Last Thursday, March 23, the new Alamo Drafthouse NYC in Brooklyn hosted a special screening of the well-received first film by Osgood Perkins, The Blackcoat’s Daughter. The Blackcoat’s Daughter is a psychological horror film set in a girls’ boarding school starring Kiernan Shipka (Mad Men) as Kat, a troubled student caught at the school during vacation, and co-starring Lucy Boynton and Emma Roberts, which premiered at the 2015 Toronto Film Fest but is finally getting a limited theatrical release. The film opens this Friday, March 31, at the Alamo NYC.
After the screening, Mr. Perkins, who has since released his follow-up picture, the subdued ghost story I Am the Pretty Thing that Lives in the House, through Netflix, sat with Shudder’s Sam Zimmerman, along with stars Kiernan Shipka and Lucy Boynton, for the entertainingly candid Q&A presented below (edited for space and clarity).
On Making a “Classy” Horror Film
Osgood Perkins: When I wrote it, it seems old-fashioned to say this, but the horror genre was sort of in trouble. Now that’s such a stupid thing to say because the horror genre has never been more of the moment. Everybody and their mom has a great horror movie. But at the time it sort of felt like a beleaguered slum. Continue reading
It breaks my heart to have to give this film a bad review. I love the Phantasm film series. The first one is a freaky trip, and the second one is a campy, action-packed blast – and both do an incredible job of creating a dreamlike atmosphere of hopelessness. Even the third film, while deeply flawed, is still a lot of fun. Unfortunately, Ravager follows in the path of Phantasm IV, an ultra-low budget mix of outtakes and inexpensive new footage with little narrative coherence. Continue reading
An obscurity from the Shaw Brothers’ libraries, this film is definitely staffed with the Shaw B-team but still manages to be an energy-filled take on King Hu’s classic Dragon Inn. Continue reading
I never thought he carried poliziotteschi films as well as Maurizio Merli, but he had some superb spaghetti western roles, particularly in Sergio Corbucci’s Companeros.
If this steaming pile of garbage could get nominated for Best Picture, I guess that is definitive proof that Mel “Sugar Tits” Gibson has been forgiven by the Hollywood community. Hacksaw Ridge commits the worst sin of war movies – being both schmaltzy and gory. The script is absolutely terrible – full of cheese and hoary clichés – and Andrew Garfield plays the lead as a kind of borderline slow Forrest Gump, while the direction could not be more trite and unsubtle. Continue reading
Well, that was more entertaining than I expected. Don’t get me wrong, this remake of the Roger Corman/Paul Bartel 1975 trash classic Death Race 2000 is total garbage, mostly stupid and low budget as hell. But compared to the other recent remake – the bland, gritty prison-set 2008 Death Race starring Jason Statham – Death Race 2050 at least has the courage of its convictions and is in the spirit of its forebear, filling the screen with gore, tits, half-baked political statements, silly cars and sillier outfits. Continue reading
To date, the only film adaptation of George MacDonald Fraser‘s highly entertaining Flashman novels, which follow a Victorian-era British officer’s globetrotting misadventures as he snivels and connives his way to women, wine and safety, while maintaining the appearance of a virtuous hero. Continue reading
I have had a deep affection for Whit Stillman since his Barcelona helped open my eyes to indie cinema in the 90s, and I also love me some Jane Austen (though generally the books far than the movie adaptations). So being able to see Stillman’s take on Austen was a special treat. Continue reading
This big budget, somewhat highbrow science-fiction picture ultimately glossed over potentially interesting scientific and technical material in favor of an emotional angle on the material, and also forced me to watch the pile of anti-charisma that is Jeremy Renner. Continue reading
Based on the critical reaction, I went to this with very low expectations, and the film lived down to every single one. The first third of the film is a series of progressively less interesting introductions, the overarching plot is completely uninteresting, and not one of the characters pops. I love the old John Ostrander-Kim Yale Suicide Squad comics from the 80s and 90s. They took the chicken shit of DC’s goofy pre-Crisis villains and turn them Continue reading