News broke in mid-January that famed blues club Antone’s would be leaving its current Fifth Street location after SXSW, with buzz immediately following on where the club would find its new home.
After a week of SXSW shows that included performances by such greats as Emmylou Harris, The Mavericks and Jim Lauderdale, Antone’s will play host to one final show on Monday, March 18 before moving to East Riverside.
The show, appropriately dubbed “Farewell to Fifth Street” will be an evening celebrating Austin’s home to the blues with performances by a host of seasoned players. Friends, musicians and supporters will gather for a night of music featuring the likes of Marcia Ball, Malford Milligan, Eve Monsees, Bob Schneider, Jimmie Vaughan and Carolyn Wonderland, among many others.
Doors open at 7 p.m., with music beginning promptly at 7:30 p.m. tickets are available for only $10.
The Antone’s legacy continues later in March, when the blues bar takes up residency at 2015 East Riverside (the former home of Beauty Ballroom), adjacent to the second iteration of Emo’s.
The next generation of Antone's music kicks off at the new location on March 28 with Mad Dogs & Englishmen, a tribute to Joe Cocker featuring members of T-Bird & The Breaks, The Band of Heathens and more.
Horror franchises tend to endure for several reasons. First and foremost, the title conjures up nostalgia for older viewers, as many of the most popular ones started in the 1970s or ‘80s. Sequels can recycle key elements of past films as long as they tweak the formula enough to offer something original. And they’re also relatively cheap to make, as new films can bring in young or lesser-known actors to be terrorized.
All of those factors make Evil Dead Burna smashing success, giving viewers reminders of the past while still becoming its own thing. The film is almost non-stop from the jump as a series of people, known colloquially as “deadites,” get infected by a malevolent force. A long, 15-minute opening set piece introduces the main characters, including Alice (Souhelia Yacob), her brother-in-law Joseph (Hunter Doohan), his girlfriend Thya (Luciane Buchanan), and his parents, Susan (Tandi Wright) and Edgar (Erroll Shand).
They’re all mourning the death of Alice’s husband Will (George Pullar), who they think died while driving drunk. However, the infection in Will’s corpse soon latches on to Edgar, whose descent into murderous rage is initially masked by his intense grief. With the family all gathered together in an older, decaying home, no one is safe from the rampage of the supernatural force.
Written and directed by French filmmaker Sébastien Vanicek and co-written by Florent Bernard, the film is aimed directly at horror fanatics who are used to copious amounts of blood and gore. From the opening scene to the film’s final intense moments, Vanicek and his team come up with numerous hide-your-eyes sequences that test the stomachs of weak-willed viewers. But for those who can’t get enough of such things, they also indicate a creativity and willingness to push boundaries that is both thrilling and entertaining.
While some previous entries in the Evil Dead series leaned comedic, this entry follows the previous two films in 2013 and 2023 as as a pure horror. However, that doesn’t mean that the film is devoid of lightness. One of the most enjoyable aspects is Vanicek comically adhering to the concept of Chekhov’s gun. So many different potential weapons are introduced and later used that you can’t help but laugh when they come into play.
Ultimately, it’s the performances by the lesser-known cast that make the movie what it is. Doohan (Wednesday) plays a mild-mannered character who seems to be the main protagonist early on, but he cedes the spotlight to Yacob as the film goes along. The French actress knows how to hold the screen through both her actions and line deliveries. Shand, with his craggy face and bald head, turns into a superior villain, able to chill with just his intense stare.
Evil Dead Burn is not for everybody, but it’s another great addition to what’s turning out to be a banner year for horror movies. With highly effective, cringeworthy action sequences, moments that lighten the mood when needed, and a cast that carries the story, it’s an announcement of bigger things to come for all involved.
