Have you got your Kleenex box ready for “Stay,” tomorrow night’s Episode 6.14 of “The Vampire Diaries,” in which we say goodbye to series regular Steven R. McQueen? It’s sure to be bittersweet, as this preview of the ep hosted by executive producers Caroline Dries and Julie Plec tells us.
“The Vampire Diaries” Episode 6.14 – “Stay” (2/12/15)
GOODBYE, MYSTIC FALLS — It’s Jeremy’s (Steven R. McQueen) last day in Mystic Falls, and Elena (Nina Dobrev) puts on a brave face as they reminisce about their past.
Stefan (Paul Wesley) and Caroline (Candice Accola) find themselves growing closer as they prepare Caroline’s family cabin for her mother to live out her final days. While packing up her office, Sheriff Forbes (guest star Marguerite MacInytre) turns to Damon (Ian Somerhalder) for help solving one of her remaining open cases involving Elena’s parents.
Elsewhere, when a violent confrontation with Enzo (Michael Malarkey) leaves Jeremy wondering whether he should leave or not, Matt (Zach Roerig) finds his own life on the line after Enzo lures him and Sarah Salvatore (guest star Tristin Mays) into his dangerous plan.
Lastly, Caroline rushes to the hospital after learning her mother has taken a turn for the worse. Chris Grismer directed the episode written by Brian Young and Caroline Dries.
The post This Producers’ Preview Goes Inside The Vampire Diaries Episode 6.14 – Stay appeared first on Dread Central.
Originally set to release this past December, Dimension Films has yet to set a new release to the James Wan-produced Demonic. Brazil, on the other hand, will see it open in theaters tomorrow. We have a poster, trailer and new stills to prove it. It’s called A Casa dos Mortos, in English that translates to House of the Dead.
Maria Bello, Scott Mechlowicz, Frank Grillo (The Purge: Anarchy) and Cody Horn star. Will Canon directs with a screenplay by Max La Bella.
“The film centers on the aftermath of a horrific massacre where five college students were brutally murdered inside an abandoned home. Detective Mark Lewis and psychologist Dr. Elizabeth Klein question one of the few survivors who explains they were amateur ghost-hunters, seeking out paranormal phenomenon at the abandoned house, which was believed to be haunted. But what started out as a harmless activity turned into something truly terrifying.“
We’ll update you with release info as soon as it arrives.
A new clip from this month’s theatrical horror offering, The Lazarus Effect, has arrived; and along with it we finally have a substantive synopsis for the flick!
Look for the film, which was directed by David Gelb and written by Luke Dawson and Jeremy Slater, on February 27th. It stars Mark Duplass, Olivia Wilde, Evan Peters, Sarah Bolger, and Donald Glover.
From masters of horror Blumhouse Productions – producer of The Purge, Insidious, and Sinister franchises – THE LAZARUS EFFECT follows a group of researchers led by Frank (Duplass) and his fiancée, Zoe (Wilde,) who’ve achieved the unimaginable: bringing the dead back to life. After a successful, yet unsanctioned trial on a newly deceased animal, the team is ready to unveil its breakthrough to the world. When the dean of their university learns of their underground experiments, their project is unexpectedly shut down and their materials confiscated.
Frank, Zoe, and their team (Glover, Bolger, and Peters) take matters into their own hands, launching a rogue attempt to recreate their experiment, during which things go terribly wrong and one of their own, Zoe, is horrifically killed. Fueled by terror and grief, Frank pushes them to do the unthinkable: attempt to resurrect their first human test subject.
Initially, the procedure appears a success, but the team soon realizes something is wrong with Zoe. As her strange new persona reveals itself, the team quickly becomes stuck in a gruesome reality. They are no longer faced with the question of whether they can bring someone back to life – but rather, the wrath of her return.
The post Clip from The Lazarus Effect Wonders if Someone Just Died appeared first on Dread Central.
Reviewed by Brady Steele. In this premiere issue, we’ve Russian Cold War secret missions, time looping potential paradoxes, and one man who encompass all things mysterious and unknown in the universe. Welcome to “Divinity” #1.
WRITTEN BY: Matt Kindt
ART BY: Trevor Hairsine and Ryan Winn
PUBLISHER: Valiant Entertainment
RELEASE: 11 February 2015
If your life feels like destiny heading towards the inevitable, what does that mean? Are you meant for big, world changing things? Do you know exactly what you’re supposed to do? If your dream becomes your reality, how can you possibly rejoin the rest of us on Earth? There are so many mind-fluxing concepts and ideas in Matt Kindt’s debut of Valiant Next’s newest character it takes some time for it all to sink in. After re-reading this mind-bender of a first issue, it feels like page one of a self-fulfilling prophecy. That makes it one of the more distinctive introductions I’ve read ever.
The visuals of this new god on Earth named Abram Adams are deftly handled by Trevor Hairsine and Ryan Winn. Hairsine and Winn make everything look as real or as surreal as it needs to be without going over the top anywhere. Abrams’ imagination comes through the pages as genuine wonder. What he does when he gets back to our planet looks like whatever he can think of becomes reality. This makes him a brand new powder keg in the ever-growing Valiant Universe. I can’t wait to see how the rest of this world reacts to his arrival.
Like Ivar, Timewalker and Imperium before it, Divinity #1 comes out of the gates strong. All of these debuts from the Valiant Next line have been very compelling reads indeed. Get a copy of this first issue (Prestige Format for regular price ta boot!) and let your mind bend to this new deity on Earth.
Mr. Steele enjoys all things comics and imagination-based. Using his lifetime of comic-fu-dom for good, he imparts his knowledge for the universe to enjoy and for you, dear readers, to pass it on.
Reviewed By Jorge Solis. A mix of sci-fi and a trippy acid dream, “The Empty” #1 is visually stunning with its artistic choices, but raises a lot of questions. The first installment lays down essence of the plot, but lacks character development. Too weird for its own good, “The Empty” #1 is definitely eye-appealing, but leaves readers wanting more from its main protagonists.
WRITTEN BY: Jimmie Robinson
ART BY: Jimmie Robinson
PUBLISHER: Image Comics
RELEASE: Feb 11th, 2015
In a post-apocalyptic world, Tanoor tries to survive in her hostile environment against the scorching sun and the hungry mutant beasts. Living in a barren wasteland, the last remains of humanity are struggling to find a new source of water and food. A stranger, who comes from “The Green,” suddenly drops into town. Tanoor has to ask herself if this creature is an angel sent to help them, or the devil come to finish them off.
I like how writer/artist Jimmie Robinson took the time to build his fantastical world. You understand why Tanoor has become hardened because of her harsh surroundings. Robinson then lays out the religious themes when Lila shows up and is quite eloquent when he has something to say. Because of their lack of chemistry though, I’m left wanting more from Lila and Tanoor as they wander off together onto their road trip.
In his art duties, Robinson has mapped out specific locations, from the desert landscape to the Green. In her character design, Tanoor looks like a mummy with the torn bandages around her body. The secondary characters all look strange with their bug eyes and exaggerated necklines. Robinson does a great job taking readers to another world, but everyone is so odd-looking.
“The Empty” #1 is off to a descent start. Hopefully, the protagonists will be fleshed out in the next installment.
Reviewed By Eric Switzer. “Southern Bastards” #7 brings us one step closer to connecting past to present and revealing Coach Boss’ rise to power in Crawford County. As a book that has already established that I can change directions at a moments notice, the “Scarface” plot arc has an added layer of foreboding. This issue takes Euless to his lowest point possible, perfectly setting up very desperate measures in next months finale.
WRITTEN BY: Jason Aaron
ART BY: Jason Latour
RELEASE: February 11, 2015
This second arc, “Gridiron” has humanized Coach Boss in a way I didn’t think was imaginable at the end of the first. Boss represents a familiar archetype from the perspective of Earl Tubbs: a powerful, ruthless kingpin with an army willing to act on his behalf out of fear. His troubled upbringing and sympathy-inducing backstory is not unexpected, but what is (and perhaps shouldn’t be) is the finesse and nuance Aaron brings to the villain’s origin story.
Young and old Coach Boss have the same blind tenacity and righteous indignation and his relentlessness on an off the field are clear indicators to his eventual rise to power, but Boss has a binary mind; he is steadfast and committed to the choices he makes. This, I think, is his fatal flaw and part of what makes Boss such a complex and interesting character.
Altogether, I’m glad Daddy Boss’ involvement seems to have come to an end. His part of the plot is surprisingly flat for this book’s standards, and as a spine for Euless, I found to be rather weak. The abusive drunk daddy that will never be proud can be understood and acknowledged through even the subtlest context clues, I’m not certain how much his extended stay has benefitted to story at this point and I’d just as well be rid of him as Euless would.
I called “Southern Bastards” one of the best new series of 2014 because the book simply drips with authenticity and this issue is no exception. This book is a good ol’ home cooked meal. Deep fried and full of flavor. It consistently rich with strong dialogue, perfectly executed story beats, and beautiful, blood soaked panels. Consistently one of my favorites.
Eric Switzer is an aspiring filmmaker and screenplay writer living in Los Angeles. His work tends to focus on the lighter side of entropy, dystopic futures, and man’s innate struggle with his own mortality. He can be found on twitter @epicswitzer or reached via email at firstname.lastname@example.org.
After five months, four separate series, and 16 issues the “Fire and Stone” saga comes to a double-sized finale. This cross-over event, years in the making, has managed hit the mark at just about every point and showcased the talent of a dozen incredible writers and artists. It is hard to overstate just how much “Fire and Stone” has set the bar for quality of Alien and Predator books. It all comes down to this, and with only slight hesitation I’m here to tell you it is a satisfying and worthy conclusion.
WRITTEN BY: Kelly Sue Deconnick
ART BY: Agustin Alessio
PUBLISHER: Dark Horse
RELEASE: February 11, 2015
Kelly Sue Deconnick, who has served as a sort of show runner for “Fire and Stone”, pens this finale with art from Agustin Alessio and the first thing I want to talk about is just how god damn beautiful this issue is. There has been some great art in this event, especially in “Predator” and “AVP”, but I was pretty blown away by how much life Alessio brought into these now familiar characters, how terrifying and disgusting the baddies are rendered and, though I’m not 100% on board with the ending (a point I’ll get to) Alessio really drives home a sense of hope and beauty. The artwork here is almost moving and alone is worth the price tag.
There is a lot of story that needs to be told here and the extra pages do a lot to keep it from feeling too rushed. Galgo and Angela have been barely surviving for some time now (along with a couple others whose purpose I’m not quite sure of) and Ahab has gotten in the habit of showing up just in the nick of time. As far as Predator stories, this is the most I think we’ve ever gotten to know a Predator. Giving him a name emphasizes how much personality and individuality this Predator has. It is a departure, but not a jarring one. He has just enough characteristics without violating the form and function of a Predator. It works.
The crew is pretty terrified when Elden crash lands, and rightfully so, but something has changed: Elden has mellowed having completed his task to meet his maker and his perpetual existential crisis is wearing on him. He is less bloodthirsty and more ready to get the fuck off of LV-223, and the crew, as well as Ahab, are on board.
This team up, and especially Elden and Ahab’s meetup, is so intensely satisfying after this long violent journey that the book almost gets full points just for bringing them all together and providing a moment of solace before heading into the fray for one last deadly mission. Unfortunately, that final mission is a bit of a non-starter. The stakes aren’t very high, there are a lot of questions left unanswered, and the whole thing is over before you know it without having accomplished anything at all. Elden receives a fitting conclusion but as for the rest I was a little let down. Things are left open for a possible return of Angela, Galgo, and Ahab in the future but I found this to be an unwanted adherence to comic book conventions. It isn’t the events I’m questioning, but the execution. We needed to spend a little more time in the mountain I think, it was in and out for kind of no reason.
“Fire and Stone” has been some of the most fun I’ve had ready comics in a long time. It was action packed and nostalgic and innovative and added so much to the mythos of these franchises. “Fire and Stone” will be remembered for the careful crafting and interweaving of the different books and I can’t wait for more ambitious projects like this.
Where the fuck was the engineer though?
Reviewed By: Katy Rex. “Edward Scissorhands” #4 deals with old idea that adults are incompetent and the concept that their incompetence interferes with a child’s autonomy. This is, in fact, one of the favorite themes in children’s media; probably because the children to whom it is targeted find it as exasperating as Megs does when the adults in her life won’t listen to her about Eli and jump to some VERY WRONG conclusions.
WRITTEN BY: Kate Leth
ART BY: Drew Rausch
PUBLISHER: IDW Publishing
RELEASE: February 11, 2015
This issue follows Megs as she attempts to do what’s right: protect Edward’s preference not to leave his castle, but save the kidnapped boy from Eli anyway. This again falls solidly in the realm of giving children credit, allowing them agency, acknowledging their autonomy and motivations. Megs is a great character; she hasn’t been developed as much as one might like, this far into a series, but she’s strong, driven, and relatable. And after all the setup, exposition and background, this issue finally features a major conflict. Sure, it’s worrisome given that this series has been advertised as a 5-part arc, but if you love where this is going, it’s definitely a strong indicator that Edward Scissorhands can– and must– continue beyond this arc.
The art continues to be strong and consistent, creating an eerie feeling in the empty town even as the dialogue sets it up as off-putting. Travis Lanham’s letters do the work of giving Edward a voice. His strange, small, stilted letters convey Edward’s strangeness, his unaccustomedness to speaking, but also his childlike innocence. Rausch’s character design of the police officer behind the desk, to whom Megs is reporting Eli’s involvement in the kidnapping, is both a caricature and not out of place. His exaggerated and grotesque features are not jarring, but they set him up as a formidable barrier: he is characterized by his trope-ness, and is unlikely to budge his perspective in the face of reason (especially if it’s from a child).
The review from last issue was about the filler, a Third Issue Itch situation, and both because this issue continues to build the action and because the solicit for this series claims 5 parts, I can’t help but be nervous about a single wrap-up issue after so much build-up. But I’m hopeful that this is an ongoing series, beyond the fifth issue, and these recent turns of events certainly redeem last issue and give hope for great things going forward.
—Katy Rex writes comics analysis at endoftheuniversecomics.com, comicsbulletin.com, and bloody-disgusting.com. She also writes scholarly articles for various academic journals. She really likes butt jokes, dinosaurs, and killing psychos and midgets in Borderlands 2. She has a great sense of humor if you’re not an asshole. Twitter: @eotucomics Tumblr: katy-rex.tumblr.com Instagram: @katy_rex Email: email@example.com
Reviewed By: Torin Chambers. “Shutter” #9 is another high point for the series that constantly polarizes me. Some of its longest standing questions are starting to unveil themselves, and damn if it isn’t an exciting read. When Shutter has concluded this will be looked upon as the issue where the story took a definite turn. The world has opened up in a way the series hasn’t done before, alternate realities are coming into play in a small way but one that won’t stay small for long I’m sure.
WRITTEN BY: Joe Keatinge
ART BY: Leila De Duca
RELEASE: February 11, 2015
Opening on Paris, France in 1889 during The Exposition Universelle. (A World’s Fair) We follow Jean-Paul Mignet and Magali who’re on their way to something much more exciting than The Exposition Universelle, they’re going to Prospero. Magali is more cautious and concerned about what they are venturing into but Jean-Paul inversely is ecstatic about the idea of Prospero. Seeing it instead as a fabulous and astonishing look into the future. An especially sinister looking man, machine or possibly a little of both takes them into Prospero, he/it’s possibly the one in charge.
He gives them a brief and foreboding introduction to Prospero, showing off a few key sights before unveiling the magnificent ‘Porticullis Hypnos’ of Professor Harold Rathborn. A magical machine that acts as an entrance to dreams! That’s really quite amazing and will be very key to future events but there’s a particular statement that the man/machine makes that intrigued me indefinitely. He states “Our impossible creatures, stolen from unknown realities…” Could this be a subtle hint at why Shutters world is so similar yet also fantastical? Could it be that their earth was just as ours but then sometime around the turn of the century a massive discovery was made that brought all those wondrous creatures to our world? It’s not 100% proof but it’s an alluring thought.
Leila De Duca’s visuals are on point as always, especially during the opening within Prospero, which looks absolutely stunning. The issue gets a wee bit psychedelic towards the end that I loved. If that is any indication Shutter #10 will be an absolute visual delight.
“Shutter” is back in top form this month.
Torin Chambers is a rad dude from the nineties who does film stuff or something. Thomas the Tank Engine is his favorite transformer. Find him on Twitter @TorinsChambers
Reviewed By: Torin Chambers. “Wild’s End” has finally come to a close that’s sure to polarize readers. It’s decidedly rough around the edges, you’d figure the finale would have most of this ironed out but that’s just not the case. There’s some strange writing choices that I still can’t wrap my head around and a few visual choices during the action that don’t portray what’s actually supposed to be happening all that well. It’s not a conclusion without merits though.
WRITTEN BY: Dan Abnett
ART BY: I.N.J Culbard
PUBLISHER: BOOM! Studios
RELEASE: February 11, 2015
The ending is ultimately a brave choice and one that I believe pays off, although I’m sure many people will be put off by it. Your opinions about Wild’s End and your overall enjoyment of this series will hinge on how you take that final page.
Wasting no time Wild’s End #6 picks up right in the thick of it. Our heroes are still being chased by the alien light post but have put a fair amount of distance between them and the beast. They pull up onto the old Squire’s estate and quickly formulate a plan. Use his wheat harvester against the alien as Mr. Fawkes bravely volunteers to be the distraction, hopefully giving them enough time to figure out how to operate the machine.
Now Fawkes and Alph’s subplot here is one of my biggest gripes with this issue. For an incredibly frustrating and confusing reason Mr. Fawkes chooses Alph to ride shotgun and be his loader, for the shotgun. Out of everyone available he chooses the one person who has incredibly damaged hands, so much so that Alph couldn’t even use them at all last issue. He then only uses the shotgun once so what was the point? Why leave to be the distraction with an unloaded gun and then why force the one person who shouldn’t be physically able to load the gun, load the gun for you? Even with that mess aside why does Fawkes drive to the middle of a field, shoot at the alien lamp once then just sit there waiting there to be blasted? You could say this is all because Fawkes is a vagrant fool, but he’s proved himself quite capable numerous times leading up to this moment so that’s no excuse. Then on top of all that the alien lamp shoots their car, it flips over and that’s that. [SPOILER] Or apparently not, several pages later Fawkes just casually shows up to help finish the alien with no explanation of how he and Alph escaped their fate. I guess the alien just gave up and turned around after it flipped the car.
I have a couple other gripes, such as how the attack on the alien lamp doesn’t make sense visually, but that’s getting real nit-picky. Abnett and Culbard have overall created a delightful tale of Peter Rabbit meets War of The Worlds. It may have faltered in this final issue, but as a whole it’s a strong, original piece of work that I still wholeheartedly recommend.
Torin Chambers is a rad dude from the nineties who does film stuff or something. Thomas the Tank Engine is his favorite transformer. Find him on Twitter @TorinsChambers
I’ve elected to spend a lot of my time reviewing “Five Ghosts” talking about the perfect symmetry the creative team has achieved, but issue #15 proves there is still so much to say, as Chris Mooneyham and Lauren Affe carry the issue almost by themselves, and deliver one of the most thrilling chapters of the irresistible series.
WRITTEN BY: Frank J Barbiere
ART BY: Chris Mooneyham
RELEASE: Feb 11, 2015
Fabian is in the throws of full on vampire beast mode. Van Helsing does whatever he can to keep the monster at bay, and meanwhile Sebastian is in the lair of the mustache twirling villain. This third part of the new horror arc sees every character pushed to their absolute limits, and ends with one of the most enticing cliffhangers I’ve had the joy of experiencing.
Make no mistake; this is a full on battle issue. Fabian can hardly control himself and bounds on top of Van Helsin with superhuman strength. Mooneyham does well to make the fight engaging and dynamic will never feeling overwhelming. In fact he adds an incredible cinematic element to the showdown that bleeds emotion for both of these tormented men.
In the most climatic moment, we’re brought to a flashback of Van Helsing’s past. It’s something we’ve seen before in “Five Ghosts” but here it’s even more heartbreaking because we see how Van Helsing became a monster, hunting monsters. It’s painful to experience and the brief reprieve from his anguish is only a clever ruse.
Fabian is far from being in control, and this issue reminds us of his long journey ahead. It’s easy to lose sight of the charismatic hero’s journey, but at his core he’s still a deeply broken person. Despite having very few lines, the ugly truth of Fabian’s character is on full display here. See, Barbiere may take a back seat with the dialogue this issue but his masterful hand is still readily apparent in the way everything is plotted out. The fight scene and the flashback scene are meant to give this massive release of tension, but the aftermath is so much worse that you can’t help but feel a massive hole in your heart by the time you get to the final page.
Better yet, it’s a brilliantly paced read that fans of the series have become accustomed to, but it never feels overly crowded or difficult to digest. Instead “Five Ghosts” #15 reads like silk, and weaves brutality around you in circles. The result is a fantastic low point for the already dark storyline that proves these characters still have miles to go.
“Five Ghosts” is a perfectly oiled machine. The creative team is in perfect sync and the storytelling is near flawless. It’s a celebration of the mastery that can only come with creator owned comics, and somehow it continually raises the bar for itself. Every month it pulls of something entirely new and unexpected, but makes it look easy, making it one of the most compelling books being published at Image Comics.
New Line has picked up the remake rights of Housebound, a horror comedy from New Zealand that was picked as one of Bloody Disgusting’s favorite films of 2014 (read our review).
“The story tells of a rebellious young woman who is forced to return to her country home thanks to forced home detention program. Living with her small-town-minded mother and stepfather seems like a fate worse than death until she begins to suspect that something malevolent may be in house as well.“
Heat Vision writes that Gerard Johnstone, who wrote and directed the movie, will produce the remake but will handover the filmmaking reins to another. A search for a writer to adapt the movie is underway.
Some very Groovy casting news comes in this Wednesday afternoon as Deadline reports that Ray Santiago (“Touch”) and Dana DeLorenzo (A Very Harold & Kumar 3D Christmas) have been cast opposite Bruce Campbell in Starz’s 10-episode series “Ash Vs Evil Dead,” the followup to the classic The Evil Dead film franchise.
In first plot details, “Campbell reprises his role as Ash, the aging lothario and chainsaw-handed monster hunter who has spent the last 30 years avoiding responsibility, maturity and the terrors of the Evil Dead. When a Deadite plague threatens to destroy all of mankind, Ash is finally forced to face his demons – personal and literal.“
Santiago, pictured here, will play Pablo Simon Bolivar, an idealistic immigrant who becomes Ash’s loyal sidekick – a Sancho Panza to Ash’s Don Quixote. Pablo believes in Ash’s heroism even if Ash himself doesn’t.
DeLorenzo, on the other hand, is Kelly Maxwell, a moody wild child trying to outrun her past. Reluctantly dragged into the fight against Evil with Ash and Pablo, Kelly finds a different kind of family with her fellow Deadite slayers.
I love that Campbell won’t be forced to carry the series on his shoulders, and I really hope they don’t go “too whacky” with the comedy, even if Army of Darkness was full-on slapstick. I am curious, however, to see if they work the Evil Dead reboot into the mythology. Oh, and I pray to the demon in Prince of Darkness that they don’t use special effects similar to those in “Xena” or “Spartacus”.
The series is set to film on location in New Zealand this spring for premiere on Starz in late 2015.
I roll my eyes every single time somebody I know tries to tell me about this “incredible burger you have to try.” I mean, who the fuck are they to push a burger on me? That’s just my mentality when someone tries to play authority with me.
The same goes for a YouTube user who makes a video breaking down the problem with action movies today.
Chris Stuckmann was the latest to endure a Miska-scoff heard ’round the world. Only, when I finished watching his video, I gave it a standing ovation. Maybe I think too little of people I don’t know, and that’s a problem because there are some extraordinary thinkers out there. This video is proof. You really want to understand cinema better? Watch the below and learn something about the importance of making your protagonist fallible. In my reviews I often cite John McClane and Ripley as examples, while Stuckmann takes it a bit further. Bravo!
IFC Midnight will release the Roache-Turner Brothers’ zombie/military apocalypse horror Wyrmwood in select theaters and on VOD platforms February 13, 2015.
We scored a very NSWF clip that will cover you in zombie gore after multiple head-shots…
“Wyrmwood follows Barry, a mechanic and family man, as he struggles to rescue his sister, who was kidnapped by soldiers on the eve of a zombie apocalypse. He sets out through the harsh, blood-splattered Australian bushland to battle both the undead and the military alike.“
The film, directed by Kiah Roache-Turner with a screenplay from Kiah and Tristan Roache-Turner, stars Jay Gallagher, Bianca Bradey and Leon Burchill. Wyrmwood had its world premiere at the 2014 Fantastic Fest.
Eureka! Entertainment have announced the UK & Ireland theatrical release of Tokyo Tribe, and has given Bloody Disgusting a batch of colorful stills.
Just when you thought Sion Sono’s (Cold Fish, Why Don’t You Play In Hell?) unique brand of subversive cinema couldn’t get any more out there, he’s back to explode expectations once again as he ventures even further into uncharted cinematic territory with an ingenious hybrid of Yakuza gang action and hip-hop musical.
“In a futuristic, alternate-world Tokyo, the city is made up of ghetto slums and nightclub playgrounds where gangs of wayward youth rule the streets. The city is carved up into ‘hoods, and the crossing of territorial lines quickly leads to riots and rumbles. On the turf ruled by the savage yakuza Big Buppa, the simmering tension is about to boil over into all-out war. Who will emerge victorious? Territory, friendship, pride, love… Everything is put on the line in a desperate struggle for supremacy!”
Based on a popular Manga series (“Tokyo Tribe 2″ by Santa Inoue) and told almost entirely in rap verse (by some of Japan’s top rappers), Tokyo Tribe has to be seen to be believed. “The aggressive assault of the beats and rhymes wreaks havoc as a massive ensemble cast shocks, excites, and incites an unparalleled sonic war!”
Toronto rockers Smashing Satellites, who are fronted by former My Darkest Days guitarist Sal Costa, have released a video for their track “Waterfall”, which comes off their Sonicaluzion A-Side EP.
Vocalist Sal Costa states:
There are times in life where we all struggle with fear, depression and anxiety… we feel as though we are drowning. Sometimes it is not just about overcoming the fear and swimming to the surface but rather learning how to survive that time in the water.
The video has this weird Bioshock/The Ring feel about it. I truly get a strong Gore Verbinski impression with the visuals and color palettes used.
You can snag the Sonicaluzion A-Side EP via iTunes.
When four family members move into a remote English country estate, danger looms when they learn about the original owner’s unhallowed past.
Witness the aftermath of a demonic ritual when Altar arrives on DVD and Digital HD February 17 from Cinedigm and Great Point Media.
Check out this exclusive clip from Nick Willing’ Satanic tale full of ghostly torture and sorcery that’s headlined by Matthew Modine (Full Metal Jacket, Married to the Mob), Olivia Williams (“Manhattan,” The Sixth Sense) and Antonia Clarke (Les Misérables, The Thirteenth Tale).
Altar, filmed in the brooding moors of Yorkshire, England in early 2014, “Follows a family, who moves into a timeworn, dilapidated country mansion in order to restore its former splendor. But, in the process, they awaken the ghosts of the house’s original inhabitants whose curse still looms darkly over the haunted estate. What follows is a hair-raising ordeal of spectral apparitions and demonic possession that threatens to destroy the lives of the desperate protagonists in this early realm and beyond.“
VCR Records has announced that they will be releasing the soundtrack to the 2009 thriller/horror Deadgirl on 12″ vinyl. There are no details yet, such as artwork or release date but their website has teased the release.
The score was composed by Joseph Bauer, who also composed horror films such as Brutal, The Blackwater Valley Exorcism, and Hoboken Hollow. Samples of Deadgirl can be heard through Bauer’s website.
Deadgirl, which starred Shiloh Fernandez, Noah Segan, Candice Accola, and Eric Podnar, follows, “…two teenage friends (Fernandez and Segan) who find a naked woman in an abandoned mental hospital.”
Head below for the trailer.
By Brady Steele / twitter: @mrbradysteele. ‘The Nuclear Man’ finally arrives in Central City. Not only that, Barry Allen’s love life and Flash duties almost exploded everywhere too. This is one episode that slid more into the mushy side of episode TV, with everyone who even remotely has potential for love had their moments. Not to fear, though: there was still a decent amount of action and energy to keep the action flowing.
I’m not sure if the creative team making shows like this purposely try to tie in their episodes into seasonal holidays or events but dang, they were NOT subtle about Valentine’s Day being around the corner. Barry (Grant Gustin) is going on his first date (Again? I thought he did that at the end of last week) with Linda Park (Malese Jow). I have to give a tip of my silver hat (Flash fans know who’s hat I’m using) to the writers of this character so far. She is exactly how I remember Linda being in the comics: strong, independent and smart. She is no cookie-cutter girlfriend and that’s pitch perfect.
Everyone seems to get their tender moments on screen this week too: Ronnie (Robbie Amell) and Caitlin (Danielle Panabaker) have a really bizarre reunion (it’s him but not ALL of him) and Professor Martin Stein (Victor Garber) and his wife Clarissa (Isabella Hofmann) somehow kind of reconnect. Even Detective Joe West (Jesse L. Martin) meets a cougar (Chase Masterson) while investigating Nora Allen’s cold case. Again, Iris (Candice Patton) is left floating around the background, unsure if she’s actually happy that Barry is no longer crushing on her. Needless to say, there’s plenty of mushy stuff this time out of the blocks.
Thankfully, there’s also a good amount of action. The Flash saves a jumper (“…on the corner of 52nd & Waid”, DC Comics wink) whilst on a date. Flash and Firestorm tussle and our Scarlett Speedster is taken off of his element (aka his feet) and for a fly-by. The visuals of Firestorm are improving and the addition of the gizmo to separate the two men was a nice nod to the character’s unique costume roots. The Ronnie-as-Stein moments are done quite nicely by Robbie Amell. He’s playing the two characters at the same time which cannot be easy but when Stein is talking, you can definitely tell it’s not Ronnie. There are some cool time travel CSI moments with Cisco (Carlos Valdes) too.
The hooks at the end of the episodes are really good at keeping my attention as to what’s coming next week. That plus the cliff hanger ending plus General Eiling (Clancy Brown) just barking “Get me Firestorm!” gives me an idea of what kind of episode the next one will be without explicitly telling viewers. While a little too sappy this week, I’m still eager to see what happens when I tune in next week.