What if the horror movies we watched were real?
For Abbie Bladecut, the "teen disposal" business has kept her family's video rental store thriving for years. But as the first female in her family to assume the role of slasher, Abbie struggles in the male-dominated world of mass murders and quickly realizes that the job is more than just harmless scares.
BLOODY AXE WOUND is a meta horror-comedy centered on a young woman, Abbie Bladecut, trying to make her mark in the horror business. The world of our series is punctuated by contrast, suburban banality and workplace humor mixed with frenetic (yet fun) hyper-violence.
Scroll down to read more about this feature film currently in development.
Abbie Bladecut is a loner and a rebel; she’s quick and crass, bold and impulsive. She lives at home and faces constant friction with her adoptive father, Roger, the iconic machete-wielding superhuman from the Bladecut horror franchise and owner of Real 2 Reel, a modest home video rental store.
As it turns out, Roger and others like him actually create the content that they purvey to the masses. Horror movies are real, like really real. And with Roger nearing retirement, the machete needs to be handed down to keep the family business going.
Over the course of the film, Abbie must continually deal with the antiquated ways of the slasher, a blue-collar boys club that has often excluded those who are not male or white, of which Abbie is neither.
Abbie is forced to exploit her youth and femininity by having to infiltrate the high school her victims attend. She is helped by her friend Glenn Cornfeld, an aspiring actor looking to get screen time in the Bladecut films, and seamster at the Dry Cleaners located next door to Real 2 Reel.
As she spends more time with her victims, she begins to realize that these teens are not one-dimensional archetypes. Abbie grows particularly close and begins to develop feelings for one of her victims-to-be, Sam Crane, a tough-as-nails teen and drummer in a band. The two share a love of punk rock, pizza, petty crime, and eventually, one another.
Sunita is an actress, dancer and comedian. She is best known for the role on the critically acclaimed USA Network television series Mr. Robot. Mani was recently cast in the Netflix series G.L.O.W.. Her other credits include Search Party, Don't Think Twice, Stinking Heaven and the Lil Jon - Turn Down For What music video.
ASHLEY BARNHILL as Sam Crane
Known for her dark and compact one-liners, Ashley has made a name for herself on the stand-up circuit, recently touring with both Dave Chappelle and Marc Maron. She has also performed at Funny or Die's Oddball Comedy Festival, Montreal's Just For Laughs Festival, and SXSW. Barnhill was a featured narrator on Comedy Central's Drunk History and a Top 10 Finalist in Ben Affleck and Matt Damon's Project Greenlight.
HORROR - A THRIVING GENRE
BLOODY AXE WOUND will be an independently-produced film that will tackle themes of sexism, gender roles, genre convention, and media portrayals of violence, with heavy doses of comedy thrown in.
When it comes to independent productions, there are a wide range of movies that fall into this category. The most recent example, Jordan Peele's Get Out, is a socially-conscious horror-thriller that has enjoyed both critical acclaim (100% on RottenTomatoes) and an opening weekend box office of 30M+. Other such films include Deathgasm, The Witch, Tucker and Dale Vs. Evil, and You're Next, all of which enjoyed both critical and commercial success.
With big budget Hollywood pictures commanding most of the box office each weekend, independent filmmakers are searching for an answer for how to make films that will see a profit. It is the horror film that has survived a constantly evolving film market. Fans of the genre from around the world continue to support projects that intrigue them, scare them and make them laugh.
With a modest budget, combined with name talent and a crew of long-time collaborators with a proven track record, the BAW is team is strategically aligning the film for a successful festival run and distribution deal, thus increasing the chances of turning a healthy profit.
BLOODY AXE WOUND is a small-budget film built on big ideas. The film will serve as both love letter and constructive critique of the horror genre and those who patronize it.
With a core crew and star already in place, we are slated to begin production in Summer 2017 in New Jersey. Locations include sketchy strip-malls in a most squalid state, desolate lakeside cabins where knife-wielders lurk, and homes and neighborhoods of general suburban vapidity.
Though heavily steeped in beginnings of the VHS boom, the film will not be able to date itself as the aesthetic will serve as a seamless mix of modern and retro, an alternate universe which will celebrate a past popular culture and technology while embracing a contemporary, stylish vision all its own.
The film will be punk rock in its energy and ideology and comedic in its sensibility and approach.
BLOODY AXE WOUND will be a film that features a diverse cast and crew with regard to race and ethnicity, gender, and sexual orientation.
In the vein of the most celebrated horror films of the 1980’s, the film will rely heavily on practical special effects and makeup (i.e. little to no CGI!) to give both a physical authenticity and nostalgic quality to the film.
We want to make a self-aware, not self-possessed, horror film that fully realizes the opportunity our community has in becoming a more inclusive and diverse genre. And we want this approach to be cleverly concealed in an insanely fun audience movie. A film so referential it pleases the horror hounds, yet can work equally well with individuals who rarely engage with a splatter flick.
We want to hear laughs, screams, cheers and dry heaves in equal measure. We want to honor the humor while pushing the profane. Ultimately, we want to push and play with formula, to illuminate and challenge convention, to further realize the possibilities of the genre and to entertain and enthrall the audience.
We want this to be the sleepover film for sneaky pre-teens, the Friday-night-mall-movie for real teens, and the "beer and some pizza flick" for the rest of us. We want the film to be instantly quotable, compellingly shareable, and unerringly hilarious and graphic. We want this to be the DVD two combatants in a dissolved relationship fight over when the house (or apartment) divides. We want people, the audience, to feel like this is their movie as much as it is ours.
This is what we want.
MATTHEW JOHN LAWRENCE - Writer & Director
A native New Jerseyan. A subversive cinephile. A hater of cats.
Some have called Matthew "brilliantly funny and handsome."*
Others have simply referred to him as "my son."**
One thing cannot be disputed: People call him things.
Matthew writes and directs micro-budget comedies of a surreal nature, infusing the absurd and offbeat with elements of his real life. His films have revolved around cannibalism, clowns, the Grim Reaper, beards, strippers, Polaroid cameras, egg salad and a gypsy. Matthew's latest film, LARRY GONE DEMON, recently finished its festival run where it played over 50 festivals, museums and art houses on three different continents.
*Matthew's mom **Also Matthew's mom
NICHOLAS PAYNE SANTOS - Producer
Nicholas produced LARRY GONE DEMON for Matthew. He is a twenty-eight year old filmmaker based out of Brooklyn, NY. Santos was born and raised on Cape Cod, Massachusetts and is of Cape Verdean descent. Nicholas' work has screened at over 75 film festivals around the world, winning 15 awards. He is a current MFA candidate at Columbia University School of the Arts. Santos is a proud member of the Brooklyn Filmmakers Collective and produces for BullMoose Pictures.
VICTORIA NEGRI - Producer
Victoria is a multi-hyphenate filmmaker/actress and recently began working with BullMoose. Her feature directorial debut, GOLD STAR, which she wrote, directed, produced and starred in, alongside Oscar nominated actor Robert Vaughn in his last on-screen performance, premiered at the 2016 Buffalo International Film Festival as the Opening Night film, where it won the Audience Award. It is on the festival circuit and was selected by incubator Big Vision Empty Wallet. She is a proud member of the Film Fatales, NYWIFT and the FilmShop.
The Bechdel Test was created by cartoonist Alison Bechdel, and is cited by ‘FiveThirtyEight’ as: “…if a movie can satisfy three criteria — there are at least two named women in the picture, they have a conversation with each other at some point, and that conversation isn’t about a male character — then it passes “The Rule,” whereby female characters are allocated a bare minimum of depth.”
BLOODY AXE WOUND proudly presents complicated, fully formed female protagonists at the center of the film.
Studies show that films with female protagonists at their core do better at the box office and beyond.
“The total median gross return on investment for a film that passed the Bechdel test was $2.68 for each dollar spent. The total median gross return on investment for films that failed was only $2.45 for each dollar spent. And while this might be a side effect of films with lower budgets tending to have higher returns on investment than films with higher budgets, it’s still a strong indicator that films with women in somewhat prominent roles are performing well.”
As filmmakers and collaborators, we have a voice, we have a vision and we are brimming with ambition.
Please help us to bring BLOODY AXE WOUND to life.
We want this film to be your film, too.
Writer/Director: Matthew John Lawrence