Archaia, an imprint of award-winning publisher BOOM! Studios, is pleased to announce the April debut of acclaimed Israeli illustrator Asaf Hanuka’s autobiographical original graphic novel The Realist. Collecting Hanuka’s weekly strips in English for the first time, The Realist is an emotional, deeply personal commentary on his life and raising a family in Tel Aviv, Israel.
“Asaf Hanuka can say more with a single illustration than some people could say in a whole book,” said BOOM! Studios Editor-in-Chief Matt Gagnon. “The Realist is a rollercoaster of emotion, filled with humorous strips of trying to raise a family and stunning, quiet images of the dangers of a war-torn country. Marjane Satrapi introduced Western audiences to a post-Islamic Revolution Iran in Persepolis, and now Asaf Hanuka gives us a window into modern life in Tel Aviv with The Realist.”
Asaf Hanuka’s autobiographical webcomic, The Realist, began winning awards shortly after its launch, including a Gold Medal from The Society of Illustrators. Collected for the first time in English and including never-before-collected strips, The Realist delivers both honesty and whimsy from a master of his craft. With echoes of R. Crumb and Daniel Clowes, Hanuka moves readers with his depictions of everyday life, commenting on everything from marriage to technology to social activism through intimate moments of triumph and failure.
Featuring a trim size of 6.875 x 10.1875 and containing 192 pages, The Realist original hardcover graphic novel arrives in comic shops from Archaia on April 22nd with a cover by creator Asaf Hanuka for the price of $24.99 under Diamond order code FEB151166.
The Final Order Cutoff deadline for retailers is March 30th. Not sure where to find your nearest comic retailer? Use comicshoplocator.com or findacomicshop.com to find one! It’s also available for order directly from boom-studios.com.
BOO! WGN America has released a new promo for the all-new season of their breakout hit supernatural thriller “Salem,” returning on Sunday, April 5 at 10pm ET/9pm CT. It features Lucy Lawless, the last “true” witch.
The promo features a first look at new recurring guest stars Lucy Lawless (“Xena: Warrior Princess”, “Spartacus”) and Stuart Townsend (“Betrayal,” “The League of Extraordinary Gentlemen”) who have joined the series for season two. Lawless joins the cast as “Countess Marburg,” one of the last remaining survivors of the legendary line of ancient German witches and Townsend portrays English aristocrat “Samuel Wainwright” – a doctor looking to uncover the secrets of “Salem” and keep his own from those who would seek to discover them.
“Salem”, a bold re-imagination of the infamous 17th-century witch trials, returns for season two at the dawn of a Witch War. As the disease and devastation unleashed by a deadly supernatural ritual spread through the war-torn village, Salem’s most powerful witch, Mary Sibley, must face off against adversaries old and new who are vying for her throne.
“Salem” is a gripping one-hour drama that boldly re-imagines the infamous 17th century witch trials in colonial Massachusetts. The series stars Janet Montgomery, Shane West (“Nikita,” “ER”), Seth Gabel (“Arrow,” “Fringe”), Ashley Madekwe, Tamzin Merchant (“Jane Eyre”), Elise Eberle (“The Astronaut Farmer”) and Iddo Goldberg (“Mob City”).
Check out some really cool posters here:
While Focus Features Insidious Chapter 3 trailer leaked this morning, it has since been pulled and replaced with a trailer teaser and official poster. The trailer releases officially tomorrow, so until then you at least have a look at this awesome poster that shows your death.
Leigh Whannell, co-creator of the terrifying horror franchise, directs the third film in theaters June 5, 2015.
“This chilling prequel, set before the haunting of the Lambert family, reveals how gifted psychic Elise Rainier (Lin Shaye) reluctantly agrees to use her ability to contact the dead in order to help a teenage girl (Stefanie Scott) who has been targeted by a dangerous supernatural entity.“
The full cast of Insidious Chapter 3 includes Dermot Mulroney (August: Osage County) and Stefanie Scott (Jem and the Holograms) starring alongside Lin Shaye, Angus Sampson, and Mr. Whannell, with the latter trio reprising their roles from the first two movies in the franchise.
Few people are as successful with their very first game as Finnish developer Jesse Makkonen was with his hauntingly beautiful psychological horror game, Silence of the Sleep. To put it in perspective, that was his first stab at making video games, and he did it alone. His next project is another 2D horror game titled The Human Gallery, and it looks every bit as terrifying, eerie and visually unforgettable as his last.
The Human Gallery follows an artist who decides to enter the mind of a psychopath in order to find inspiration for his next work. This guy clearly hasn’t seen Cell, because if he had, he’d know how bad that idea is.
Like Silence of the Sleep, the emphasis is on atmosphere. The interface will be minimal, the controls simple but polished, and it’ll be backed by another moody soundtrack. I can’t wait.
Here’s some news that ought to warm your soul. This weekend, YouTuber Dawko held a Five Nights at Freddy’s-themed Play Live event with the goal of raising $15,000 for St. Jude Children’s Research Hospital. I doubt he expected series creator Scott Cawthon would take notice, much less donate a quarter of a million dollars to it.
Here’s Dawko’s celebratory video.
With Cawthon’s generous donation, Dawko’s Play Live page was able to raise an impressive $256,474 total. Not bad for a day’s work.
If you would like to donate to St. Jude, you can do that right here.
Just in time for Saint Patrick’s Day, Bloody Disgusting reader Dimitri A.C. Ly just linked us to his video compilations that recaps the entire Leprechaun franchise in less than five minutes!
Plus, the one true way to kill a leprechaun…
Warwick Davis starred as the Leprechaun in the 1993 film, which spawned multiple sequels (Leprechaun 2, Leprechaun 3, Leprechaun 4: In Space, Leprechaun: In the Hood, Leprechaun: Back 2 tha Hood), as well as the awful WWE remake Origins. Dylan “Hornswoggle” Postl starred as the Lep in the 2014 reboot.
The ’93 film starred Jennifer Aniston in which an evil, sadistic Leprechaun goes on a killing rampage in search of his beloved pot of gold.
Here’s a text-heavy festival one-sheet for XLrator Media, Content and Alistair Legrand’s The Diabolical, which marks Legrand’s directorial debut, who co-wrote the script with Luke Harvis.
I don’t really understand the poster, which carries huge text and a hard-to-see image of a crusty girl standing behind it. I mean, it’s a cool looking poster, but it doesn’t really tell me anything about the movie, which stars Final Destination and Resident Evil fav Ali Larter.
“The Diabolical follows Madison and her children in their quiet suburban home as they are awoken nightly by an increasingly strange and intense presence. Madison desperately seeks help from her scientist boyfriend Nikolai, who begins a hunt to destroy the violent spirit that paranormal experts are too frightened to undertake.”
Patrick Fischler (“Mad Men”), Arjun Gupta (“Nurse Jackie”), Merrin Dungey (“Betrayal”) and Joe Egender (“American Horror Story: Asylum”) also star.
Day 6 of filming brings DOOM-HEAD.
Here’s another name added to Rob Zombie’s now-filming 31, his Halloween slasher that’s heading to Murder World.
Joining the previously announced cast is Zombie regular, Richard Brake, who will portray ‘Doom-Head’.
Malcolm McDowell plays ‘Father Murder’, the owner of Murder World for which the film is based.
Judy Geeson plays ‘Sister Dragon’, who runs Murder World alongside McDowell. She joins David Ury, who will be playing Schizo-Head, one half of murderous team of brothers living inside Murder World. Lawrence Hilton-Jacobs was recently cast as Panda Thomas, with Elizabeth Daily (E.G. Daily) playing ‘Sex-head’, and Torsten Voges as the insane partner of Death-Head.
Daniel Roebuck plays Paster Victor, an unfortunate participant in last year’s game of 31.
“31 follows five carnival workers who are kidnapped the night before Halloween and held hostage in a large secret compound known as Murder World.
Once there, they have 12 hours to survive a terrifying game called 31 in which ‘The Heads’- murderous maniacs dressed as clowns – are released to hunt them down and kill them.”
It Follows was released in New York and Los Angeles on March 13th. While I won’t get to see it until March 27th, when it’s finally released in Austin (damn you South By Southwest!), I have to say that I am incredibly excited about it (read both of our glowing reviews here and here), but a tiny part of me is terrified that I’m not going to like it as much as I think I’m going to. My reasoning for this is because it is becoming incredibly hyped, and I am a person who can let hype really get to me. Now, before I go on: I would like to point out that I am fully aware I could choose not to read reviews and news about movies before they are released, but it’s kind of part of my job. Call me masochistic if you want. All of this got me thinking about movies that have been overhyped for me in the past. I’m also quite interested to hear your thoughts on movies that have disappointed you in the past.
The most recent example of overhype for me was my experience with The Babadook last year. I had been following it for a while since it premiered at Sundance last January. Think about it: that is about 11 months of me reading glowing things about the film (I finally saw it in November). I probably should have expected to be disappointed, and I definitely was. Don’t get me wrong, I liked the movie. It just didn’t live up to the admittedly impossible expectations I had set for it. I’ve already pre-ordered the BluRay on Amazon though so I’m hoping that a second viewing with more perspective will help, but mostly I just want it for the special packaging.
Haute Tension was also a victim of overhype for me. This was due mostly to the fact that I still can’t stand the ending (and yes, I have seen it more than once). I don’t appreciate movies that flat out lie to the audience and this movie was one of them. It was very well made, had some amazing gore effects and all of the performances were great; but every time I watch it the final 10 minutes completely take me out of the film. To this day I still do not understand the hype this film still receives.
The biggest example of overhype for me isn’t even a recent film. It’s Suspiria. I have only seen Suspiria once, and it was over a decade ago when I was still in high school. I admit that I probably need to watch it again. I’ve been to film school and taken a few classes on horror films since then so I could probably appreciate it a little bit more now. I just remember being incredibly bored the first time I watched it. Suspiria is the reason I don’t buy movies without watching them first anymore. This is probably something most people do already, but since Suspiria is such a highly regarded classic, I thought it was pretty much guaranteed that I would like it. Undoubtedly, that added to my bad memory of the film. Nevertheless, whenever someone mentions overhype my mind always goes back to the first time I watched Suspiria.
My goal in writing this post is not to bash on the movies I have listed. I have a respect for most films and the effort that goes into them, but I fully realize I may be inviting a lot of backlash by writing this post. The three films I listed above had a lot of care and effort put into them, and I take most of the blame for allowing myself to fall victim to overhype. I’ve tried to not actually read the reviews for It Follows and just read the blurbs on Rotten Tomatoes. I don’t think I’ll be disappointed, but I am still wary about it. Fingers crossed it lives up to my (slightly more managed) expectations!
So now that I’ve shared my experiences with you and I would like to hear about yours. When has overhype ruined a movie for you? Let me know in the comments below!
When it comes to terrifying and scary creatures, it’s hard to find a better breeding ground than the combination of Sci-Fi and Horror. Mad scientists creating destructive monstrosities, viruses infecting hosts, alien beings that are bent on total domination… These are only a few examples of the types of beasts that have come forth from this marriage of genres.
Let’s kick-start a discussion whereby we choose some of our own personal favorites that fit into this category. To start things off, we’ve got UK rock band False-Heads and their “5 Scariest Sci-Fi/Horror Creatures”! Head on in to check out their choices and then make sure to check out their single, “Wrap Up”, at the end of this post.
Don’t forget to pre-order your copy of the band’s new EP Wear And Tear via Bandcamp.
Developer Frictional Games has been quietly toiling away on their upcoming sci-fi survival horror game SOMA for some time now. A few weeks ago, the studio apologized after a somewhat lengthy silence — often a bad sign for far-off horror games — and this weekend they broke their silence again by sharing some more exciting news.
“If all goes according to plan the beta for SOMA, our upcoming sci-fi horror game, will be done in 4 weeks,” Frictional announced on Facebook. “It feels both exciting and scary that the game is really nearly completed now. After several years of hard work, release is finally a clearly visible milestone.”
The news of imminent beta testing is something to celebrate, both for the developer and for the fans who have been itching to get their hands on this game since it was revealed nearly two years ago. Don’t get tooexcited though, because the beta won’t be a public one.
“Note that we already have all the testers we need, so no need to make requests. [SOMA] is still incomplete so just hang in there a little longer, and you’ll get the polished and proper version to immerse yourself in!”
Satan is coming to Showtime.
Showtime has shared a devilish new TV spot for “Penny Dreadful”, which begins its 10-episode run on Sunday, May 3 at 10PM ET/PT.
This season, Vanessa and Ethan form a deeper bond as the group, including Sir Malcolm (Timothy Dalton), Dr. Frankenstein (Harry Treadaway), and Sembene (Danny Sapani), unite to banish the evil forces that threaten to destroy them.
Meanwhile, Dorian Gray (Reeve Carney), the Creature (Rory Kinnear) and Brona (Billie Piper) are all waging battles of their own.
Patti LuPone will guest star as a mysterious character of great importance in Vanessa’s past. Helen McCrory returns as Evelyn Poole (a.k.a. Madame Kali), the seductive spiritualist who will pose a unique threat to our protagonists this season, along with Simon Russell Beale, who is back as eccentric Egyptologist Ferdinand Lyle.
With Josh Hartnett, Timothy Dalton and Eva Green returning, additional guest stars include Douglas Hodge as a Scotland Yard investigator; Sarah Greene as Poole’s powerful daughter, Hecate; and Johnny Beauchamp as a man with a singular past.
Back in August we were given our first look at a new The Walking Dead — this time from Overkill Software and Skybound Interactive — which promised to be the opposite of Activision’s embarrassing Survival Instinct game.
Overkill’s take of the increasingly popular zombie franchise has more potential than Survival Instinct ever did, but it’d sure be nice to know something about it, aside from its nebulous 2016 release window. Enter series creator Robert Kirkman.
“I can say that it will be Payday-esque because [Starbreeze and Overkill] are currently doing Payday,” Kirkman told Polygon. “But I’m told it will be in a bigger world than Payday currently encompasses. They are going to be learning a lot of stuff from Payday that they will be incorporating into The Walking Dead game.”
This Walking Dead won’t be the same kind of generic experience we usually get from licensed games. Overkill and Skybound are looking to create a unique and engrossing storyline within the Walking Dead universe that follows brand new characters.
“So instead of like it being a derivative experience, where you kind of enjoyed a movie so you’re playing a game and it’s not as good as the movie and there is some lame things about it, we’re doing a thing that is its own experience that stands on its own as a cool game, rather than a licensing barnacle to this popular movie,” Kirkman added.
Kirkman also confirmed that, like the Payday series, this game will be “online and interactive.”
Here’s the game’s announcement trailer, if you missed it the first time around. It’s beak as hell, but I wouldn’t expect anything less from something that’s a part of The Walking Dead.
One of my favorite genre films of the year, Spring, will be arriving in select theaters and on VOD March 20, 2015.
It’s a super fucked up Lovecraftian horror romance that follows a young man (played by Evil Dead‘s Lou Taylor Pucci), in a personal tailspin, who flees the U.S. to Italy, where he sparks up a romance with a woman harboring a dark, primordial secret.
In the spirit of Spring, we caught up with directing duo Justin Benson and Aaron Moorhead who select 10 of the most f*cked up on-screen romances!
DRACULA: Dracula & almost every female character in the book
When we first meet Dracula he is in a cohabitating relationship with three undead sisters in his Transylvania Castle, which is arguably polygamy, incest and necrophilia. Apparently not satisfied with this, his desires redirect to his Victorian real estate agent’s fiance, as well as her best friend, and travels super far all the way to goddamn London for the attempted hook-up.
Making the Vampire Lestat feel puritanical.
Mike Mignola’s name is synonymous with a certain type of monster in comics. This week sees the release of his long anticipated “Frankenstein Underground” #1. A comic I called “another homerun for Dark Horse, another incredible chapter to Mignola’s world, and a story unlike anything you’ve ever seen from both. It’s compelling from cover to cover, and manages to exceed expectations with haunting art on almost every page. I wish I could read #2 right now, and frankly damning myself for reading this one so damn early.”
I sat down with Mike to talk about how he chooses to flesh out his incredible world, the work that goes into making a monster a character, and the whole host of influences on this incredible adventure. Get ready for Wednesday with this interview.
BD: Why can “Frankenstien Underground” be enjoyed on its own without any knowledge of the preexisting Hellboy universe?
Mike Mignola: I hope it can. It focuses on the Frankenstein monster thrown underground and although it exists in a world that has already existed for a long time, reading the book doesn’t hinge on any knowledge of that stuff. It has monsters, hyperborean legend, and all that stuff. And if this is your first introduction I think that’s fine.
It’s always a focus with these different things that we do. We don’t want to trick you into buying other things. It’s not about big crossovers. There may be a couple characters who crossover into separate adventures but if you don’t read their main book you won’t be lost. We make sure to introduce everything in a way that’s digestible to the reader.
I know all the characters, and I know what we’re doing in every book. But, I’m doing this for the reader who’s never read any of the other books.
So these guys that do crossover from Hellboy, it’s more of a wink to the long time reader. We establish Fabrice and who he is and what he’s looking for, but without too big a question mark attached to him. Then we leave him behind. It’s sometimes a trick to do that. But I think we did it well enough here.
BD: With the massive world you’ve built over the last 21 years how do you decide what story to tell next, what was it about Frankenstein that made his story so compelling.
MM: To create these other books have them share a world and have a range of tones is a total joy for me. I you want Victorian occult detective stuff and you only want to read Witchfinder, that’s perfectly fine.
But if you want to read that and Lobster Johnson, and Hellboy, you get a way bigger picture of what’s going on in that world. But! You don’t need it. There continuities still make sense, but every so often you’ll get a character from there, over here. You don’t need to know but it helps.
I don’t know if Frankenstein was even that compelling. I know after The House of the Living Dead graphic novel, something prevailed about the monster after that was all done. Sometimes you tell one story with a character and you’re ready to move on. I’m not even exactly sure when I developed another story for Frankenstein. It was almost out of the blue that I thought of the idea to do him underground, and with a world this big you just kinda tease these things around.
It wasn’t a burning sensation to tell this story, but after Ben Stenbeck expressed interest to work on something other than The Baltimore series, you know I had several ideas to pitch to him. One of the ideas was Frankenstein Underground and he didn’t even skip a beat.
So the project came together because we had the right artist for it. Without Stenbeck coming on it may have never gotten done. The nice thing is, it does something for the Hellboy world. So I’m glad it existed, but had Ben not wanted to do it, we would have found something else to flesh out the world.
BD: So do you draft up stories that only exist in these separated pockets of the world in the effort to flesh out side characters whenever the right artist comes along?
MM: Yeah… There’s always a lot of that. It’s almost an experiment. Or an exercise, it’s this or this. I kind of store them away. I also give them different avenues in where they can go. The direction is up to the right artist. I had stories of characters that are left completely undeveloped in the Hellboy world. I often give certain characters and time periods and try to get them to the artist it appeals to most.
“He’s just this kind of lumbering tragic character. He had to be the Mary Shelley here, and the trick was getting the roots of it in this comic.”
And when they choose, we come up with a story for those characters by throwing around possible ideas. So we do that until its something that we respond to strongly and before we know it, we have something we’re really happy with.
BD: The design of Frankenstein has the Karloff body with the Christopher Lee hair, how did you plan the look of the character? Was it more you or Ben?
MM: Oh, I didn’t think of that… Well I had originally designed that character for The House of the Living Dead graphic novel, and I had drawn that type of character many times before. But, when it came time to do the book I had given Ben a quick drawing of roughly that type of Frankenstein. I started the whole design.
At first when it came time to the series, Ben took things in a pretty extreme direction and the result was taking it back in a more human proportion.
BD: You call Frankenstein “a corpse with a conscience” in this first issue, I love that description, but Frankenstein is made to suffer, how do you plan to give him more agency than pain in this series? And why is so pained?
MM: He’s been living for a couple hundred years and he’s been almost entirely abused during that time. From birth he’s been a monster, it hasn’t really got much better. I’m sure he had a couple years on a beach relaxing somewhere during a few beautiful summers. [Laughs]
But mostly its been pain. We see it in the opening pages of this first issue. He wasn’t having a great time in the lead up to this series. He was misunderstood and met by a lot of men who just wanted to shoot him.
Calling him a monster, at least at first makes the most sense to me. If you’ve read the Mary Shelley novel he has almost no dialogue. He’s just this kind of lumbering tragic character. He had to be the Mary Shelley here, and the trick was getting the roots of it in this comic.
He could have been this elegant well-spoken creature, even a portrait of us. But he’s been so abused and so beaten down that he was reduced to that dumb brute.
BD: So is he trying to learn more about himself here, is he trying to be something more?
MM: No. He’s not the type of character to search out who he is. He’s such a well-defined character already that it was never in my mind that this would really be about him and who he is. This book is really about this situation we throw him into.
His situation is influenced by Edger Rice Burroughs Hollow Earth stuff. It’s so much a thing that the simple pitch for this book was “Frankenstein in Pullicider.” We throw him underground and it’s just a parade of monsters. But, that is only really sustainable for one issue. I could only do so much before it wore thin, so it started out very simple and I brought my other influences into it. The kind of ancient history I love and the elements of my world, that’s when it went from a simple pitch to a great story.
BD: How has Ben Stenbeck’s work complimented your script? I found his work influenced by your own in Hellboy in Hell it really opened up and felt crazy at times, but in a very calculated way.
MM: Ben’s been doing books that take place in specific time periods so this was a chance for him to open up. He’s done a lot of world war I era Europe in Baltimore so here was a book where he could go wild. We have previously sprinkled this level of strange in the Hellboy stuff but no we’re going into uncharted territory.
I’m very luck to work with Ben. There was no point where I scripted something and had any doubts that Ben could draw it. At this point Ben can do anything, there were things I asked him to do that I’ve never seen from him before, but that was half the reason he came onto the book. And there were a few places in the script were he gave me something far beyond what I had imagined. I’ll never tire of working with him, because when you have someone like Ben you never want to let them go.
I don’t do real plot style scripting. I’m always writing something akin to what ends up on the page. But for the most part when the action gets heavy I let my artist take it in their own direction. Some places I really break it down, like exactly the layout and the sizes of the panels on the page. It depends on how I envision the page, but I’m always spelling it out in one way or another. All this stuff is in my head, but it would be a full script if I had the time.
I always like to reletter my work after the artist has drawn everything. Sometimes they alter a facial expression, or change the direction of a scene, and it looks like someone who never had dialogue before should be speaking. I like adding after the fact because it gives the comic a much more organic feeling.
BD: Obviously Frankenstein has an incredibly rich history and you know it well, there are all kinds of little tributes to the character’s past in these opening pages, but what iteration of the character do you find most dear and why?
MM: I read so much mythology, and it’s been cooking up in my head for so long that coming up with a backstory for my world. I’ve got all this stuff, and to some extent I make my own history. So it’s always a question of how much of my influence can I put into a new story. Is there room to put this history in there, and how can I make it work.
For the Frankenstein character I took my in head mythology. My first love is that Karloff monster. I found my own voice somewhere between the Mary Shelley novel and the Karloff monster and I think I found something special. I couldn’t do Mary Shelley, so I took the elements of the character and distilled it down to something I could write. I had to make him mine.
I was really hoping the tentatively titled “Fear The Walking Dead” series would be a completely separate entity instead of living closely in the world of “The Walking Dead”. As “Fear” is a prequel spinoff, clearly it’s going to live in the same world as AMC’s smash hit zombie series. Still, I’m praying the quality and writing are different as I’m not s huge fan of “TWD” series (I adore the comic by Robert Kirkman).
EW has some new answers to questions we’ve been asking since day one. Appearing at panel titled “Creative Activism” at the South by Southwest conference in Austin on Saturday, writer-producer Robert Kirkman was asked how his new spin-off* series will creatively fit with the comics and his existing “Walking Dead” flaghship series.
“It’s not going to relate to the comics at all,” Kirkman said. “From the beginning of the show one thing we’ve heard is, ‘What’s going on over here or there.’ So the intent of the new show is to expand that world and show another corner of the United States and what’s happening there. The timeline is taking place a little bit earlier timeframe than the original show. Rick Grimes woke up from a coma and was like, ‘Oh, man, zombies, weird!’ We’re going to possibly see that unfold a little more in the other show. But I wouldn’t call it ‘prequel’ because the entirety of the show is not going take place before ['The Walking Dead']. It will eventually form a path running concurrently.”
That the two shows will eventually be unfolding at the same time is definitely interesting because it opens the door to the possibility to having characters cross over between the shows, adds the site. Kirkman hinted there might be narrative connective tissue between the two shows, but only cited elements that would play out in the mind of the viewer and emphisized the shows would stand on their own.
Here’s how he explained it: ”One thing that we’re doing with the new show that we’re trying with everything is it’s not derivative,” he said. “It’s standing on its own. You can watch it by itself and get your own experience. But if you are watching both shows there are things like, ‘Oh they discovered this, or they discovered that in a different way.’ There are a lot of things about The Walking Dead world these characters have to learn or figure out to get by. And there may be some things that are discovered in the companion show that haven’t been discovered in the other show yet. So there could be like a thing where, ‘Oh, they encountered a zombie in season 4 in The Walking Dead that could do this and now we know why that was.’ So we’re going to be doing things like that are going to be pretty cool, but for the most part [the two shows] should be able to stand alone.”
He ended with this shocker, which may or may not be a joke: “And then we’re going to cross it over for an Avengers movie and it will be great.”
Creating a massive “The Walking Dead” universe is an awesome idea, so long as creatively they’re separate. I don’t want to see rehash after rehash with the same crew. Instead, I would prefer the new series to be told from different perspectives (male/female, old/young), and various directors and writers.
David Robert Mitchell’s must-see It Follows started it’s life in just 4 theaters across America, and destroyed them all taking it a whopping $40k per screen average. expanding into more theaters next week, I don’t think The Weinstein Company understood what they had on their hands, and are about to have their hands on the next great indie horror hit.
While we wait for it to expand closer and closer, the new art poster does the exact same. “It” may be in the rearview mirror, but it won’t stop until you’re dead…or you pass the curse along to someone else.
I gave it a perfect score, calling it “a classical horror masterpiece.” Mike Pereira referred to as a creepy, mesmerizing exercise in minimalist horror” when reviewed out of the TIFF last September.
“For 19-year-old Jay (Maika Monroe), the fall should be about school, boys and weekends at the lake. Yet after a seemingly innocent sexual encounter she suddenly finds herself plagued by nightmarish visions; she can’t shake the sensation that someone, or something, is following her. As the threat closes in, Jay and her friends must somehow escape the horrors that are only a few steps behind.”
Monroe, who is becoming a legit Scream Queen, stars with Keir Gilchrist, Daniel Zovatto, Jake Weary, Olivia Luccardi and Lili Sepe.
For whatever reason, Lionsgate is holding back the second batch of Saw films from Netflix Instant, but has just now released the first four in the franchise that spanned from 2004-2010.
James Wan and Leigh Whannell’s SAW played the 2004 Sundance Film Festival before blasting through the October box office. It quickly had Lionsgate scrambling for a new director to take the reigns for its sequel, which would find Darren Lynn Bousman behind the helm for the next three.
What I find so bizarre about the Saw franchise is that a lot of you grew up watching it hit theaters, and are now adult readers here on Bloody Disgusting. A lot of the younger generation hasn’t even seen them all yet! What’s the next big thing? We’re all sitting and waiting. Until then, Lionsgate will ponder whether Saw needs a sequel, remake or television series.
Image Source: Lionsgate/Twisted Pictures
“The Returned” uh, returned tonight with its second episode, “Simon,” and it was a slight improvement over the pilot episode, if only because we got to know the characters a little bit better. We don’t get many more answers this week, but a few revelations are made as more and more people start to find out about the dead coming back to life. Lets get to the recap:Simon
The episode begins with a flashback to six years ago, when Simon and Rowan were preparing to get married. We see a younger Lena playing the drums and Simon walks over to take a picture with Lena. We then cut to the wedding day, where Rowan tells Simon she is pregnant. He gives a look that suggests he isn’t thrilled by the news. At the church, Rowan is waiting for him to show up, but Tommy comes in to tell her that Simon has died. Cut to the present day and Rowan is sitting in the same church with Tommy preparing for their own wedding. Tommy gets called away to investigate Lucy’s stabbing. Meanwhile, Chloe notices a disturbing black sludge coming out of the sink drain. While talking to her priest, Rowan decides she has to accept her visions of Simon in order to move on and be happy with Tommy.
Simon goes to the bar and asks Tony the bartender where he can find Rowan and he tells her she works at the library. He leaves without paying. Tommy comes in and starts interrogating Lena’s friends and the Tony about Lucy. Lena remembers taking the picture with Simon six years before and finds it on the bulletin board. Tommy and Nikki take Tony to the station to interrogate him about Lucy. They believe he attacked her, just like “that woman seven years ago.” Apparently, one woman survived and many others died. They show him pictures of the stab/bite wounds of the previous victims and he looks visibly shocked. After asking Nikki to leave Tommy asks Tony if there is something he isn’t telling him. Tony hesitates.
Simon goes to the library and finds Rowan. She begins talking with him, thinking she is hallucinating. She tells him that she will always love him even though she is with Tommy. She touches him and is interrupted by children entering the library, then he leaves and is picked up by the police (for running out on his bar tab from earlier). In the interrogation room, Nikki tells him that he is supposed to have died six years ago. Tommy asks him about Rowan, and Simon gets defensive. Tommy orders Simon to be locked up.
In the middle of the night, Tommy is in bed with Rowan and walks to the basement and begins rummaging through boxes. He comes across a picture of Rowan and Simon, finally making the connection and realizing that Simon was telling the truth about his identity.Camille
Camille finally realizes that she died four years ago.Lena starts a fight with her parents and runs out of the house. As Jack follows her she brings up the fact that he had hit her before. Camille goes into Lena’s room and begins looking through her things, noticing a picture of Lena and Ben. While Claire and Peter are talking downstairs, Camille comes down and asks Peter why she is here but none of the other kids from the bus are. Camille watches from Lena’s window as Peter kisses Claire when he leaves. She sneaks out of Lena’s window and Claire freaks out. Jack comes over, drunk, and she gets upset and leaves to go search for Camille.
Camille goes to the bar where Lena is at and speaks with Ben’s friend Hunter. Claire finds Camille crying about Hunter not recognizing her. She is upset that everyone forgot about her and moved on. After coming home, Lena asks Camille what she did to her room. Camille lets on that she knows about her and Ben’s relationship.Victor
Julie is at the police station trying to see if there were any missing person’s posters of Victor. While trying to tell a policeman that she saw him at the bus stop (rather than just telling him that she took him home) she slips up and mentions the color of his eyes, which she couldn’t have possibly seen if she had just seen him while driving by. The cop, understandably, finds this odd so he takes her to the back for questioning. While following him, she makes awkward eye contact with Nikki (Agnes Bruckner) and they have a moment. Julie goes home and asks Victor why no one is looking for him. She interrogates him and he just hugs her.
Later, her across-the-hall neighbor Annie (feelings girl from Mean Girls) starts asking Julie about Victor. Lets her know that Mr. Goddard (so that’s his name) committed suicide by jumping off the dam (this would be Helen’s husband). Victor gives her an evil look. As Julie is putting Victor to bed, she tells him that she is afraid of the dark, just like him, so she leaves the night light on for him. She goes to the bathroom and begins crying. Rather than going to sleep, Victor begins drawing the town with a black hole in the center. As Julie undresses for her bath, the camera lingers on her stomach, where there are scars that match the stab/bite wounds Tommy showed Tony earlier in the episode. Looks like Julie is the survivor from the serial killings from years before!
Overall, I think that this episode was better than the pilot. If only because we weren’t bombarded with 10-12 characters to connect with immediately. Now that “The Returned” is settling into a groove, we get to spend time with the characters we’ve already been acquainted with. Sadly, there’s no Helen this week, but she’ll become more important in later episodes.
After only getting to spend two brief scenes with Mary Elizabeth Winstead last week, we get most of the episode spent with her and Simon. I’ve always thought Winstead was an underrated actress, and her acting in this episode only proves me right. She kills it in all of her scenes and it’s almost heartbreaking to watch her scene with Simon. I’m eagerly awaiting the scene where she realizes that Simon is actually back.
I’m still not completely involved with Jeremy Sisto’s Peter. As of now his character is kind of useless/annoying, and I’m hoping the show finds a better use for him soon. His scenes with Claire were probably the weakest part of the episode for me. I like Sisto and don’t want to see him wasted on the show. Camille and Lena’s dynamic is the most compelling to me. I’m disappointed that we didn’t get more scene with them together this week but I’m guessing they’ll clash more next week since Lena knows that Camille knows about her and Ben.
I’m also excited for the inevitable episode about Tony, which will give us his backstory with the serial killer (I just looked it up, it’s episode 5). We weren’t really given a lot of information with that today, but that’s just how this show rolls.
While not much headway was made on the Victor front, we did get a major revelation about Julie: she was attacked by the person who was committing the murders years ago. Clearly, that murderer was dead and is one of the returned. I assume we will meet him/her soon. I thought that reveal of her stomach was a great way to end the episode though. Oh, and that look between her and Nikki has to mean something. This is going to be a show were the smallest detail could be important in the future so keep an eye out for things like that. Nevertheless, I’m sure we’ll find out more about that next week.
- In my review of last week’s episode, I referred to “Lucy” (played by Leah Gibson) as “Kris” (played by Chelah Horsdal). This was my mistake. Sorry about that!
- I don’t know about you guys, but I really miss the opening credits of the French version.
- I know I’ve already said it, but Mary Elizabeth Winstead did some fantastic work on this episode.
- Curious to know if anyone else called Julie being the lone survivor victim after Tommy mentioned that there was,in fact, a survivor. I don’t think I called it when watching “Les Revenants” so I’m intrigued by your reaction.
- The series is definitely moving at a much faster pace than “Les Revenants” did. Granted, that’s probably due to the shorter episodes, but since the remake has two more episodes than the French series, I’m curious to see what is added come the season’s end.
- That’s it for Simon’s episode! Check back here next week for episode 3: “Julie.” I’m guessing we’ll see more of what happened the night Julie was attacked by this mysterious killer (and probably learn more about their connection with Tony).
This week: Is Hotline Miami 2 a worthy sequel? Does Episode 3 of Resident Evil: Revelations 2, take a misstep? And another Friday the 13th?