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Brian Yuzna's Filmography (2020)
This book contains the synopses and reviews of the darkest films in Brian Yuzna’s filmography. The movies are ranked.
The Pope
A Catholic parish in present day California is plagued by a serial killer who disguises himself as the Pope and slays pedophile priests. Is he a homicidal maniac or is he actually fulfilling the Ascension Protocols of an ancient organization of the faithful? The answer lies in Gill Stillwell's story, the San Simone parish file clerk who dons the Papal garb and rubber mask and rains vengeance down on the corrupt clergy. It is a story that is also told through the violent and parallel struggle of a young boy in 1400 a.D. Rome who began the ancient Order of Octavius to battle corruption. These two stories collide in present day San Simone with the arrival of the mysterious Father Argus, an envoy from the Vatican. But is Father Argus trying to stop Gil or recruit him? The ultimate answer is only revealed in the aftermath of the Popes final bloody telekinetic assault, a supernatural blood bath that leaves a trail of guilty bodies in its wake.
Subversive Horror Cinema
Horror cinema flourishes in times of ideological crisis and national trauma--the Great Depression, the Cold War, the Vietnam era, post-9/11--and this critical text argues that a succession of filmmakers working in horror--from James Whale to Jen and Sylvia Soska--have used the genre, and the shock value it affords, to challenge the status quo during these times. Spanning the decades from the 1930s onward it examines the work of producers and directors as varied as George A. Romero, Pete Walker, Michael Reeves, Herman Cohen, Wes Craven and Brian Yuzna and the ways in which films like Frankenstein (1931), Cat People (1942), The Woman (2011) and American Mary (2012) can be considered "subversive."
The Pleasure and Pain of Cult Horror Films
The horror genre harbors a number of films too bold or bizarre to succeed with mainstream audiences, but offering unique, startling and often groundbreaking qualities that have won them an enduring following. Beginning with Victor Sjostrom's The Phantom Carriage in 1921, this book tracks the evolution and influence of underground cult horror over the ensuing decades, closing with William Winckler's Frankenstein vs. the Creature from Blood Cove in 2005. It discusses the features that define a cult film, trends and recurring symbols, and changing iconography within the genre through insightful analysis of 88 movies. Included are works by popular directors who got their start with cult horror films, including Oliver Stone, David Cronenberg and Peter Jackson.
The Pope
It is the story of one young man's struggle for faith in a culture of corruption, his descent into despair and violence and his redemption within the tenets of a secret society that was created in the dungeons of "Castel St Angelo" (Rome, Italy) seven hundred years ago. It is the story of a serial killer, of a tortured psycho-killer and of a striver after truth who is inducted into an ancient order to become one of the legendary Mortal Archangels. A Catholic parish in present day California is plagued by a serial killer who disguises himself as the Pope and slays pedophile priests. Is he a homicidal maniac or is he actually fulfilling the Ascension Protocols of an ancient organization of the...
Cult Filmmakers
What makes a cult filmmaker? Whether pioneering in their craft, fiercely and undeniably unique, or critically divisive, cult filmmakers come in all shapes and guises. Some gain instant fame, others instant notoriety, and more still remain anonymous until a chance change in fashion sees their work propelled into the limelight. Cult Filmmakers handpicks 50 notable figures in the world of cinema and explores the creative genius that earned them the 'cult' label, while celebrating the movies that made their names. The book features both industry heavyweights like Tim Burton and David Lynch to the strange and surreal imaginings of filmmakers such as Alejandro Jodorowsky and Ana Lily Amirpour. Dis...
Dark Visions
THE MAESTROS OF CELLULOID TERROR The lights dim. The giant screen flickers. And suddenly our most gruesome and ghastly nightmares come to blood-chilling life before our eyes. From filmmakers whose macabre images haunt our dreams to actors and make-up artists who conspire to create monsters, twenty-two brilliant purveyors of cinematic dread usher us into their unique world of shadows and terror-sharing with us the secrets of their remarkable craft: the visual art of fear. Featuring interviews with: Clive Barker, John Carpenter, Larry Cohen, Roger Corman, Wes Craven, David Cronenberg, Robert Englund, Stuart Gordon, Gale Ann Hurd, Michael Mcdowell, Caroline Munro, William F. Nolan, Vincent Price, Sam Raimi, George A. Romero, Paul M. Sammon, Tom Savini, Dick Smith, Joseph Stefano, Stan Winston, Kevin Yagher, and Brian Yuzna
Untold Horror
Insightful interviews of horror legends George Romero, John Landis, Joe Dante, Brian Yuzna, and more, by former editor-in-chief of Rue Morgue, Dave Alexander, about the scariest horror movies never made! Take a behind-the-scenes look into development hell to find the most frightening horror movies that never were, from unmade Re-Animator sequels to alternate takes on legendary franchises like Frankenstein and Dracula! Features art, scripts, and other production material from unmade films that still might make you scream--with insights from dozens of directors, screenwriters, and producers with decades of experience. Featured Interviews With: George A. Romero John Landis Joe Dante Vincenzo Natali Brian Yuzna William Lustig William Malone Buddy Giovinazzo Tim Sullivan Richard Raaphorst Ruggero Deodato Jim Shooter Bob Layton David J. Skal
Produce Your Own Damn Movie!
Often low-budget filmmakers get thrown into the position of being not only the director, but their own producer. Using tips from the finest washed-up has-been producers in the business, this book will give the low-budget filmmaker practical tools for getting a movie shoot started, and keeping it going until it is supposed to end. From budgeting concerns to production-damaging acts of God, all will be discussed.
The Politics of Popular Representation
These, together with the emphasis on individual responsibility for health and material security - not to mention resurgent machismo and a restored belief in the natural and unnatural - help to explain the health disaster experienced in the United States, United Kingdom, and elsewhere. A review of English-language cinematic entertainment of the eighties reveals that the health crisis was scarcely alluded to, although such values as those of militarism, masculinity, and family loyalty were addressed - whether supportively or critically. It is the argument of this book that the HIV virus and AIDS are approached, if at all, only obliquely, particularly within the genre of the horror film, and especially through those films dealing with corporeality or with lethal challenges to the traditional nuclear family.
