credits to his name. It’s rare to find a filmmaker with such a large output, delving into so many various genres, with such limited social imprint. Despite his success working with B-Movie Mogul Charles Band, DeCoteau’s name is barely mentioned, even within the halls of the queer horror canon...

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Horror Actressing: Manuela Velasco in "[REC]" (2007)

by Jason Adams

Whenever you read a plot synopsis of the 2007 found-footage masterpiece [REC] by Spanish filmmakers Jaume Balagueró and Paco Plaza (both of whom have gone on to make outstanding films on their own, not to mention a couple of outstanding sequels to [REC] itself) it's worth noting that the synopsis always leaves out the first fifteen minutes of the movie. It's always like this, stolen off Wikipedia:

"Reporter Ángela Vidal and her cameraman Pablo are covering the night shift in one of Barcelona's local fire stations for the documentary television series While You're Sleeping. While they are recording, the firehouse receives a call about an old woman..."

There is far more meat to that "while they are recording" then one would think...

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Horror Costuming: Us

by Cláudio Alves

Many a great horror movie gained its place of honor in film culture partly due to its images of evil. There's Hannibal Lecter muzzled like a mad dog, Leatherface in a taxidermized mask, Dracula's sharp tuxedo, and other such sartorial miracles of materialized malevolence. Jordan Peele's Us adds another unforgettable sight to this gallery of rogues. With their red jumpsuits and golden shears, the Tethered are one of cinema's newest and most complex monstrosities, as memorable as they are frightening…

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Horror Costuming: Suspiria

A special miniseries for Halloween by Cláudio Alves

Costume sketches by Giulia Piersanti

As cinephiles, we're often too quick to condemn the idea of the remake. But remakes can often be illuminating. A good remake is a conversation made of echoes refracted through cinema and cultural history and time, as valuable, in its own way, as the original picture.

Luca Guadagnino's Suspiria is perhaps the supreme example of this. Instead of replicating Dario Argento's 1977 post-Giallo masterpiece, Guadagnino and his team have created an entirely new work that further explores themes only glanced at in the first movie. Even its look is excitingly different, autumnal and chilly where the previous film was carnivalesque and hot-blooded. One could write about the perfection of Sayombhu Mukdeeprom's cinematography or Inbal Weinberg's scenography, but, today, you're invited to reflect on the work of costume designer Giulia Piersanti…

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Review: "Deerskin" on HBO

by Cláudio Alves

Fashion kills in one of Quentin Dupieux's latest absurdist comedies, the loony nightmare that is Deerskin. After blessing moviegoers with the nonsensical sight of a homicidal tire in Rubber, the French director has now imbued a fringed jacket with the power to unravel the human mind and precipitate its wearers into paroxysms of murderous madness. Jean Dujardin's Georges is the victim of such demonic influence, though, at the start, he, like all things in Deerskin, appears unnervingly mundane…

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