The Grindhouse Video Film Festival @Tampa Bay Screams!! August 23rd-25th 2019!

It will be one hot film fest down at the TAMPA BAY SCREAMS Horror/Cult/Exploitation Film Convention… get your tickets as this is one of the best cons going. Many of the filmmakers featured in the Film Festival will be present (myself included)! Not all of the films had trailers but check them out below! -Dave K.


Playing @ The Grindhouse Video Film Festival @Tampa Bay Screams

film trailers:

Return to Nuke’Em High: Volume 2 trailer

DOOM ROOM – Official Trailer

Seeing Evil Trailer

Satan’s Children (trailer)

Dead Residence Trailer 2019

MESMERALDA Teaser Trailer

King James 2019 Official Teaser Trailer – We Massacre Productions

Coming Home Trailer

The Final Ride Official Trailer

BETA english SUB

HEXERCISE (Official Teaser)

DEATH COMES TWICE (2018) Teaser Trailer

Petunia (Official Trailer)

Lefty Lucy Teaser

Mortem Happens Trailer 2019

Five Course Meal | Short Horror Film Trailer

Mr. E Teaser Trailer

ONCE BITTEN… teaser trailer


The Grindhouse Video Film Festival at Tampa Bay Screams Schedule

Friday August 23 5pm-10pm

ONCE BITTEN (10min) Pete Tomkies 5pm
MR. E. (20min) Kii Hornick 5:10pm
5 COURSE MEAL (6min) James Cadden 5:30pm
MIRROR MIRROR (9min) Rick Dandord 5:40pm
MORTEM HAPPENS (15min) Austin Janowsky 5:50pm
PETUNIA (15min) James Leming 6:05pm
KING JAMES (50min) Steve Balewicz 6:20pm
CREEP COP (8min) Matt Rotman 7:10pm
HENRY (6min) Alexandros Kontakos 7:20pm
DELERIA (8min) Thomas Stark 7:30pm
HOUSE OF ROTTING FLESH (11min) Rob Ceus 7:40pm
PLASMID (15min) Roshni Bhatia 7:50pm
DOOM ROOM (92min) Jon Keeyes 8pm

Saturday August 24 11am-7pm

DEATH COMES TWICE (11min) Dave Koenig 11am
HEXERCISE (18min) Matt Cannon 11:10am
BETA (20min) Kai Erfurt 11:30am
CREATURE FEATURE (2min) Newton Wallen 11:50am
KILL EM ALL (4min) Newton Wallen 11:52am
THE FAMILY WAY (16min) Shiva Rodriguez 11:55am
FATHER OF LIES (24min) Shiva Rodriguez 12:10pm
DORSET (5min) Karl Huber 12:35pm
WORKING TITLE (22min) Matt Monelli 12:40pm
SEEING EVIL (90min) C. Leto 1pm
DEAD RESIDENCE (67min) S. Donohue 2:30pm
LEFTY LUCY (105) min Kelly Thompson 3:35pm
Vol.2 (90min) L. Kaufman 5:35pm

Sunday Aug. 25 11am-4pm

SATAN’S CHILDREN (85min) Joe Wiezycki 11am
IN SHADOWS (4min) Stephen Nemeth 1pm
BLACK FRIDAY (17min) Stephen Nemeth 1:05pm
MESMERELDA (20min) Joshua Matteo 1:25pm
THE FINAL RIDE (80min) Mikey Mcmurran 1:45pm
OUIJA MUMMY (60min) Seb Godin 3:00pm

49183570_454485438416345_6581581152513949696_n67366248_2450152511881492_1059117460357120_nScreenshot_2019-08-03 David Koenig


Jessie’s Super Normal Regular Average Day (2019) A Brian K Williams film out very soon!


Above: Ellie Church and Allison Maier star in Jessie’s Super Normal Regular Average Day.

Brian K Williams is a very talented film maker and will be releasing his 3rd film, Jessie’s Super Normal Regular Average Day, very soon. The film is completed (Yes it is done!) and there is a Kickstarter to buy the finished product on Bluray and other perks if you so desire. Check out the press release and the link to go right to the site! -Dave K.


Above: Alyss Winkler stars in Jessie’s Super Normal Regular Average Day.

“All Jessie wanted was to sleep in on her day off, but there’s a whole Hell of a lot going on that’s keeping her from doing that. The only question she keeps having to ask herself is if any of it is even real in the first place. ‘Jessie’s Super Normal Regular Average Day’ is the third film from writer/director Brian K. Williams (Time to Kill, Space Babes from Outer Space), and stars Ellie Church, Allison Maier, and Alyss Winkler. The film features a late 90’s style, and a ska/punk soundtrack, featuring The Toasters, Hub City Stompers, Codename Colin, and more. The film will have its world premiere over labor day weekend at the Genreblast film festival in Winchester, VA at the beautiful Alamo Draft house, and will be available on blu-ray and vod late summer/early fall. The official trailer can be seen, and blu-rays and exclusive items are available for pre-order NOW, at”


Above: Jett Bryant stars in Jessie’s Super Normal Regular Average Day.


Again: for all the info!

You can also hit up the film’s Facebook page here:

THE SOW IS MINE! A tribute to The Exorcist one shot fanzine out now to DOWNLOAD!

About three months ago I put a call out for people who liked or disliked the 1973 film The Exorcist to get their thoughts to me for a one-shot bootleggy ‘zine, The Sow Is Mine! Danni Winn, Philip Perron, Stephen Nemeth, Robert Freese, Paul Mcvay, William D. Prystauk, David Johnson, Raven Johnson, Jason O’Toole and Bill Van Ryn answered the call! Add some old newspaper clippings and newsprint ads and it is HERE! and FREE!

36 pages 8 1/2 x 11 printable PDF Grab it today!

The Sow Is Mine! one shot June 2019

cover for the sow is mine 2019


LGBTQ Benefit for Mulligan’s Manor at Alamo Drafthouse Phoenix/Tempe AZ!

My friend & film writer Danni Winn is hosting a very special event during Pride Month. On June 13th, they will be screening Haute Tension at Alamo Drafthouse Phoenix/Tempe AZ. The event in a benefit for Mulligan’s Manor, a group home dedicated to at-risk gay, bisexual, transgender, questioning, and heterosexual adolescents ranging from 12 to 17 years old. Interested in helping out but can’t be there? They are looking for horror film related items for a raffle which will be conducted on location, all proceeds going straight to Mulligan’s Manor. If you are a film maker, t-shirt maker, etc., ONE of your items can make a difference. If you can send anything, please check the Morbidly Beautiful announcement here: for the info or you can contact me directly at: and I will give you the mailing address.  If you wish to make a direct donation, please go straight to the Mulligan’s Manor site: Mulligan’s Manor and there is info on how to. Any amount is appreciated. Let’s try to make this a HUGE night for everyone involved. Thanks, Dave K  A Fiend On Film


Short Films you MUST see!

Lately I have been blown away by the recently made (last couple of years) short films I have come across. A film, short or full length, that has inspired visuals and ideas will stop me in my tracks. It goes without saying I like it DARK…murder, death and violence. These shorts need your eyeballs on them! -Dave K.

The Girl With Eyes Of Fire – Giallo inspired Short Horror film (2017)

Deranged Industries TV

Amy (2018)

L. Gustavo Cooper

White Nite (2018)

Ale Giorgetti

NITE TIME CREATURES – a short film by A & P (2018)

Angie De Alba and Paul Ragsdale

Shutter (2017)

Daniel Fowlie

A Fiend On Film’s Interview with EMMA WESTWOOD, author of THE FLY (2018)

I have been very fortunate to have known Melbourne, Australia’s Emma Westwood for a few years now and have been looking forward to her new book on David Cronenberg’s THE FLY (2018, Devil’s Advocates). After a bit of spotty availability, the book is now out everywhere and I asked Emma to answer a few questions about it. I have read it and Emma brings more to the table on the film than you might imagine. It definitely deserves a spot on your bookshelf.  Look forward to her next book on The Bride of Frankenstein (1935) down the road (and she does a ton of film commentaries for the boutique labels). Follow Emma Westwood on Twitter @EmmaJWestwood and her website:

Screen Shot 2019-02-04 at 9.24.23 PM

FIEND: Before we get into the book itself, can you let us know what interested you in becoming a film critic/writer? How did you get started?

EMMA WESTWOOD: I never wanted to be a film ‘critic’, so to speak. In fact, I never really liked the term ‘film critic’ because it seems to suggest someone who is better than the films themselves and is looking for the negative aspects when judging them. I just love cinema and want to celebrate the things I love, which means largely steering clear of talking about the ones I don’t love. But, initially, I wanted to be a filmmaker – more specifically, a director – rather than a commentator, but I quickly realised that I despised the shooting process and I just didn’t have the right personality to do it. That was all a process of self-discovery that took place when I was at university and hanging around with the university filmmaking club. I was also studying film theory as part of a Bachelor degree in Arts/Humanities so the writing about film – ‘criticism’, if you wish – just continued by an extension. I still harbour fantasies of writing some screenplays. I hope to do it someday. When I find the time.

F: I know you are a major fan of David Cronenberg films but what attracted you in writing a book on The Fly? Were there any other films of his you considered before this one?

EW: When I put forward a list of films to my publisher, John Atkinson, there were two David Cronenberg films included. He leapt on the opportunity for a Cronenberg monograph, and said he’d been waiting to add one to the Devil’s Advocates collection. The two films were The Fly and The Brood, and my publisher pretty much left it to me to choose which one appealed most. To be honest, I found it really hard to choose but I ended up going with The Fly because I had seminal memories around that film, including having just done a recent presentation, so it felt like the film was choosing me, in some way. Also, I love the simplicity of The Fly, and where it sat at the juncture between the two halves of Cronenberg’s career. I’m now glad I chose it because Electric Dreamhouse are publishing are book on The Brood. And my next house, Bride of Frankenstein, is for Electric Dreamhouse. Everything seems to have worked out nicely.

F: Who did you actually get to speak to and/or interview for this book? Did you find it easy to get subjects to discuss the film?

EW: I ended up speaking to 10 different people for the book, which was a lot for the Devil’s Advocates collection. Many of the Devil’s Advocates books just stick to straight film analysis but I have a journalistic background so I feel compelled to speak to the people involved in a film production; it’s just part of my curiosity. My publisher didn’t want to dictate things one way or another. He was careful not to stifle creativity but I also realised he didn’t want a ‘making of’ book so my challenge was to find the right mix of film analysis versus eyewitness accounts. I really wanted it to be entertaining, rather than too academic.

It wasn’t difficult getting the subjects to discuss the film at all. In fact, it was probably harder getting them to shut up! I was thrilled at how generous with their time and information they were – the producer, Stuart Cornfeld, talked to me for almost two-and-a-half hours! I couldn’t stop thanking him and he said that the film meant so much to him, he was more than happy to talk about it. That seemed to be the universal sentiment – everyone who worked on the film loved it and the experience of making it, despite the pressures. And a lot of that had to do with Cronenberg and his conduct on-set. Everyone spoke about him in glowing terms. I’d love to have interviewed him for the book but his PA told me he couldn’t remember the details any more! I think that was a bit of an excuse but, in the end, I’m actually glad I didn’t get to speak to Cronenberg because I could talk about the film entirely on my own terms without being overly influenced by the opinions of its director.

F: You have an anecdote in the acknowledgments section on your father’s reaction to a scene in the film. Did you two see it together in the theater?

EW: Ah, yes – it’s good to see you picked that up. That was one of the seminal memories I have around that film; taking my father to see it at the cinema. I’d already been to the cinema on the sly and seen The Fly when I was underage and shouldn’t have been there. I loved shocking my father, who had a weak stomach so, when I saw The Fly come up as part of a double feature (with Aliens, I believe) at a local arthouse theatre, I seized the opportunity to take Dad. Then I watched his face at all the key moments. I swear, when George Chuvalo had his wrist broken, Dad looked like his own wrist had been broken too! He loved the movie but it was a bit traumatic for him.

F: Why do you think in the past few years that film critique books on a single film are becoming more popular?

EW: It’s an interesting and exciting trend, which I think has a lot to do with the accessibility of older movies these days. When I was young, if you wanted to find anything beyond the mainstream, you had a real hunt on your hands. There were some great video stores that stocked hard-to-get horrors and the like (that’s how I got obsessed with Dario Argento) but you really had to work hard to find these films. Nowadays, you catch wind of something and it’s just a matter of punching it into your computer to stream or download. It feels like everything – a whole world of cinema – is available. And then you’ve got all these interesting companies like Kino Lorber, Arrow and Indicator that are seemingly pumping out these rare, almost forgotten titles, and even going to the trouble of providing extras about them and commentaries, of which I’ve been lucky to participate in a few. All of this creates a ‘cult of the film’, which means it’s not just about watching a film but it’s about dissecting a film in every which way, which allows the viewer to ‘own’ that film in a way they’ve never been able to before. I think the film monograph has arisen from that zeitgeist.

The Fly has definitely been comprehensively covered in the film press but it’s never been the subject of a monograph, as far as I know. There have been books dedicated to the original 1958 The Fly but not Cronenberg’s version. So, straight away, that gave me the opportunity to craft something unique because the narrative flow of a book is inherently different to an article. Creating a story arc over a book, whether it’s fiction or non-fiction, is a very challenging process. I wanted to reflect the essence of Cronenberg’s The Fly – the DNA aspect of it – by metaphorically mirroring that in the content of my book. So it’s all about the ‘DNA’ i.e. where did The Fly come from and what were the influencing factors that culminated in Cronenberg’s vision? I was lucky because The Fly has such an illustrious ancestry so I think my analogy worked very well. Well, at least I hope it does.

Get Emma’s book here or at any other book sellers:

A Fiend On Film: Thoughts on Le Accelerator (2017)

Last week, my buddy Mike Olafson of Hot Lead, Hard Fury fame messaged me with a link to a newer film that he thought I might like to check out. It might suit my tastes based on what he knows about me. I was like sure, always looking for new and different films to check out. The link was for a film on Vimeo called Le Accelerator. “Check out the trailer and if interested buy it!”

Well, I did check out the trailer and was immersed into the visuals. What was this film shot on Super 8 (in Black and White) all about? Who was Thomas Eikrem? Curious about it, I plunked down the $10 and started the film………….


To begin to explain Le Accelerator is an effort. The film is not at all conventional. It is like a 90 minute transgressive visual treat. The “story” is about an assassin who just goes around killing and fighting people, spend “quiet” time with his girlfriend, enjoys strippers, travels and works out. This is all told silently as there is no dialogue and thru the excellent multi genre music throughout. It just goes from scene to scene…one scene can be killing, the other someone just standing there, etc. Like I said this goes on for 90 minutes……. and it’s good. Really good.

There is no true narrative and at the same time there is. There is a philosophical air for it as at random times in the film, a title card will appear with “happy thoughts” pertaining to death. The film is all about death and it lets you know that death is the only true thing. An absolute that will happen.


The assassin is played by David Sakurai, who has been in more mainstream fare, is well equipped for this film. He is buff, knows marital arts and truly makes his scenes believable. Most often when he appears…he is delivering death. Dozens die in this film. Die.

The film, like I said, is transgressive. Most of the scenes are very art house and usually of the character looking straight into the camera. The rough blown out Super 8 film gives it a real gritty quality. The director has assembled some great performers who visualize his wild ideas. The women in the stripper/ burlesque scenes are gorgeous, even when covered with copious amounts of blood or facing death. There is a lot of blood. Death. Nudity. Gore. Violence.


Le Accelerator is easily one of those films where after watching, you just want to pick up the camera and start shooting. I felt exactly that way after seeing films like Rubber’s Lover and the works of Richard Kern (which visually Le Accelerator has to be influenced by at least a little). It’s not for everyone but it easily explodes the Fiend ‘O’ Meter to the 10/10. I could rate it higher. Worth the $10. You would take that cash, go to the multiplex and be again disappointed by what is shown.


Get it on Vimeo On Demand. Today.