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One of the enceinte surprises in film last year had to be Jamie Foxx’s turn as a cocky rookie Quarterback in Joseph Oliver Stone’s grid drama Whatever Given Lord’s Day. We all know him for his great work on In Living Color, only who’d've thought process the guy had this much striking depth. That’s what sets him apart from guys like Chris Tucker. Non that Tucker is bad, in fact, he’s quite hilarious, only Foxx seems to bring more humanity to his work, much like Testament Smtih. Rather than be a unceasing smartass, Foxx seems more eager to play actual characters in real situations.

In Bait, Foxx strives to keep this a realistic action picture, merely some of what’s going on here is so ridiculous, he’s not always up to the challenge.

Bait is an action at law picture very reminiscent of Tony Scott’s Enemy of the State (starring the previously mentioned Will Adam Smith). It’s full of senior high tech toys and features a graphic symbol that nearly everyone wants a piece of. The hoopla is over millions of dollars worth of gold that has been hidden by a thief with a bad heart condition. The chief baddie in Tantalize is played by Doug Hutchison (The Green Mi). In the beginning, there’s something quite eerie and offputting around his performance, but then he turns into a stock defective guy as the film progresses. The film gets a swelled boost from bad ass David Morse (also from The Leafy vegetable Mile) as a snitch who is so damn intimidating, that you power faint just by look at him. His connector to Foxx has a whole Fugitive from justice type breach going. As for Foxx, he tranquil shows a great amount of potential, but I don’t think Bait showcases this guys real talent. There’s just nothing special about this story.

Bait was directed by Antoine Fuqua (he worked on F. Gary Gray’s The Negotiator), and while the film is never very slow, it does run too long. It’s also capped off by a stupid culmination that seemed to be inspired by the steep and entertaining antics of a Kraut Bruckheimer picture. And to top that off, the location of the missing gold was so nonsensical and so unbelievable that it hurt any redeeming qualities the film has. I know in an action picture, you insure your realism jacket at the room access, but enough is enough already. Like Art of War, Bait wants to be taken a minuscule bit badly, but there’s just too much sinful stuff departure on for it to work.

Twenty years ago, film maker Trick Carpenter released an independent horror plastic film that would change the face of the writing style forever. That film was Halloween and with a blend of spine tingle terror and a wondrous eerie score, it became a vast hit, spawned several sequels, and remains one of the c. H. Best thrillers of recent memory.

Twenty old age later, Jamie Lee Curtis returns to the role that gave the screeching queen her start with the help of Sidesplitter writer Kevin Williamson. H20 was directed by Steve Miner world Health Organization got his start directional two of the Fri the thirteenth films.

I have to tell you! I was mighty frustrated in H20 which, for a while, looked like it had a pretty good fortune at being decent. I didn’t bump it in particular scary and it left hand many key elements unexplained. Being a fan of this genre, I know films of this type aren’t always supposed to make sense, but some things motivation to be cleared up! Where the heck was Michael Myers for the last xX years? This is one of many plot points that H20 never answers.

Thankfully, what H20 does have is Curtis and she’s quite good playing the tormented Laurie Strode who, every Halloween, has terrible nightmares due to the atrocious things that occurred in the first two films. She has now changed her nominate and teaches at a private school in Calif.. SheÕs good until a certain masked man returns to nominate her living a living hell again!

H20 pushes Halloween 36 aside and links itself only to the first gear two films. The title serves as double meaning. Halloween twenty years later, and rake is thicker than body of water. Pretty witty, huh! It’s too bad that this film never rises in a higher place the standard slasher menu. Aside from Curtis and a wonderful cameo by Curtis’ real life mummy and Psychotic star, Janet Leigh, this movie merely doesn’t, if you’ll amnesty the paronomasia, cut it! Unlike Carpenter, there is nothing particular about Miner’s direction. He was plainly rushed through and through this production.

Also, this is not the Michael Myers I remember. The Myers of yesteryear was slow and ominous. He lurked in the dark and had the look of last in his eyes. He was, in fact, the bogeyman in every sense of the word. This Myers, by comparison, seems like a composite of every grampus you’ve seen in infinite Halloween rip-offs, making H20 seem unoriginal.

Let this be a lesson to those considering doing a sequel to a classic horror film. Let all great murderous maniacs stay where they belong. Running rampant within our imaginations. Don’t tarnish the memory of a great film by devising an unworthy sequel!

This is one of my favorite Allhallows Eve movie to watch any time and any night. The characters are so funny, smart, scary, and taking advatage of anything in this movie. My favorite characters in this movie ar Josh Hartnett, Jamie Rose Louise Hovick Curtis, LL Cool J, and Jodi O’ Keefe. Micheal Myers is noneffervescent my deary killer on the Hallowe’en movies……

who killed microphone myers or why does he require to defeat.

Brilliant horror which despite being repetitious delivered one last definitive to the line of Halloweens.

Jamie Lee Curtis is so haggard and sad in this photographic film that I found that the most scary thing about it. Michael Myers couldn’t measure up

True Hallowe’en H20 isn’t a clasic, but I liked the idea of bring back Jamie Richard Henry Lee Curtis.

The newfangled vampire thriller 30 Years of Night (based on a graphic novel of the like name) sort of does for the blood mug what 28 Days Afterward did for the automaton. This tense (and black) horror jerk takes place in Wheelbarrow, Alaska during a xXX day stretch of complete and utter darkness. When a pack of merciless vampires ascend on the town, it spells certain doom for the locals who repose there.

A small mathematical group of survivors attempt to make it through alive, but will they be able to fend off the evil of the night for an intact month? 30 Days of Night was directed by the gifted David Slade who, simply two days ago, took tension to new high with his stunning debut Hard Confect. Here, Slade has the benefit of a bigger budget and he makes the almost of it. The cold, dire, isolated surroundings bring to mind the locales in the brilliant re-imagining of The Thing, and John Carpenter is simply one of several writing style masters Slade appears to be tipping his hat to. The vampires that terrorize in this film are not the debonair, erotic beings of Interview With a Vampire and Dracula. The blood suckers in 30 Days of Night are brutal, evil killing machines who often like to taunt their victims before going in for the kill.

Leading the pack is Marlow (a darkly playful Danny Huston, an ancient lamia who looks German simply speaks with a native American accent. Bizarre. There’s nothing bizarre about this blood sucker’s hunting methods however. When he locks in on his target, he means business. On the human side of the proceeding, we have Josh Hartnett and Genus Melissa George as an alienated married twosome who moldiness come together in the face of absolute horror. The trouble is, there is virtually no chemistry between the two and when we come to the rather dark end of this bleak fib (an death which appears to be plucked from Guillermo del Toro’s Blade 2), a pivotal scene that’s supposed to rescue an emotion punch, drops to the ground without an ounce of plasma flowing through it.

Thankfully though, most of 30 Days of Night kit and caboodle it’s black magic like a charm. It’s a gritty, down and dirty thrill drive, and it’s most play when Slade loosens up and rafts on the gore. One sequence in particular (it features a tractor) is a splatterific crowd pleaser. 30 Years of Night is a tad too long (some scenes in which the townsfolk ar seeking out new hiding places, go a teeny bit repetitive) and a little more than character depth would possess been nice. Having aforementioned that, 30 Days of Night delivers the goods more oftentimes than non. It’s creepy and atmospheric and clearly fashioned by a fan of the genre.

Girlfight is, in my opinion, among the more over-rated films of all time. What I expected to be a well directed, acted and paced film is woefully none of the above. From newcomer Michelle Rodriguez unitary note sullen glare performance, to the most obtuse fight footage ever passed off in a feature film - this film offers none of the magic that critics have got hyped it to possess.

We begin as Rodriguez is on the brink of being expelled for fighting. Living in a Brooklyn ghetto and with a stalemate life, an alcoholic father, no mother and a weak-willed brother. For some contrived reason she is required to go to the boxing gym where her chum (Ray Santiago de Chile) trains and in so doing get the notion that combat (in the ring) power be the answer to her troubles at school.

I will admit that Rodriquez has a few impressive dramatic moments, simply please, please trust me, there’s no other grounds to go see this limp excuse for the female Rocky - Roxie it’s non. Rodriguez is extremely convincing as a girl wHO can box. I’m non questioning this, she volition make you believe she’s capable of stepping in the ring with boys. But the fight footage is so unbelievably inept that it absolutely K.O.s any probability this photographic film had to succeed.

Although first-time writer and director Karyn Kusama spent 5 years preparing this project, the script is significantly underdeveloped and the footstep is so painfully unenrgetic that I can’t reckon what she was doing during all those five-spot years. Manifestly not perusal footage of fighters in the ring.. Only in a dramatic confrontation scene with her father, in which she tells him, "Everything I cognise about losing I learned from you, Dad," does the movie get much emotional impact.

The gym features lots of clichéd signs ("Champions are made not born." "Winners never quit, and quitters ne’er win."), even though the flick wants badly to be taken as something more profound and pointed than just some other Rocky Balboa story. All the same, the flick is one-idea story — girl rather than boy fighting her way out of squalidness — that never gets fleshed out beyond its concept. Non only is it verbose and formulaic, but the build up to the climax, the climax and the post-climax are just awful. The film is literally emended down to nothing. And nothing is what I came away with.

First and Formost , Michelle Rodriguez can play a badass pretty well, i dont know how far that’ll get her though . the Movie to be fair i’d give it a B+, if it toned the cursing a picayune . I liked it!

Novelist John Irving adapts his own best seller about an orphan wHO ventures outside his house hoping to find himself in the real world. Cider House Rules besides strives to make significant comments on abortion, and does so with a lot of class and without beingness pretentiously preachy.

Tobey Maguire plays orphan Homer H. G. Wells as a pure, sweet innocent, and although he isn’t always up to the dramatic challenge, this is a role that perfectly suits him. The film is expertly acted by all involved, merely the standouts are Michael Caine as Homer’s father figure and Delroy Lindo as a sympathetic sodbuster.

Lasse Hallstrom (What’s Feeding Gilbert Grape) directs with a sure hand and was the perfect choice to helm this emotionally moving plastic film. As in his past efforts, he shows a tremendous ability to make with actors and put forward almost perfect chemistry betwixt all the characters. True, Cider House Rules has moments that are quite manipulative, simply Hallstrom and Irving are able to pull this film off with some truly powerful storytelling.

With breathtaking motion-picture photography, stellar performances, a beautiful score by Rachel Portman, and all around great film-making, Hallstrom and Irving have fashioned one of the most pleasant and surprising films of 1999. See this gem before it’s gone and watch for it on my revised Best of 1999 list!

Sam Honey oil and Bill Siegel have created this informative documentary about The Weather Resistance, a resistance formed primarily by upper-middle-class college students, during the Nixon governance. This unionized group would do what ever it took to put a stop to the Annam War. This included committing acts of violence to get their point across.

Most of the film is comprised of exhibit day interviews and existent Weather Ground rally footage. The Endure Underground is a captivating perspective on Vietnam, although I’m sure there ar many out there that would happen this flick and it’s focus un-American. Of course, freedom of speech and freedom of expression are two of the things that make this res publica so outstanding.

I ground The Weather Underground very educational and interesting in it’s depicting of a group of men and woman world Health Organization would commit violence to stop violence, and while that may seem like a ludicrous notion, it’s something that’s been going on for years and years.

While I scarce agreed with many of the methods put forth by this spirited group, I look up to their sentence. And piece I don’t feel they were justified in many of their actions, they were doing what they felt was right in really coloured times.

The Weather Resistance is a terrific history lesson, and an law-abiding piece on what some people were willing to give up to make this reality a punter place to live in.

On a side note of hand, there is one while of archival footage in this impression that features Dustin Malvina Hoffman standing at the scene of a bombing.

Such a tough movie to find - but do yourself a favor and find it - it’s that important!

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Norbit is an larger-than-life turd. A colossal failure of epic proportions. If this description of Eddie Murphy’s modish film sounds familiar, that’s because I used the same words to depict Epic Pic not simply two weeks ago. And you know what? Pound for pound sign, Norbit mightiness even be worse than that unfunny opus? Wherefore? Well for starters, this flick is a half hour thirster.

In Norbit , Murphy opts to do something we’ve never seen him do before (yes, I’m existence facetious) play multiple roles in a single motion picture. The elemental role is that of Norbit, a nebbish orphan who grows up to marry the woman of his nightmares (an staggeringly heavy sic woman named Rasputia (ha ha) –also played by Murphy). His life is shaken up a bit when a girl from his youth (played by Thandie Newton, in a completely unappreciated role) comes back to town and announces her engagement to a serviceman (played by Cuba Gooding Jr.) world Health Organization may or may non actually passion her. When Rasputia discovers that Norbit may noneffervescent have unanswered feelings for this charwoman from his past, she wastes no time in making his life a living hellhole.

Norbit is quite simply an awful film. It’s unfunny, uninspired, unoriginal, and extremely offensive. I remember folks organism up in arms when The Farrelly Brothers released Shallow Hal back in 2001. "It’s humiliating towards stoutness people" folks said. I remember thought how laughable that was. Shallow Hal may not be the definition of classic clowning, but it’s message about loving the great unwashed for world Health Organization they are on the inside, came through gaudy and pass. Norbit by comparison is making jokes at the expense of obesity. Most every moment Rasputia is on sieve, we are supposed to laugh at her because of her size. We get shots of her barreling down water slides, scenes in which she tries to squeeze into tiny automobiles, and one horrific moment in which she drives a miniature show pony to tears by all but equitation it into the ground.

Eddie Spud has made the multiple role shtik work in front (most successfully in Orgasm to America –his Jewish barber bit is genius), but here, it always feels like Murphy is overacting. When I reckon at the annoying monster that is Rasputia, I simply see Murphy pushing for laughs that never materialize, following in the footsteps of the similarly lame Martin Lawrence vehicle "Big Momma." What’s more than, there isn’t anything remotely human about any of these characters. Love or hate his Nutty Prof films, thither was a kind of sweetness at the center of those movies - particularly in the way of life Murphy played the lovable Sherman Klump. Klump came across as a real guy and I cared about him. I didn’t care about anyone in this pictorial matter, granted that would own been fine if the movie were funny, but believe me, it isn’t.

The real star of Norbit is make-up personal effects wizard Haystack Baker (An American Loup-garou in London) who, despite Murphy’s amazingly uninspired carrying out, manages to make the comedian see like a four hundred and fifty dollar bill pound female version of Eddie Spud. Murphy also plays an elderly Asian man, and while that make-up is equally astonishing, it all goes for naught amid this unfunny, unoriginal embarrassingly bad apologize for a comedy.

Norbit is all the more disheartening approach on the heels of Murphy’s life history revitalizing turn in the form of Dreamgirl’s William James Early. It’s just sad that he followed up that with this, merely then, it should be noted that Norbit was already shooting before Murphy hopped on base the Dreamgirls Oscar train, so hopefully this isn’t an accurate forecast of what’s to come for the undeniably gifted Irish potato. With Dreamgirls Murphy demonstrated the genial of seriocomical promise, that would jumper lead one to hope that he english hawthorn, to some degree, start taking the kind of roles that could track him down a interchangeable career way that fellow SNL all-star Bill George Gilbert Aime Murphy has spun into such a solid second-wind. The talent is there, the question is whether he can shun his wonted 8 digit paycheck (as he did for Dreamgirls) in favor of projects that would enable him to receive out just now how recondite his performing talent runs. Would that we get the opportunity to find out. While I’m off in Never-never land, how would it be to see the deuce comic legends Murray and Murphy together in some sort of Midnight Run/Silver Streak kind of reluctant buddy road caper?

As for Norbit, it may very well be the worst plastic film of Murphy’s career - rivaling even The Haunted Mansion, Charles Herbert Best Defense, Beverly Hills Pick up III, and The Dr. Doolittle films (I didn’t mention The Adventures of Pluto Nash because, think it or not, I never actually saw it). Let us hope that Dreamgirls will inspire Potato to move in a new direction and take some chances, because if the Bill Condon melodious proved anything, it’s that this one time comedy king motionless has plentifulness of succus left in him. I’m just departure to dissemble that Norbit never happened.

Earlier this year proverb the firing of Muppets from Space, a plastic film that started off quite funny, and became more than tedious as it went along.

Now, Henson Pictures brings us Elmo’s first base big screen adventure (Elmo is the all also cute, red River, furry beast from Benne Street.)

Adorable little Elmo passes his days playing and breakage into strain until his best booster Blanket gets sucked into the perilous world of Grouchland. Elmo spends nearly of the film in search of his chum.

As usual with Henson films, Elmo teaches various lessons to kids. The importance of friendship and the disconfirming effect of selfishness ar just 2 of the themes that flow passim.

I can appreciate this film from a child’s standpoint, only like in Muppets From Space, Elmo begins to wear itself thin, due to a slow pace and some very annoyance songs. It also lacks the muriel Sarah Spark and energy of early muppet films. Still, this is a well-intentioned picture that I expect will keep the kids immensely entertained.

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"Beauty is in the optic of the beholder," an old theme perhaps, but with Shallow Hal the Farrelly Brothers have got used it to build an outstandingly restrained and effective film. The brothers are well known for their raw and raunchy trademark humor, (King Peg, There’s Something About Madonna) and patch Shallow Hal certainly has it’s funny moments, it’s at it’s heart, a romance.

Jack Black (High Fidelity) is Hal, a man whom, due to the advice of his father, is unacustomed to looking at a lower place the surface of a woman,. If they’re non skinny and hot, he doesn’t give them a second thought process. Things change however, after his come across with motivational speaker Tony Robbins (a real life pep verbaliser), who, through the powers of suggestion, changes Hal’s perspective. Right away, whenever he looks at a fair sex, he sees their inner beauty. As a resolution Hal soon falls hard for Rosmarinus officinalis (Gwyneth Paltrow), a gratifying, insecure, obese creature wHO isn’t used to organism treated as a goddess. Of course Hal doesn’t see the cellulite, just rather the beauty of this wonderful person for who she is on the inside.

Quite accidentally, the Farrelly’s have non made a movie full of mean fat jokes that the trailer suggests. Shallow Hal is astonishingly empathetic, showing us how ridiculously superficial our order is when it comes to appearances and other topics such as citizenry with diverse handicaps. This isn’t to say that Shallow Hal isn’t suspect. After all, what would a Farrelly Brothers moving picture be without jokes. The difference here is that the sense of humour is derived from situations. None of the gags come across as contrived.

We see Rosemary from Hal’s view through around 90% of the celluloid (aside from quick glimpses throughout the picture) which really makes this experience more effective. When Paltrow finally dons the fat suit, we’ve gained such a exhaustive understanding of who she is on the inside, that we can look at her in the same fashion as Hal. This isn’t a juicy woman, she’s an passing attractive human being.

Paltrow gives a wonderfully physical performance. Her mannerisms and movements propose that she really is overweight even before she’s buried at a lower place all that latex in the film’s final act. She doesn’t play this part for laughs. This is a sweet, harmonic performance full of trunk and heart. Black is a revealing. This guy rope has already shown that he rear steal a movie (hear High Fidelity). He even has a brilliant comedy/rock album in which he is parting of a comical couple called Coherent D. While Black cruises through Shallow Hal strutting his stuff, he never comes across as scratchy or obnoxious. Actually, he’s very queer and regular charming in the function of a guy world Health Organization has a most unusual awakening.

With Shallow Hal, the Farrelly’s haven’t set out to make another broad and irreverent drollery. They’ve already done that. This time out, they’ve tried something a small bit different. This picture is sugared, charming and even touch. With terrific turns by Black and Paltrow and a lightsome touch supplied by the Farrelly’s, Shallow Hal is a long ton of well-intentioned fun.

HORROR-FEST 2005

LINE-UP

Yes, Horror-Fest 2005 is occurrence. It’s just taken us a little longer than usual to get everything together as the concluding couple of months have be in truth hectic. And before acquiring to the line-up, I’d like to wish our very own Boneman a healthy and speedy recovery. He just returned from back operation. He’s a quick therapist though, so he should be plenty healed in time for Horror-Fest. Also, a well-chosen birthday to Zboneman.com. We’re five-spot years old this month.

Firstly, we’d like to thank The Electric Theater, Westates Theaters, The St. George Motion picture Society, Eden Music, The Independent, and Field of Screams for helping us put this together. As well, a particular shout out to our friends and colleagues at thehollywoodnews.com for all their help and support.

This year, Horror-Fest testament, once over again, take place in lovely St. George VI, UT. There’s nothing quite like having a festival in a small town, particularly as pleasant as this one. It doesn’t have the congestion of bigger cities and offers up that sort of tight knit charm that only a smaller ithiel Town can offer - in any case all horor films train place in small towns!. And if anyone does plan on coming in from out of townspeople, know that St. George IV is merely a few short hours drive from Cedar Breaks, Bryce and Zion National Parks, and only an hour and forty five minute drive from Las Vegas. So make a vacation of it.

This year, Horror-Fest will take place on October twenty-first and 22nd . Take notation that this is iI weekends ahead Halloween. The event volition be hosted by St. George’s very own Electric Theater and Westates. Through the class of the fright filled weekend, we will represent to you nine thorn tingling repulsion films and four rockin’ bands.

The catch here is, we aren’t loss to say you all the picture show titles, only we will give little hints. So if you’re a hardcore horror film junkie, chances are these hints will be enough. We’d as well like to note that every film we’ll be screening at The Electric Theater, volition be disengage. You can’t beat that.

FRIDAY October 21ST AT THE Electric THEATER

NOON - SURPRISE Screening (FREE)

This mid 80’s chiller was an enormous hit and launched the career of one of the all time great cinematic psychopaths. It too proved to be a springboard for an player who would go on to much bigger things. Trust us when we tell you, this will be the perfect way to open Horror-Fest 2005.

2:00 P.M.-SURPRISE Cover (FREE)

Our second screening is besides from the 80’s, but cut from a identical different cloth than our first screening. It’s bloodstained, audacious as all snake pit, and passing funny. As was the case with Evil Dead 2, this is the sort of film that has you laughing one second, and turning your head the next.

4:00 P.M.surprise SCREENING (Free)

I’m really excited about this particular screening as it is easily one of my favorite horror films of all time. I’d rank it in the top five. It has a couple of gruesome sequences early on that still make me cringe, merely it is the sprawling scope and smart writing that make this late 70’s repugnance epic hang glide. Final wind; it’s one chapter in a series of films and there was a remake (an inferior one I power add).

6:30 P.M.surprise SCREENING (Dislodge)

This 70’s classic is just around the perfect film to show at this festival. Let’s simply say it’s all overly fitting. It was directed by one of our all clip best horror film directors, and delivers the goods with a surprisingly small amount of blood.

8:30 P.M.surprise SCREENING (Absolve)

Okay so I’m non going to lie. Near of the films we’ve thrown together for the first clarence Day of Horror-Fest are for purely selfish reasons. It’s because we personally love them so much. Just it should also be noted that these movies are popular with horror fans all over the world. They’re not incisively what one would call guilty pleasures. Our last Electric Theater screening of the day is a guilty pleasure-BIG TIME! This is one of the funniest horror/comedies that most of you have believably never heard of. As far as I’m concerned, it is the original "Chilling Movie". It’s juvenile and immature, but I’ll be damned if I don’t crack up every sentence I watch it. Catch ready to laugh.

FRIDAY OCTOBER 21st AT WESTATES STADIUM 8 THEATER

11:59 P.M.-THE Exorcist ($4.50)

As you can ascertain, this is no surprise screening. The Exorcist is one of the all time dandy horror movies, there’s no doubt about that. We actually screened William Friedkin’s masterpiece at our first Horror-Fest quaternity years ago, but we received quite a few e-mails request us to screen it this year. So, I guess you call The Exorcist our audience pick screening. For those of you who’ve seen it, it static holds up after all these years. For those few world Health Organization haven’t seen it, it’s an have you don’t want to miss. It’s unforgettable.

SATURDAY OCTOBER twenty-second AT THE ELECTRIC THEATER

FAMILY DAY

11:00 A.M.-SURPRISE Screening AND KIDS’ MASQUERADE Egg (FREE)

Don’t let the "Family Day" title fool you. While the next deuce screenings ar family approved, they still contain a "horror’ element. The first cover is from the 90’s and has become a classic through the age. It’s a visual stunner, has a great sense of humour, and features truly inspiring musical book of Numbers. While kids love it, it’s by and large adults world Health Organization speak of it’s brilliance. You don’t want to miss this. And for the little ones in the interview, make sure you come in costume. We’ll receive treats for you.

1:00 P.M.surprise SCREENING (Rid)

Our final Electric Field screening of Horror-Fest 2005 is a perfect please, particularly if you’re afraid of creepy crawly things. This early 90’s flicker walks that fine line between shuddery and funny and again, it’s a film that the whole family potty enjoy.

SATURDAY OCTOBER 22nd AT THE ELECTRIC THEATER

7:30 P.M.AN EVENING OF LIVE Music ($11)

An evening of live music will be headlined by punk banding The Higher. Formed in Las Vegas, The Higher are well on their way to stardom. They’ve already developed huge followings on the west coast and continue to maturate in popularity. Opening the show ar three up and coming bands; Nural, Paint By Numbers and Still Life Projector. If you’re into rockin’ out live, you won’t want to miss it. The Higher played Horror-Fest last year, and they were a giving hit. Expect them to be bigger this year.

SATURDAY October 22ND AT WESTATES PINEVIEW STADIUM 10 THEATER

11:59-BEETLEJUICE AND Masquerade costume BALL ($4.50)

So Beetlejuice isn’t exactly a horror picture, but it fits in perfectly with the Hollywood theme, and we’re excited that it’s our final screening of Horror-Fest 2005. Tim Burton’s ghoulish comedy features a zany Michael Keaton as the title character. A hilariously play time and a perfect note to go out on. Beetlejuice will be preceded by our Masquerade Ball. Be sure to come dolled up up. We’ll offer up prizes for best male and female costume.

PRICES

The Exorcist-$4.50

Beetlejuice-$4.50

An Even of Resilient Music-$11

All Access Fright Pass-$17 (While supplies last)

All Access Fright Passes on sale now at Nirvana Music, 56 E. Tabernacle, St. Saint George UT, 84770.

(435)674-4993

All Electric Theater plastic film screenings are free.

Horror-Fest 2005 will take topographic point in St. George UT on October 21st and 22nd.

The Electric Field of operations is located at 68 E. Tabernacle, St. George IV UT, 84770. (435)688-SHOW.

Westates Arena 8 is located at 1091 N. Bluff St., St. George UT, 84770. (435)673-1994

Westates Pineview Arena 10 is located at 2376 E. Red Cliffs Dr., St. George UT, 84770.

Whether you’re from St. George or from out of town, we hope to see you there. This is going to be our most terrifying Horror-Fest yet.

The Ring, May, Jacobs Ladder - non necerelly in that oder.

I’m new to the area, so I don’t know what you’ve shown in the past, but it seems like the original Halloween would be an obvious choice. Other ideas would be American werewolf in London, or like the Exorcist and the Portent, or even Rosemary’s Baby.

Hey Hug drug what’s occurrent?

I’m a "Atomic number 47 Bullet" fan. I’d love to see it on the big screen. Has the Horror Fest Little Competition been scrapped. Did you exactly wrap it all up in the lla Comp.? I’ve got "Branding iron…ic Horror 2 in the works" It’s gonna be beneficial!

Shaun

Adam how about some old hooey like Specter, Hellraiser, or Halloween

A spell back you guys started up a thread around the moving-picture show The Island. I happen to be a great fan o that unrivaled myself and it would be a cool litte treat to add to your festival

Clark, Justin, and Bruce,

Thanks for the suggestions. A couple of the titles you’ve mentioned are a distinct possibility. We’ve always strived to bring in older titles. We’re truly interested in showcasing movies that many of the younger herd haven’t had the opportunity to see on the big covert.

Jim,

Thanks a lot for the imput. This is our fourth year and some of the titles you mentioned, we have shown in the past. We screened The Exorcist the first yr. The Prognostication showed last year. I’m a brobdingnagian fan of both pictures as well as the other two you mentioned. We’re still working on the line up so we’ll see what happens.

Shaun,

What’s up man? We’re completely open to whatever shorts that come our way. If you receive something, merely let me know. We’re hoping for a decent Guerilla Picture Competition turn out as well. Non to stroke your egotism, but you know I’m a large fan of Iron…ic Horror. I’ll be first in agate line for the sequel. Silver grey Bullet. Interesting choice. Fun movie. Sorting of a guilty pleasure for me. I didn’t enjoy it as practically as American language Werewolf in London and The Howling, but it still has a peculiar place in my inwardness. Anyway, I hope to see you at The Guerilla Plastic film Competition and Horror-Fest.

Adam

WHAT ABOUT YOUR MAGIC Sock PUPPET Show ADAM?

Don’t worry about the well old windsock puppet show Tyson. It’s going down! You’ll view.

What’s with all the secrecy - dudes, I want to know what’s playing and I’ m not some sort of movie whizz - what’s with that?

I agree - perhaps on the website you could clue us in a bit. People arrive at plans you know.

Hello everyone. I just wanted to offer up a special thanks to all those wHO supported Horror-Fest 2005. It was a great time and I’m already looking forward to next twelvemonth. Halloween and the slight seen 80’s gem Scholar Bodies were certainly the highlights. Thanks again and have a happy Allhallows Eve.

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