With Thanksgiving just gone now is the perfect time for horror fans to check out Brett Glassberg’s twisted holiday horror film DERELICTS.
Written by Glassberg, Andre Evrenos and Clay Shirley, ‘DERELICTS’ introduces us to a dysfunctional family on Thanksgiving Day. From the over-sexed grandparents, to the squabbling siblings and an emotionless husband who seems uninterested in touching his wife – all appears normal for this particular household. That is until a gang of vicious vagrants invades their home, not only to cause havoc, pain and even death but also laying bare everyone’s faults and inhumanity while exposing some deeper family secrets along the way.
Produced by Udoy Rahim and co-produced by Mark Newton and Matt Stryker, ‘Derelicts’ premiered at the Telluride Horror Show Film Festival in 2017. During its festival run the film received praise from critics, including Modern Horrors who referred to the film as “A visual feast of sex, violence and insanity” and Killer Horror Critic who stated, “Derelicts is the Thanksgiving horror film to end all Thanksgiving horror films.”
Thanks to Terror Films fans will have an opportunity to watch the film just in time for the Thanksgiving holiday. ‘Derelicts’ will premiere on the Kings of Horror channel Friday, November 13th which will include a live chat with the filmmakers and some of the cast. The film will remain on the channel for a 6-week exclusive window before hitting multiple digital platforms beginning Christmas Day.
Below Derelicts writer and director Brett Glasberg talks about his favorite horror film:
“Phantom of the Paradise might seem an odd choice for a favorite horror movie at first. For one thing, it could be argued that it isn’t exactly scary in the traditional sense. In fact, there’s not much about this movie that could be called “in the traditional sense”.
Brian de Palma’s Phantom of the Paradise is not an easily categorized film; a bizarre blend of music industry satire, pop art visuals, and glam rock horror-musical. In some ways this makes it perfect fodder for de Palma’s image breaking style. The split screens and split focus shots, that were so prominent in his output of that period, were a perfect complement to the schizoid nature of the movie.
The film itself is a paranoid journey of art vs. commerce played against a fantasy version of the music business landscape of the mid-70s. Composer Winslow Leach (de Palma regular William Finley) is the hero and lens through which we see this warped world. His music stolen, framed as a criminal, and mutilated in a record press; Winslow seeks revenge by becoming the mysterious figure who haunts the newest music venue in town.
Equal parts Phantom of the Opera, Faust, and The Portrait of Dorian Grey; the movie eschews any illusions about subtlety. This film goes big: Big emotions and sets evoking Xanadu (the home of Charles Foster Kane and the Olivia Newton-John musical). The film plays in an operatic gothic horror tradition.
Other movies whisper. This movie shouts!
And by the time the final shot rolls (A God’s eye-view of a small tender moment consumed in bacchanalian excess), if you’re like me, you may also come to the conclusion that subtlety is often overrated.”
Check out the trailer for Derelicts below: