We like to have fun here at Bloody Disgusting. We wear silly hats and make jokes that have been pre-screened by our in-house department of social justice warriors. We do these things knowing there’s a time for trading knee-slappers and a time where you have to get into the serious business. Now if you’ll join me, I’d like to take care of some business.
Did you know that for just $4.99, you can help a family of ghouls in Fortune City live a better second life? Or for $14.99, you can keep the recently reanimated residents of Los Perdidos safe from psychopaths? You don’t need to be a photojournalist to make a difference. All it takes is some money and a willingness to wear outrageous outfits in public.
You’ll need to get these things together before 10am PT Monday, as that’s when the Steam Weekend Sale will blink out of existence only to reemerge around this time next week when Master Gaben summons it to do his bidding again.
[SXSW Interview] Dylan Minnette and Daniel Zovatto On ‘Don’t Breathe’ and the Current State of Horror!
Director Fede Alvarez (Evil Dead) blew audiences away at SXSW with his latest film Don’t Breathe (read my review), which was the festival’s first Midnighter. I was lucky enough to sit down with the film’s stars Dylan Minnette (Goosebumps, Let Me In) and Daniel Zovatto (It Follows) and chat about the film. It’s definitely one of the more conversational interviews that I have done, aided by the fact that Zovatto and Minnette are friends in real life. Check out what they had to say! You can also check out my interview with Alvarez right here.
Bloody Disgusting: First thing’s first: I loved it. It was great.
Dylan Minnette: Awesome!
Daniel Zovatto: Great!
BD: What brought y’all onto the film. Did y’all audition or did you seek it out?
Dylan Minnette: We auditioned. We each met Fede and then read together with other people. We got it first, then read with a bunch of girls and then went to film the movie.
Daniel Zovatto: Yeah it was pretty standard but at the same time it was unique.
BD: It’s a pretty intense film. You both have had experience with intense films, but this is probably one of the more crazy ones. Did you have any reservations about doing it?
Daniel Zovatto: No.
Dylan Minnette: For me it’s not really a reason you would expect, but here’s my story: It was originally supposed to film in Toronto, and then they called me to tell me I got the part, but that the shoot had been moved to Budapest. It took me a week or so to come to terms with it and say “Yes. I want to do this movie.” But I was so afraid of leaving. I had my summer planned out
Dylan Minnette: I had my band and, you know.
Daniel Zovatto: I called him and went to one of his concerts and was like “Bro you have to do this.”
Dylan Minnette: But it’s Budapest!
Daniel Zovatto: Exactly!
Dylan Minnette: I knew I was going to do it. I think I was just stalling.
Daniel Zovatto: Yes, you were stalling. You were telling me “I’m gonna do it man. It’s just gonna take me a week.” [laughs]
Dylan Minnette: I just had to convince myself because I was excited about the movie but the idea of just going away for the summer was intimidating.
Daniel Zovatto: This was your first time outside of the States?
Dylan Minnette: It was my first time out of the States so I was just intimidated by the idea. I’m glad I did it though because it was one of the best experiences ever. I’m unbelievably proud of the movie and I’m excited to be a part of it. There was no world where I wasn’t going to do it. There was never a chance I was not going to do it.
Daniel Zovatto: Or I would have fuckin’ killed you.
Dylan Minnette: Exactly.
BD: So were y’all friends before?
Both: Yeah, yeah.
Daniel Zovatto: Well I moved to L.A. and we met because we both did an episode of Agents of Shield and we met there and…[looks at Minnette] you were sixteen. That’s crazy.
BD: Well I forgot you were in Scandal. I watch that shit and I was like “Oh shit he was in Scandal.”
Dylan Minnette: Yup!
BD: Well, not anymore.
Dylan Minnette: Yeah, in and out on Scandal.
BD: Anyway, was there a particular scene where you were…I don’t want to say ready to throw in the towel, but where you were like “Man, fuck this.”
Daniel Zovatto: Yes! There was a scene in a car. I couldn’t say a lint.
Dylan Minnette: Oh oh oh “The guy’s a shut-in!”
Daniel Zovatto: Yeah. I have to say “The guy’s a shut-in” and I would say “The guy’s a…” I don’t know.
Dylan Minnette: What were you saying?
Daniel Zovatto: I don’t know but it took me like eight takes and I couldn’t say it.
Dylan Minnette: I couldn’t stop laughing.
Daniel Zovatto: He took me aside after the takes and showed me the bloopers and by the last time I’m like “I can’t fucking do this!” I’m not American though, so there’s a lot of words that I really have to make sure that I say them right so I don’t sound like I’m Latino. There were a few lines where I just said “Fuck this shit! I can’t fucking do this!” Fede was in the back cheering me on though. “You can do this Danny! You can do this!” They were all laughing at me.
Dylan Minnette: But what were you saying?
Daniel Zovatto: I forget. I was saying something like “sha-da” or something. I don’t know. Anyway. That was a hard scene for me.
BD: The should just add the blooper reel to the credits. It would probably do wonders for the movie.
Dylan Minnette: It was amazing.
Daniel Zovatto: It was so horrible.
BD: Well you’ve each had a horror film come out in the past year, and yes I am counting Goosebumps as horror film even though it’s not a horror film.
Dylan Minnette: Okay. Yeah.
BD: So Dylan you did Goosebumps and Daniel, you did It Follows. Are you wanting to do more horror or is it something that just kind of fell into your lap?
Dylan Minnette: If I’m going to do horror I only want to do horror that’s good. So reading the script and knowing that Fede is making it I knew that it was quality stuff.
BD: But what if it’s not Fede? What if it’s written by someone else?
Dylan Minnette: If it’s a script that I like then yeah, totally. It has to be something that is different from the last character I played. I don’t want to repeat myself and I don’t want to make a trend.
BD: Yeah and you were the bully in Let Me In, so you’re doing a pretty good job in changing it up.
Dylan Minnette: Yeah.
Daniel Zovatto: I did a few horror movies but I’ve been really fortunate to work with three genius directors. Larry Fessenden (Beneath) is a genius and David Robert Mitchell (It Follows) and Fede are as well. Those are three very different movies and I’ve been given three very different roles. I did get the whole “Are you sure you want to do another horror movie?” questions from people and I said “Uh, yeah I want to do this one.” It was unique, different and the character was completely someone else who was so far removed from who I am.
BD: Is that something that you feel is looked down on in Hollywood? Taking a horror role?
Daniel Zovatto: No, but that fact of doing two in a row-
Dylan Minnette: And a lot of people get their start in horror movies so it’s kind of inevitable. It’s not frowned upon. It’s kind of like a rite of passage. It’s going to happen at some point.
BD: This is sort of related but it’s like how it used to be looked down upon for film actors to do TV shows. Now, a lot of film actors are doing TV shows. So my dream is for actors to go back to horror.
Daniel Zovatto: Well you know what I think it will happen because there’s a resurgence with how films are being made. I think we went through 10 years of shit horror but that in the past couple of years it’s changing. The Witch is a great film
BD: Oh I love it. Not everyone loves it, but I love it.
Dylan Minnette: I really liked it
Daniel Zovatto: The Babadook was great. Cloverfield is supposed to be good.
BD: Cloverfield is good. I saw it two nights ago.
Dylan Minnette: I want to see it.
Daniel Zovatto: But I really thing things are changing. I’m dying to see another The Shining-level of film.
Dylan Minnette: Well for me the best horror movie I had seen in a long time was the Evil Dead remake when it came out.
Daniel Zovatto: It’s so different.
Dylan Minnette: It is so different and then I saw It Follows and was just so impressed.
BD: Well that’s another thing. It Follows, The Babadook and The Witch are films that the festival circuit really loved but then when they got a wide release the mainstream was like “NO. What the fuck is this?”
Daniel Zovatto: Because they want to see Transformers.
BD: Exactly. Some people just want jump scares every two seconds and don’t really know how to handle “smart” horror.
Dylan Minnette: But audiences are becoming smarter.
BD: That is true.
Dylan Minnette: I feel like the movie has to be marketed properly though. Like with our movie we had all this secrecy and I think that really helps audience reception.
BD: I completely agree. All three of those movies I just mention had a lot of hype, and hopefully that doesn’t happen with this one. Well, I’m certainly not helping matters. I gave it a 5 out of 5 so…whoops.
Dylan Minnette: Oh thank you!
Daniel Zovatto: Yeah man, thank you!
BD: Anyway, I’m getting the wrap-up here, but it was great talking to both of you.
Dylan Minnette: You as well!
Daniel Zovatto: Same to you.Check out Don’t Breathe when it hits theaters on August 26, 2016!
The trailer for Greg McLean’s supernatural horror, The Darkness, follows a family that return home from vacation at the Grand Canyon and innocently bring home a supernatural force that preys off their own fears and vulnerabilities, threatening to destroy them from within, while consuming their lives with terrifying consequences.
A new motion poster fills the bathroom with demonic imagery that’s tied to the black hand prints that are seen all over the film’s promotional materials.
The Darkness, which stars Kevin Bacon and reunites McLean with Rogue star Radha Mitchell, opens in theaters on Friday, May 13, 2016.
David Mazouz, Lucy Fry, Matt Walsh and Jennifer Morrison also star.
Every decade has its ups and downs when it comes to cinema, no matter the genre. Horror fans love to loft on high the output of the ‘30s & ‘40s, the ‘70s & ‘80s, and the more recent decades. More often than not, however, the 1990s are labeled as the worst decade for the genre. Not only that, but ‘90s horror tends to be written off as a whole, beyond a handful of undisputed classics. The purpose of Exhumed & Exonerated: The ‘90s Horror Project, is to refute those accusations by highlighting numerous gems from the decade. Stone cold classics will be tackled in this column from time to time, but its main purpose will be to seek out lesser-known and/or less-loved titles that I think deserve more attention and respect from fans. Let the mayhem begin!SPECIES
Directed by Roger Donaldson
Screenplay by Dennis Feldman
Produced by Frank Mancuso Jr. & Dennis Feldman
Starring Natasha Henstridge, Ben Kingsley, Michael Madsen, Marg Helgenberger, Forest Whitaker, Alfred Molina, and Michelle Williams.
Released on July 7, 1995
In 1974, S.E.T.I. (Search for Extra-Terrestrial Intelligence) sent the Arecibo Message out into the cosmos. Among many other tidbits of information, it contained details on human DNA and the Earth’s population at the time. In 1993, they received a response. The first bit of information returned to us gave humanity the formula for creating a new renewable energy source. The second part of the response dished out plans to splice alien DNA with our own. S.E.T.I. jumped with delight, of course, and set about growing some embryos based on the latter. After all, these unknown pen pals gave us a rad new fuel source, so why not trust in them enough to create an alien/human hybrid?
We all know this was a big mistake, but it’d be no fun if the film’s scientists hadn’t rolled with it. Personally, we also kind of had it coming. After all, we were dumb enough to send our biological and population information into the stars. That’s like a termite walking out of the wall in your house and announcing how many of them there are and where this nest is. It’s basically like placing an intergalactic “kick me” sign on our own backs.
The film opens in media res, with all of the above already having occurred. We don’t find out the specifics until later on. Instead, the opening sequence relies more on emotion than information. We see a young girl residing in a quarantined environment, with some scientists looking on. Chief among them is Xavier Fitch (Ben Kingsley), who has a grim look upon his face. It soon becomes evident that they are terminating the girl, who is played by a young Michelle Williams for the first third of the film.
She looks confused and terrified at first, then downright sad once she realizes what is happening. Fitch himself begins to cry as well, as a team of technicians pumps cyanide gas into the girl’s chamber. Naturally this gaseous killshot has no effect on her and she escapes, necessitating the assemblage of a team of experts to track her down.
Our team is comprised of molecular biologist Dr. Laura Baker (Marg Helgenberger), anthropologist Dr. Stephen Arden (Alfred Molina), empath Dan Smithson (Forest Whitaker), and government assassin Preston Lennox (Michael Madsen). Fitch briefs them on the situation (where the above exposition comes in) and then joins them on their mission to take the girl, Sil, down.
They track her across the country as she leaves a few bodies in her wake, with most initial kills occurring out of fear or the need for survival. After gorging on food and cocooning herself, she emerges as a fully-formed adult woman, played by Natasha Henstridge in her debut role. From there on out, with her biological clock ticking, Sil is determined to find a suitable mate so that she can reproduce.
I’m a sucker for monster movies, particularly science fiction-tinged ones. There’s just something about the melding of both the horror and sci-fi genres that speaks to me. Species has elements of both genres in spades; playing like an early-‘80s Corman riff on Alien, but with an A-picture budget. It even has the requisite nudity that old school Corman exploitation films always contained, although the results are less sleazy here.
The plot here is pretty standard fare, albeit with a higher budget than usual. When threatened, she morphs into her alien form, which comes courtesy of some absolutely fantastic physical effects created by the great Steve Johnson. We’re also treated to the occasional CGI version. Those particular FX shots are obviously dated now, but on the whole, they still work. Sil’s design was created by none other than H.R. Giger and much like his unforgettable work in Alien, she’s a pretty iconic creation.
Species is well-directed and the script is pretty tight, but what really elevates this film above your standard DTV monster movie fare is the cast. Everyone here is on point, with none of the main cast members phoning it in. Michael Madsen is an actor I like, but he’s often not used well in films, particularly recently. Quentin Tarantino has always managed to pull some nice performances out of him, but that’s not always true of other directors. Lucky for us, New Zealand-filmmaker Roger Donaldson (No Way Out, Thirteen Days) hews closer to the former than the latter.
Preston Lennox easily could have been your standard government stooge tough guy role, but Madsen plays him far more subdued than most might have. If the need calls for it, Lennox will immediately spring to action, but on the whole he is rather laid back. Instead of launching to the forefront in every situation, he often tends to hang back and just observe his surroundings. There’s an air of loneliness about him that makes for an interesting juxtaposition when you factor in his matter-of-factness. Ever the professional, Lennox knows his role and his mind is almost always on the job, which is something to be admired in a character that would now probably be blandly portrayed by Charlie Hunnam.
Alongside Madsen, Forest Whitaker is the other standout here, which should come as no surprise to anyone familiar with him. As psychically-gifted “empathy” Dan, Whitaker gets loads of scenery to chew on, though never goes over-the-top in his mastication. His abilities weird out his cohorts, but in the face of them all being on a manhunt for an alien/human hybrid, no screentime is wasted on the other characters scoffing at his gifts. Thankfully, they all just roll with it, which is positively refreshing.
The remaining three team members are all scientists and approach things from an entirely different perspective. Fitch seems utterly conflicted throughout; wanting to stamp out the obvious threat to humanity, but also utterly remorseful for having to kill what pretty much amounts to his adopted child. Baker and Arden seem bummed about the prospect of killing such an interesting specimen and are at first fascinated by all around them, but that too gives way to the mission at hand. All too often we are given a team full of in-fighting in a film like Species, making the lack of such a narrative crush yet another breath of fresh air.
Lastly, of course, is Sil herself. Both Michelle Williams and Natasha Henstridge sell her constant fear, sadness, and confusion extremely well. Combined, the performances manage to gel into this weird, innocent, and occasionally creepy character. It’s telling that Sil could have busted out of her cell at any time before the start of the film, but chose not to until she was endangered. The same goes for her first three kills.
The homeless man and the train worker are both killed out of fear, not malice. Hell, even her first mating kill is done in self-defense. After being taken home for sex by a man she meets in a club, Sil decides that he isn’t a suitable mate for her after all. Her initial instinct is to simply leave his home and seek another mate, leaving him unharmed. It isn’t until after he attempts to force himself on her that she lashes out and takes his life.
This in turn informs her next sexual encounter, where Sil becomes more aggressive when it comes to making her desires known. Was Sil being rougher with her second suitor because she assumed the way her first suitor acted was how all human men were? It seems likely. Sil might be a sexually violent woman (something the film was criticized for upon release), but she was absolutely driven to it by male sexual aggression.
In a world where misogynists proclaim loudly that women are only here to look pretty and have babies, Sil has a counter-argument: men are only good for sperm and not all men are worthy of her sexual attention. This, along with her iconic look, makes her a rarity in the pantheon of memorable horror characters.
Species is not a perfect film, nor an underseen one (it did spawn 3 sequels, after all), but I do feel that it is an underrated one. It is well-directed, is tightly-paced, has stellar special FX, and contains good characters. It also has a great concept and monster design. That alone makes it worthy enough to be considered a good ‘90s horror film. Add in the fact that it is the inspiration for the “chupacabra” myth and there’s no denying Species‘ place in both film and cultural history.
NEXT WEEK’S ENTRY: I actually haven’t decided yet!
With They’re Watching, in theaters and On Demand March 25th, noted graphic novelists and animators Micah Wright and Jay Lender are said to turn a classic horror premise upside down to create “a fresh, funny, eye-popping twist on the genre.”
I’ve seen the movie and it’s definitely eye-popping. In fact, They’re Watching could be the most batshit insane horror movie you see this year.
“When an American home improvement TV show visits a remote Eastern European village, the young crew thinks the lack of mocha lattés and free wifi will be the worst of their problems. But after their filming interrupts the superstitious villagers’ private religious ritual, the situation takes a turn for the homicidal… and when the blood starts flowing, that’s when things get really weird.“
David Alpay (‘The Tudors”), Brigid Brannagh (“Army Wives”), Kris Lemche (“Haven”), Carrie Genzel (“All My Children”) and Mia Faith (“Dracano”) star.
We’ve known for a few months now that Arrow Video will be releasing Bride of Re-Animator on Blu-ray in the U.S. and UK. That initial news got us very excited, as it should have, but now Arrow has released the artwork and full specs and let me tell you, this looks like it’s going to be better than we could have even imagined! This set is limited to 5,000 copies in the U.S. and 5,000 copies in the UK and per Arrow the U.S. sets almost sold out! So if you want to get your hands on this, I recommend you pre-order today. U.S. copies can be pre-ordered from Amazon, while UK copies can be pre-ordered straight from Arrow.
Now, how about we Date. Mate. Re-Animate.
The success of Stuart Gordon’s hit horror-comedy Re-Animator meant that a sequel was all but inevitable. The resulting follow-up, Bride of Re-Animator – this time helmed by director Brian Yuzna (Society, Return of the Living Dead III) – would prove that there was a good deal more life (and death) left in the story of Dr Herbert West and his ghoulish exploits.
It has been eight months since the bloody massacre at Miskatonic Medical School. Unperturbed by the disastrous outcome of his previous meddling with the dead, Dr West (again played by Jeffrey Combs) continues his research into the phenomenon of re-animation; only this time, he plans to create life – starting with the heart of his young protégé Dan’s dearly deceased, Meg Halsey. Surely nothing could go wrong?
With special effects master Screaming Mad George (the man behind the infamous “shunting” sequence of Society) on hand to contribute a host of characteristically weird and wonderful creations, Bride of Re-Animator is a more than worthy successor to Stuart Gordon’s original cult classic.
DIRECTOR-APPROVED 3-DISC LIMITED EDITION CONTENTS
• Brand new 2K restorations of the Unrated and R-Rated versions of the film, approved by director Brian Yuzna
• High Definition Blu-ray (1080p) and Standard Definition DVD presentations
• Original Stereo 2.0 audio (uncompressed PCM on the Blu-rays)
• Optional English subtitles for the deaf and hard of hearing
• Digipak packaging featuring newly commissioned artwork by Gary Pullin
• Collector’s booklet featuring new writing on the film by festival programmer Michael Blyth
• Re-Animator: Dawn of the Re-Animator – the official comic book prequel to the original Re-Animator
DISC 1 [BLU-RAY] & DISC 2 [DVD] – UNRATED VERSION
• Brand new 2K restoration of the Unrated version
• Brand new audio commentary with director Brian Yuzna
• Audio commentary with Brian Yuzna, star Jeffrey Combs, special effects co-ordinator Thomas Rainone and the effects team including John Buechler, Mike Deak, Robert Kurtzman, Howard Berger and Screaming Mad George
• Audio commentary with stars Jeffrey Combs and Bruce Abbott
• Brian Yuzna Remembers Bride of Re-Animator – brand new featurette in which the director looks back at the making of the first Re-Animator sequel
• Splatter Masters: The Special Effects Artists of Bride of Re-Animator – brand new FX featurette with a wealth of behind-the-scenes footage and interviews with Robert Kurtzman of KNB, Screaming Mad George, Tony Doublin and John Buechler
• Getting Ahead in Horror – archive making-of featurette
• Meg is Re-Animated – deleted scene with behind-the-scenes footage
• Carnival Sequence – the cast and crew discuss this excised sequence
DISC 3 [BLU-RAY] – R-RATED VERSION – LIMITED EDITION EXCLUSIVE
• Brand new 2K restoration of the R-Rated version
• Behind-the-Scenes Reel
‘RE-ANIMATOR: DAWN OF THE RE-ANIMATOR’ – LIMITED EDITION EXCLUSIVE
• Perfect-bound booklet containing Re-Animator: Dawn of the Re-Animator, the 1992 comic prequel to Stuart Gordon’s original Re-Animator, reprinted in its entirety
Earlier this month Scream Factory acquired all U.S. distribution rights to the visceral body-horror film Bite from director Chad Archibald. That release date has now been tagged as May 6th when the film will be available via VOD, On Demand and in select theaters. No word on what theaters yet, but you can visit Bite-Movie.com for all updates.
When she returns from her tropical bachelorette party getaway, a young woman begins to succumb to an insect bite in the palpably disturbing film Bite. Witness the skin-crawling chronicle of one woman’s truly terrifying descent into madness when the visceral body-horror feature Bite debuts in select U.S. theaters May 6th, 2016. Directed by Chad Archibald (The Drownsman), Bite had a sensational premiere at the 2015 Fantasia International Film Festival in Montreal, where it won an Audience Award, and has recently played at numerous top international genre film festivals.
While on her bachelorette party getaway, Casey, the bride to be, gets a seemingly harmless bite from an unknown insect. After returning home with cold feet, Casey tries to call off her wedding but before she’s able to, she starts exhibiting insect like traits. Between her physical transformation and her wedding anxiety, Casey succumbs to her new instincts and begins creating a hive that not only houses her translucent eggs, but feeds on the flesh of others. As her transformation becomes complete, Casey discovers that everything can change with a single bite.
Starring Elma Begovic, Annette Wozniak, Denise Yuen, Jordan Gray, Lawrene Denkers, Barry Birnberg, Daniel Klimitz, Tianna Nori, and Caroline Palmer. Bite is directed by Chad Archibald and produced by Black Fawn Films.
Breaking Glass has acquired U.S. and Canadian distribution rights to THE SUFFERING, an independent horror film by Robert Hamilton. THE SUFFERING stars Nick Apostolides (The House Across the Street), Regen Wilson (Killing Lincoln), Phil Amico (The Patient), and Chad Eric Smith (Squid Man).
The film premiered at the Skyway Film Festival in 2015 and took home the Audience Award. THE SUFFERING also screened at the Culver City Film Festival in December 2015. Breaking Glass’ CEO Rich Wolff negotiated the deal with Todd Slater from Blue Fox Entertainment at the 2016 South By Southwest Film Festival.
“Breaking Glass Pictures has a terrific plan for THE SUFFERING, and they were a pleasure to work with while crafting the agreement,” says Todd Slater of Blue Fox Entertainment. “We couldn’t be more thrilled about the acquisition.”
Henry Dawles is at a cross roads in life. With a diminished bank account and a baby on the way with his estranged wife, his personal life in shambles. When Mr. Remiel, an elderly shut in, offers Henry a lucrative sum to appraise his rural estate, he accepts without hesitation. What follows is a harrowing exploration of mind and madness. When Henry closes in on the lands’ dark truth, Remiel’s eccentric behavior takes a menacing and unforgettable turn.
Breaking Glass is planning a limited theatrical and On Demand release for July 2016.
Hey 2K, would you kindly confirm the existence of a BioShock bundle so I can start clearing space on my console for the inevitable Big Daddy-sized download it’ll require of me? I get that you want to make a big fuss about it with a fancy press release and a trailer that shows off the myriad recognitions and Game of the Year awards the series has received so far. We know these games are the cat’s pajamas, you don’t need to sell us on it.
BioShock: The Collection still isn’t official, though it has been listed by South African retailer Raru, and by ratings boards in Brazil and Taiwan. The few precious details we have came from those three sources, which also mentioned a release on PC, PS4 and Xbox One.
— lifelower (@lifelower) March 17, 2016
Castlevania: Symphony of the Night, Pac-Man and Alan Wake are now playable on the Xbox One. Of the 100+ titles that have been added to the console’s backwards compatibility program since it launched in November, only a handful of them have been of the horror persuasion. At least Remedy’s beloved supernatural thriller is in good, if somewhat meager, company in Alan Wake’s American Nightmare, Condemned: Criminal Origins and the first two Doom games.
It’s uncomfortable to think about, but there are some people who haven’t yet been exposed to this strange and wonderful game. Fortunately, Remedy has turned Alan Wake into a pre-order incentive for Quantum Break, which releases on April 5 for PC and Xbox One. If you have to pre-order something, you could do worse.
This leaves us with a legion of horror games that are still waiting to get some love. I’m not sure what’s taking Dead Space so long, but that needs to happen already.
So, which of the Xbox 360’s many horror games are you the most eager to play on the Xbox One?
A movie doesn’t have to be a part of the horror genre to scare you! There are plenty of non-horror films out there that feature some absolutely terrifying scenes. We decided to pick out five of those scenes/moments that nearly made us cover our eyes!The Ark of the Covenant – Raiders of the Lost Ark
Can you imagine being a kid in 1981 going to see Raiders of the Lost Ark (well, many of you probably did see it in theaters, so humor this 27-year-old)? How Temple of Doom is the Indiana Jones film that caused ripples with the MPAA instead of Raiders of the Lost Ark is beyond me. Their faces melt off! At least they were villains, so it had a cathartic feel to it, but it’s still some really intense imagery that would scare the pants off of anyone not prepared for it.
The new Doom will launch with nine maps — Helix, Disposal, Chasm, Infernal, Beneath, Perdition, Excavation, Heatwave and Sacrilegious — that we’ll take turns redecorating in the game’s competitive multiplayer mode using various shades of red. It’s a bold color palette to be sure, but I’m confident we’ll be able to pull it off.
All nine maps are present in this video, though it’s mostly just the first four I listed above that we’re able to get a real look at. This video feels like it should be twice as long, so if ~35 seconds of Doom leaves you wanting more, I suggest you check out the multiplayer trailer we got a week ago.
Doom releases on May 13 for PC, PS4 and Xbox One.
Abbie Cornish and Dermot Mulroney (The Grey, Insidious: Chapter 3 ) will star in the psychological thriller Lavender from director Ed Gass-Donnelly, which will have its World Premiere at the upcoming Tribeca Film Festival.
“Cornish will play a photographer struggling with severe memory loss. Strange clues among her photos begin to suggest that she may be responsible for the deaths of family members she never knew she had.”
Mulroney and Cornish join Diego Klattenhoff (“The Blacklist,” “Homeland”) in the film, which is co-written by Gass-Donnelly and Colin Frizzell.
Check out the first ever image to go along with the festival synopsis:
Abbie Cornish stars in this thriller as Jane, a photographer who is forced to come to terms with her mysterious and tragic past after a horrendous car accident robs her of her memory. Along with her husband (Diego Klattenhoff, ‘Blacklist’) and daughter, Jane returns to her childhood home and reconnects with her estranged uncle (Dermot Mulroney). To take control of her life, Jane must confront a mysterious lurking force and grapple with a past that continues to haunt her.
Director/co-writer Ed-Donnelly crafts a riveting hallucinatory tale about a woman who must relive horrors to save the ones she holds the most dear. With a strong supporting turn from Justin Long, ‘Lavender’ is full of twists and turns that will keep audiences engaged until the very end.
[H/T] Fabien M.
You know what’s scary about the future? Everything. If the aliens haven’t found us, then surely our civilization will succumb to a robot uprising, a zombie apocalypse or Donald Trump. In the neon future of PAMELA, humanity seems to have fallen prey to a combination of those first two things. On the bright side, a real-life version of the plasma sword from Halo also exists in this bleak and beautiful world, and that’s way cooler than self-lacing Nike shoes.
NVYVE Studios released some new footage from the game’s alpha earlier this week that shows off what daily life is like in the deceptively gorgeous neon utopia of Eden.
The world that NVYVE Studios has created is almost pretty enough that you can forget about the monsters that inhabit it. PAMELA arrives this summer only on PC.
After a successful Indiegogo the filmmakers behind British short film RATS have debuted a teaser trailer online.
Here’s the official synopsis to give some clues as to what exactly is taking place behind castle walls after dark.
Bill is a middle aged lecturer and antiquarian book specialist who arrives at Montague Castle to catalogue the library’s more interesting volumes. But Bill has other things on his mind for his time away from his young family. He intends to spend a night of passion with Jess, one of his undergraduates.
What better way to impress a girl than to have a night alone with the run of a castle?
Only they aren’t quite alone. There are scratching noises from the room next door, and the sense that someone, or something, is watching. By the end of this night, Bill will learn that all actions have consequences especially within these ancient walls.
Terrible, terrifying consequences…
“Not all castles were built to keep things out!”
Starring Nicholas Vince (Hellraiser, Nightbreed) & Laurence R. Harvey (The Human Centipede 3, The Editor) expect to see the film starting to appear soon on the film festival circuit.
On April 26th Vinegar Syndrome will be releasing a DVD double feature of Crypt of the Living Dead and House of the Living Dead. Both films have been scanned and restored in 26 from 35mm negatives and the set will include the original theatrical trailer for Crypt of the Living Dead.
CRYPT OF THE LIVING DEAD (1973):
After arriving on a remote island to bury his father, a young American engineer (Andrew Prine) opens the crypt of a vampire queen. He inadvertently unleashes a terrible and violent force of evil on the unsuspecting townspeople, making them fight for their lives, while a few townsfolk aren’t who they appear to be. Vinegar Syndrome brings the U.S. theatrical version to blu-ray, scanned and restored in 2k from a newly exhumed 35mm negative. Open the tomb and re-discover CRYPT OF THE LIVING DEAD!
HOUSE OF THE LIVING DEAD (1974):
In the seemingly peaceful and rural colonial vineyards of South Africa, a mad scientist plots to steal people’s souls and place them into jars for eternity. To complete his twisted experiments, he begins to undertake a bloody rampage in the nearby countryside. Who can stop this madman, and what other terrible secrets does he hide? Who knows what other horrors you will discover in HOUSE OF THE LIVING DEAD!
In celebration of St. Patrick’s Day, Lionsgate Digital is providing us with (5) sets of digital codes for every single Leprechaun movie!
To enter, all you have to do is fill out the below form. Winners chosen at random. U.S. entries only.
Click here to check out more St. Patty’s Day titles from Lionsgate Digital.
The last time Lep was revived was in the 2014 Leprechaun: Origins.
You can check out our definitive rankings of all seven Leprechaun films by clicking here.
We dig into the many films of the ‘Leprechaun’ series, examining what makes them work and what the next film should avoid in order to strike gold!
“No one takes a Leprechaun’s gold!”
Every St. Patrick’s Day it should be a mandatory tradition for all horror fans to indulge in the Leprechaun franchise in some way, even if it’s just for one film. Since 1993, these absurd horror films starring Warwick Davis as the titular Leprechaun somehow have spanned into a franchise that’s seen the release of seven films. While the quality of the Leprechaun films is certainly up for debate, there’s an absolute horror charm and personality to them that explains their longevity and why they’re still worth a watch. This series contains horror set pieces that you simply cannot find elsewhere, as this surreal series involves fantastical magic and a warped sense of humor to power its carnage in bizarre ways. These movies may not be good, but you won’t be able to take your eyes off of them. Accordingly, we thought we would dig into what makes this franchise work, piecing together the more successful decisions the series has made through its films, exploring the right ingredients necessary to make a “good” Leprechaun film.
What’s first important to recognize here is if a Leprechaun film should even be scary. The original film and Leprechaun 2 carry a very fable-like, urban legend sort of mystical quality to them. The second film even opens with a bizarre, flowery, “Ireland…Once upon a time” title card to kick things off. When this series began, it was a little hard to put your finger down on what sort of atmosphere it was trying to emulate. Tonally, the earlier films feel the most similar to A Nightmare on Elm Street almost, or maybe even more like Critters (to invite an obvious size comparison) with a tongue-in-cheek, magical vibe to it all. There’s a lot of pangs of Sam Raimi present, too in the camera work and practical effects. Honestly, the first film seems more like a Goonies type fantasy story involving Ozzie and Alex, than really focusing on the terror of this Leprechaun. In this case it’s not only until the final forty minutes that things really shift into horror mode. Certain moments that are supposed to evoke terror, like the Leprechaun chasing people in a tiny car or roller blades, just fall flat.
While horror might not be a dominant element of thee films, it should still certainly be present, and the best films from the series (see: Leprechaun 3) know how to play with the extremes of the franchise, nearly giving you whiplash in the process. The wisecracking Leprechaun is injecting humor into the horror right from the very first film (lest we forget the pogo stick death that he pulls off there), but it’s not until Leprechaun 3 that the scales seem to heavily shift towards a more humor-focused goal (with In the Hood and Back 2 Tha Hood nearly skewing the slant to more comedy than horror). It’s at this point that the films really just give into any passing whim they get, seeing the Leprechaun hang out with Elvis impersonators and letting his powers go off the rails entirely. Stuff in this film straight-up makes no sense, like the Leprechaun’s ability to make a woman come out of a man’s television screen, have sex with him, only to turn out to be a robot, electrocuting him. This is a series after all that has often ended with the Leprechaun exploding—not because it makes any sense, but just because it just looks fucking cool. That’s the mindset present here. Some might view these ridiculous decisions as being damaging to the franchise, but it’s because of the craziness that’s established here that things like the next installment being set in outer space, or subsequent ones making a meal out of “hood life” being possible in the first place.
This humor is also a necessary component of making a “good” Leprechaun movie because when you look at the latest product, Leprechaun: Origins that tries to bypass it entirely and focus on just being a horror film, it’s by far the worst and least effective of the bunch (but that might also have something to do with the fact that WWE Films is behind it). Turning something like Leprechaun into the next Descent where backpackers in Ireland become prey by a vicious monster isn’t what people want here. They want bad limericks and one-liners after someone has been bludgeoned to death by a shillelagh. Basically each of these films contain some sort of murder fueled by something that’d be borderline racist if “Leprechaun” were considered a race. Leprechaun 2 involves a a moment where beating the Leprechaun in a drinking contest is a heavy plot point. Leprechaun in the Hood sees a scene where rappers try to lace the Leprechaun’s weed with a four-leafed clover as a means of taking him down.
The mix that ends up working best here is to have the film’s horror banking off of its absurdity. Sure, humor might deflate the severity of what you’re watching, but there’s actually a turning point where things can be twisted so greatly that they turn back to being scaring. The “enlargement” death scene in Leprechaun 3 doesn’t make any sense at all, and at first glance looks really stupid. The more the scene plays out though, it manages to become increasingly disturbing. You can’t believe what you’re witnessing. In the series’ fourth entry, Leprechaun: In Space, a derivative take on Cronenberg’s The Fly sees Dr. Mittenhand (yeah, I know…) transforming into a terrible spider monster that’s also trying to kill the crew (in addition to the Leprechaun being giant-sized at this point…it’s a crazy movie). It’s completely unnecessary and heaping more on an already busy film, but you can’t help but love the hell out of what they’re going for. This is the same film where the Leprechaun gets onto the ship in the first place because a marine pisses on his corpse, and as a result ends up transferring into the marine’s urethra, only to later explode out of his erect penis once on the ship.
This isn’t a series about logic. It’s a series about visuals, and as long as you can deliver them, I think you’re doing good work with the series. There’s a scene in Leprechaun 2 where Cody sees a skeleton in the Leprechaun’s cave, remarks, “What a cliché!” only for the skeleton to then grab him with the Leprechaun bringing it to life, and I wouldn’t have it any other way. Leprechaun: In Space features a death scene where the Leprechaun throws a plate at a man’s head, and for some reason it has a horrifying muppet-esque effect on the man. All of this is to say nothing of the zombie fly girls from the Hood installments, too.
On the other end of the spectrum, Leprechaun 2’s murders actually hold a pretty vicious tone to them (the film as a whole is also really rape-y, and the zenith of the Leprechaun’s usual lecherous tendencies). One death involves a bully going to make out with the blades of a lawnmower, with the Leprechaun’s magic making him think it’s an attractive girl. In the second half of the film a man gets his face completely steamed off, until he dies. Even Morty’s distended belly full of gold death is more disturbing than it is silly. These are images that really stick with you. Here the Leprechaun’s one-liners don’t take away from the fear factor, they augment your disgust. It’d be like witnessing a brutal car crash and then someone swooping in with a joke.
Another crucial aspect of constructing a worthy Leprechaun film falls into the category of the rules that this certain iteration of the Leprechaun is governed by. It’s never made clear if this is the same Leprechaun across the films (which span thousands of years both before, and after, the initial film), but there’s a terribly different ruleset accompanying him in each of his appearances. At times four-leafed clovers are his Kryptonite, others it is wrought iron, and sometimes his defeat is brought on by the destruction of his pot of gold. Can he grant wishes, or is he all about a magical flute? The machinations behind the Leprechaun aren’t necessarily important (Leprechaun 2’s whole getting a bride by making her sneeze three times doesn’t make any sense), just that they’re there. Leprechaun in the Hood and Back 2 Tha Hood largely turn their back on the gold and bride mythology, and their absence leads to them feeling like weaker entries accordingly.
Ultimately the best way to service up this franchise is by managing to pay respect to all of these touches, incorporating the perverse “Monkey’s Paw” justice that suits this fodder so well. Even containing overly cliché characters and reductive tropes isn’t suicide for something like this (and let’s be honest, horror in general) as long as it has the necessary self-awareness. This is such an unusual, atypical horror series that actually thrives on its batshit insanity, rather than it being a detriment. There’s no limit to what can be done here, and it’s why in one scene in the first film the Leprechaun’s hand can get severed off in a door, crawl back to him, and reattach himself, and then in Leprechaun 3 getting bit by the Leprechaun causes you to turn into some sort of were-Leprechaun beast. It’s almost like with Friday the 13th all you need is a hockey mask and a machete. Here are your tools, have at it.
I truly don’t think we’ve hit the end of this franchise, and with new installments in the Child’s Play and Hellraiser series happening sooner than later, there’s absolutely no reason that someone shouldn’t be given another chance to let this series—and Warwick Davis—shine once again. In the right campy hands, Leprechaun 8 could truly be the pot of gold at the end of a rainbow.
Hopefully it won’t be too long until we hear someone melodramatically shouting, “Fuck you, Lucky Charms,” once again.
NECA’s retro line continues to explode, and with the promise of new variations of Freddy Krueger, the company is already delivering.
A new Freddy was unveiled at New York’s Alamo Drafthouse screening of A Nightmare on Elm Street 4: Dream Master, one that will go perfectly on your shelf with Super Freddy… SURGEON FREDDY. Oh, and NECA also shared a shot of a brand new 7″ New Nightmare figure!
This isn’t the first Surgeon Freddy, however, as he was included in the fourth series of Mezco Toyz’s “Cinema of Fear”.
Check out some shots from the display, courtesy of the below Twitter user.
— NECA (@NECA_TOYS) March 13, 2016