Capcom has gifted us with another developer diary from the upcoming Resident Evil 0 HD remaster, in which producer Tsukasa Takenaka and director Koji Oda take us on a guided tour of the original game’s prototype so we can better appreciate how much work was required to update the game for current-gen consoles.
When Resident Evil 0 arrives on PC, PS3, PS4, Xbox 360 and Xbox One in January, it will be in the form of a digital release. If it’s a physical copy you want, you’ll need to get the Origins Collection, which also includes the recent remaster of the Resident Evil remake.
Lucasfilm announced today that the trailer for Star Wars: The Force Awakens will debut on ESPN’s “Monday Night Football” on Monday, October 19, during halftime of the National Football League (NFL) game between the New York Giants and the Philadelphia Eagles in Philadelphia. The game starts at 5:15 p.m. PDT/8:15 p.m. EDT. The Spanish language version of the trailer will air on ESPN Deportes simultaneously.
To commence the countdown for the trailer launch, today Lucasfilm released the Star Wars: The Force Awakens poster worldwide. Following the trailer launch, tickets to the highly anticipated cinematic event will be on sale everywhere movie tickets are sold.
In conjunction with the Star Wars: The Force Awakens trailer debut, the Walt Disney Company is providing unprecedented company-wide on-air and social support (#TheForceAwakens) as well as tying in events and special activities for the day of the trailer release.
Lucasfilm and visionary director J.J. Abrams join forces to take you back again to a galaxy far, far away as Star Wars returns to the big screen with Star Wars: The Force Awakens in U.S. theaters on December 18
The film stars Harrison Ford, Mark Hamill, Carrie Fisher, Adam Driver, Daisy Ridley, John Boyega, Oscar Isaac, Lupita Nyong’o, Andy Serkis, Domhnall Gleeson, Anthony Daniels, Peter Mayhew and Max Von Sydow. Kathleen Kennedy, J.J. Abrams and Bryan Burk are producing with Tommy Harper and Jason McGatlin serving as executive producers. The screenplay is by Lawrence Kasdan & J.J. Abrams and Michael Arndt.
Photo Source: Fort Myers Police Department
We are saddened to report that a shooting at this past weekend’s ZombiCon has left one man dead and five other people wounded.
CNN reports that chaos broke out Saturday night at a zombie-themed street festival in downtown Fort Myers, Florida, with the shooter still at large.
“It cleared out fast and cop cars and ambulances came,” said Savannah Holden, who watched the panic unfold from a hotel balcony.
One man died of a gunshot wound at the scene, police said, and five other people suffered non-life-threatening injuries. Four of them were taken to Lee Memorial Hospital for treatment.
The deadly shooting took place at ZombiCon, a festival that features bands and DJs performing on stage in the downtown area to people dressed in zombie costumes. It draws upward of 20,000 attendees, police said.
The organizers said they were “deeply saddened by the news of what happened within the footprint of our event.”
“We take the safety of our patrons very seriously and take precautions in hiring security and police officers for our annual event,” they said in a post on their Facebook page. “Our prayers go out to the family members and individuals involved in the incident.”
Authorities are asking for anyone with information on the shooting or who may have cell phone footage helpful to the investigation to call the Fort Myers police at 239-321-7700 or Crime Stoppers at 1-800-780-TIPS.
Leave it to a parents group with nothing better to do than find something to complain about to rag on FX’s fifth season of “American Horror Story.”
THR writes that the Parents Television Council, a conservative watchdog group, has blasted FX’s “American Horror Story: Hotel” and also taken issue with Fox’s “Scream Queens” — both produced by Ryan Murphy and Brad Falchuk.
The group, led by president Tim Winter, singled out the season premiere of “Hotel” for featuring what he called an “unbelievably explicit combination of sex and violence.”
Explains the site, the episode featured a bloody foursome involving Lady Gaga and Matt Bomer. The group-sex encounter, directed by Murphy, marked quite the acting debut for the pop star, who plays The Countess, the glamorous, bloodthirsty owner of the eponymous Hotel Cortez. Not to be outdone, the season opener also featured a graphic rape scene involving Max Greenfield in which his character was raped with a spiked sex toy.
“This is the most vile and shocking content I’ve ever seen on TV. Ever,” Winter wrote in an email to subscribers calling for an advertiser boycott the series. “Most Americans have no idea this is primetime fare on advertiser-supported basic cable. And everyone is paying for it as part of their program bundle.”
The group urged sponsors — singling out Subway (a company that sells unhealthy food to kids using healthy athletes) — to spend their ad dollars in a more responsible fashion.
The PTC also took issue with Murphy and Falchuk’s Fox horror comedy anthology “Scream Queens” — which it noted is rated appropriate for 14-year-olds and airs at 7 p.m. in the Central and Mountain time zones.
“In spite of this, the program features graphic decapitations and discussions of necrophilia in the family hour … all sponsored by McDonalds,” the group wrote.
Keep in mind that “American Horror Story: Hotel” is on a cable channel, and plays after 9pm. Let’s also remember that it’s not the content providers’ responsibility to babysit children. No matter, groups like the PTC known what’s best for you and your children, so, yeah, fuck them. Stuff like this only builds awareness and interest, which is exactly what “Scream Queens” needs in its lackluster first season. While these people think they’re changing the world, all they’re doing is helping those in which they are persecuting.
Corin Hardy’s The Hallow is a strange miracle of horror, a creature feature that is being lauded for its atmosphere, its story, and wonderful visuals. It’s rare that a film that falls into this subgenre gets this kind of praise (here’s our review), which makes it all the more important to recognize all the pieces that bring it together.
That’s why we’ve got an exclusive interview with composer James Gosling, who talks about the process of creating the soundtrack for this fantasy horror film. Ranging from talking about the instruments of Ireland to the idea of film music being an “unseen character” that drives the emotion, Gosling brings us closer to understanding the film from a perspective we don’t often see.
You can follow James on Twitter.
Coming from “Merlin” and “Atlantis”, what was it like to compose for ‘The Hallow’?
In some practical ways it was very similar – tight deadlines and lots of ground to cover in a short amount of time. In other ways the difference in genre meant a real contrast in musical style and language. The atmosphere required for The Hallow was of course much darker and aimed at a different audience than was the fantasy-adventure, family-entertainment of Merlin and Atlantis.
‘The Hallow’ takes place in Ireland, which has a rich history of amazing folk music and wonderful instruments. Did these stylings or instruments come into play with your compositions?
Yes, one of the first decisions in fact was to make use of the fiddle, or solo violin depending on your frame of reference. Not only because it has such a well-established relationship to the rural Irish setting, but also because it has a similarly well-established relationship to the world of horror film scoring. We were working with a very limited budget, so a handful of live solo instrumentalists were all that was affordable, and it very quickly became an obvious and easy decision. You can hear Yuri Zhislin, our violinist, dotted throughout the score, sometimes solo, sometimes blending with samples for a grander effect, but always adding a beautifully ethereal and unsettling tone to the sound world. Also the score for the main title sequence was an attempt to make use of a particularly idiomatic Irish fiddle sound to help set the place, though it’s not long until the horrors begin and the music morphs with it into tension, fear and terror.
On top of having a rich musical history, Ireland is also a stunningly beautiful and, at least for an American such as myself, mysterious country. Was there any influence of the scenery itself in how you formed your music?
I can’t say it was influential in a particularly conscious way to be honest, but that being said you could make an argument for this being true for the opening ‘arrival in Ireland’ scene where we are presented with large sweeping landscapes – this is where I used the Irish fiddle to help to set that tone. You could also say it was true for the beautifully dark and atmospheric woodland locations where much of the second half of the film is set. These locations and the way they were shot were extremely evocative and atmospheric. So in that sense you could say it was very influential to the overall tone that the music taps into, but other than that the score is more consciously designed to help add the necessary tension and emotional trajectory of any given scene and it is this which drives the score for the most part.
While it’s being touted as a “creature feature”, ‘The Hallow’ is receiving wide praise for being smart and genuinely scary. What was your reaction to the film as you were working on it?
My initial reaction was that it was something quite different from much of the usual horror genre, and was even at times, especially in the first half of the film, more like a thriller in fact. It also had a heart to it that is not often present in horror, which can often be gratuitous, voyeuristic and incessant from top to bottom, not that that is necessarily a bad thing of course, that can be fun too, but I think it’s fair to say that particular ground has been well trodden. So my answer is yes, this seemed different. The malevolent fantasy was tempered by a grounded realism that was at the heart of Corin Hardy’s (the director) vision for the film. And the ‘creatures’ weren’t so much supernatural, but instead an ancient and organic presence that have existed in the Irish woodlands for eons according to the film’s folklore. I know that the film was originally pitched as ‘Straw Dogs meets Pan’s Labyrinth’ and that sums up its intentions well for me. What at first could be a darkly sinister humanistic threat slowly revealed itself to be something quite different, but as I say not quite supernatural either. As for how scary it was while I was working on it, well without any finalized sound effects or score, and with much of the visual effects missing, and having watched each scene roughly 4 billion times, the shock and awe impact is much diminished of course. The real tension and horror is only properly born when these elements are all in place, and you’re sitting in a dark movie theatre and watching it for the first time with the sound turned up!
I’ve often seen the music of a horror film as being an unseen character one that we may not give full attention to in the moment but one that drives a scene like a hidden puppet master. If you had to try to describe your music for ‘The Hallow’ as some sort of physical manifestation, what would it look like?
I couldn’t agree more with this sentiment though I’d say this was true of any genre of film that uses composed underscore whether its horror or Harry Potter. And absolutely the puppet master is a great analogy for the film composer, as he or she is often entirely invisible, or maybe consciously-unnoticed is a more accurate way of putting it. If they drop the strings you suddenly realize just how much of the potency is due to this invisible entity. I found a good example of this recently on YouTube where someone had taken the final throne-room scene from the original Star Wars film and removed John William’s Elgarian heroics and replaced them with a few coughs and splutters coming from the assembled crowd together with a few Wookie noises. The effect is extraordinary. What is usually an erect and thrilling heroic epilogue is transformed into a pale and flaccid, even cringeful and laughable shadow of its former self. As for what would be the physical manifestation of The Hallow score, I think for large sections of it, it would have to be that shadowy Irish twilight woodscape that inspired it, and for other sections maybe one of Corin’s beautifully crafted Hallow prosthetics!
How do you see yourself having grown as a musician and composer now that ‘The Hallow’ is complete?
I feel enthused and like anything is possible now. I’ve completed my first feature film score under extremely challenging time and budget constraints, where I was at times questioning if it was really even possible to pull it off at all, and in the end not only did we make the finishing line with a 70 minute score in tow (though admittedly by the skin of teeth), but after seeing it in all its glory for only the second time at the Sitges Film Festival last week, I can objectively say I’m really proud of it too. So from now on very little will seem daunting by comparison. And of course each new experience is an opportunity to hone your skills and explore different musical avenues and sound worlds and to practice the craft. I feel like this experience has propelled me forward immeasurably in this regard and I now look forward to future opportunities to continue the journey.
Matt Reeves shared the first image from the set of the now filming War for the Planet of the Apes, the third film in the prequel trilogy that follows both Rise of the Planet of the Apes and Dawn of the Planet of the Apes.
The above shot appears to echo the shocking final scene in Franklin J. Schaffner’s 1968 Planet of the Apes in which George Taylor (Charlton Heston) learns that the “planet” of the apes is actually a future Earth that’s been destroyed. In 1968, this shit was revolutionary, with a plot twist so significant that it’s widely considered one of the most memorable in the history of cinema.
It appears that Reeves is taking viewers back to the beach to maybe bridge War and the original Apes when it releases in theaters July 14, 2017.
Steve Zahn recently joined Fox’s War of the Planet of the Apes as one of the new lead apes. Woody Harrelson was cast as “The Colonel”, a man described as the main villain of the film. Gabriel Chavarria stars.
The story will also continue the tale of Caesar, who has been the main character of the new generation of films.
Watch for more as it comes in.
After being disappointed with the recent crop of werewolf movies I’ve reviewed, I was admittedly reluctant to see Howl, the second film for effects designer turned director Paul Hyett. Hyett’s previous effects work included work on Neil Marshall’s The Descent and Doomsday. In fact, some reviewers have pegged Howl as the best werewolf film since Marshall’s Dog Soldiers. Hell, there’s even a cameo by Dog Soldiers’ Sean Pertwee in this film! Needless to say, approaching this film with an objective mindset wasn’t going to be easy. However, after seeing the film myself, I can see why reviewers have been singing its praises.
Overlooked and under-appreciated train guard Joe Griffin (Ed Speleers) is weary from his extra shift on the red-eye Alpha Track service to Eastborough, which was thrust upon him by his newly-promoted jerk supervisor. The passengers treat him like crap, and his only source of refuge is Ellen (Holly Weston), who is working the catering for the trip. Things go from bad to worse when during a sudden stop to deal with a deer caught in the wheels of one of the cars, the train is attacked by what they think is a bear. That is, until it starts howling.
Like some of the films by effects gurus turned directors, a big strength in Howl is its creatures. Hyett’s werewolves opt to go the bipedal route like Marshall’s lycanthropes, but are far more gruesome in appearance, trading in the sleek look for muscled brutality. The heads aren’t so much wolf-like, but instead look like the intermediary transformation makeup for The Howling’s Eddie Quist. Admittedly, I’m not the biggest fan of this look, but opinions aside, Hyett definitely pulled off a convincing set of creatures that thanks to the quick cuts, look and move with frightening speed and power. The creatures are only a part of the whole look of the film. The dingy, claustrophobic and often dark interiors of the train are absolutely perfect for generating tension and scares, which Hyett uses to great effect. Even when the passengers make their way out of the train, there’s still a sense of isolation and claustrophobia within the woods, which again is so wonderful to see and feel.
As much as I’m hesitant to use Dog Soldiers as another comparison point, one of the things that made that film so enjoyable was its cast and their acting. And really, the same goes for Howl, as almost everyone involved turns in some great performances. Speleers fits the overlooked yet immediately likeable ordinary joe in, uh, Joe (sorry) perfectly. You empathize with him as he’s being condescended towards and mocked by everyone around him, yet he manages to rise above and take the reigns when needed. Elliot Cowan is the resident ass and womanizer on the train as Adrian, a loathsome banker who attempts a mutiny and pays for it. Shauna Macdonald is also great as Kate, an aggressive businesswoman who is more than a match for Adrian. I absolutely love her “Are you sh*tting me?” expressions. Calvin Dean provides the comic relief as the football fan with indigestion, and while I didn’t care much for the character, Dean was able to work with it.
Not everything is great about Howl. Some of the characters, while starting off strong, tend to fall by the wayside and aren’t developed enough as the rest. Holly Weston’s Ellen is an example of this. While you warm up to her, when compared to Shauna Macdonald’s performance and character, Weston simply wasn’t given enough to work with as Ellen. Also, the film feels a bit more generic than Dog Soldiers, attempting to appeal to a wider range of filmgoers with its familiar cliches in story and character. That’s not necessarily a bad thing, and I can appreciate the decision to make it as such. Still, part of me wishes that there was a little more to set it apart. Lastly, while the creature and gore effects were top-notch, there was some blatantly obvious CGI in the form of animating the werewolves’ faces, particularly in the snarling. They’re quick shots, but it just looked so inorganic when compared to the rest of the effects. It’s like the animatronics weren’t included or something.
So, with all the comparisons by myself and other reviewers, is Howl the best werewolf film since Dog Soldiers? In many ways, yes. Both sport some great characters, great effects work and deliver on scares. However, Marshall put enough twists on his film to make it truly stand out, whereas Hyett plays it safer. Again, not a bad thing, since both casual horror fans and those looking for something more in their werewolf films can enjoy this one. Either way, it’s definitely worth a watch, if not for the creature effects, but for the motley crew of characters battling the werewolves. There’s enough here that will make it a worthwhile watch for many werewolf fans, and horror fans in general.
The entire first season of Telltale Game’s excellent episodic series The Walking Dead: The Game, as well as the 400 Days bonus episode that tied it into the second season are free for Xbox Live Gold subscribers across the Xbox 360 and Xbox One. They’ll stay that way until they’re swapped out for a new Games with Gold deal on October 31 for Xbox 360, or November 15 for Xbox One.
Xbox One owners can also grab Valiant Hearts while the Xbox 360 gets a dose of stealth action espionage with Metal Gear Solid V: Ground Zeroes.
Thanks to Sonar Entertainment we have some really, really great unit photography from “South of Hell,” which WE tv will be rolling out all seven episodes of the supernatural thriller in order in a Black Friday Binge, beginning at 6 pm ET/PT on Friday, November 27.
All episodes of the series will premiere back-to-back as the suspense and drama unfolds and escalates over seven intense hours. At the conclusion of the binge, the entire series will be available on VOD, download to own and TVE platforms.
“Charleston, South Carolina is an elusive city with many faces and the perfect home for Maria Abascal (Mena Suvari, “Chicago Fire”), a stunning, 30-year-old demon-hunter-for-hire. Alongside her brother, David (Zachary Booth, “Keep the Lights On”), she is skilled and fearless in her pursuit of the demons that live in others. Like those that she hunts, Maria is divided within herself, struggling with her own demon, Abigail, who resides inside of her, feeding on the evil Maria exorcises from others. Maria and Abigail share a soul and a destiny, but as Maria desperately tries to overtake Abigail, she will discover how far Abigail will go to remain a part of her.“
The cast also includes: Bill Irwin (CSI) as Enos Abascal, Maria and David’s father and cult leader; Drew Moerlein (V/H/S) as Dusty, Maria’s neighbor; Lamman Rucker (Meet the Browns) as Rev. Elijah Bledsoe, a priest with a strong attraction to Maria; Paulina Singer (How to Make It In America) as the Reverend’s daughter, Grace; Lydia Hearst (Cabin Fever: Patient Zero) as southern belle Charlotte Roberts; Slate Holmgren (The Amazing Spider-Man 2) as the local drug dealer, Sweetmouth; and Lauren Velez (Dexter) as Tetra, a spiritual informant.
In addition to Eli Roth, an array of respected directors shepherded individual episodes of “South of Hell,” including Ti West (House of the Devil, The Sacrament), Rachel Talalay (Doctor Who, Tank Girl), Jennifer Lynch (The Walking Dead, Teen Wolf) and Jeremiah Chechik (Helix, Reign).
All images courtesy of Sonar Entertainment and WE tv.
IllFonic. Remember that name, because it belongs to a developer that’s about to make a rather large splash in the horror genre. This is the team behind the just-announced Friday the 13th: The Game, as well as a team-based shooter set in a zombie apocalypse by the name of Moving Hazard, which they’re co-developing with Psyop Games.
Set half a century after an apocalyptic plague has decimated humanity, leaving what’s left to fight over the few remaining resources by taking a page out of the Umbrella Corporation’s Guide to Zombie Weaponification, because people shouldn’t fight people when they can use zombies to fight people. It worked for Umbrella, until it didn’t, so why not?
The ghouls in Moving Hazard are more than slow-moving head-shaped targets on sticks, they’re “a dynamic part of the battleground which you must navigate, manipulate, and ultimately weaponize in order to defeat your human foes.” They’re more of an extension of the more traditional arsenal the game will also arm players with, so “in addition to having a selection of military-grade assault weapons at their disposal, players will also need to take advantage of technology specifically evolved to allow them to control the zombies that they encounter by attracting, repelling, sedating, angering, or booby-trapping them, as well as a wide variety of additional tactics.”
What I find interesting about this game is in how it balances its original ideas with staples of the genre, such as the traditional game modes that we’ve come to expect from these types of games. It will feature six multiplayer maps, specialized character classes, customizable loadouts, and a handful of game modes, like Team Deathmatch, Scavenger and King of the Hill, among others.
If a traditional competitive multiplayer doesn’t tickle your fancy, there will also be a single-player campaign and cooperative survival modes. Moving Hazard arrives on PC sometime next year.
There’s a lot of phony crap on eBay, but this one is funnier than the time the sexy sax man seduced Michael.
An eBay listing out of Australia has for sale a 19″x14″ poster of the 1987 “American Horror Film Movie” The Lost Boys. Printed on “High Quality Art Canvas”, for only $5.85 (plus $2 shipping!) you can own this gem that depicts, well, I have no fucking idea…
Actually, I do, as this gem was discovered via reddit, where one user recognized his brother and his friends who were dressed in cosplay for the 2014 Comic-Con.
This eBay user clearly had never seen Joel Schumacher’s actual film – featuring Kiefer Sutherland, Brooke McCarter, Alex Winter and company – before he/she stole the image for their own personal use. I can only hope the reddit user purchased one as a gag gift for his bro. All I know is that I’m dying of laughter, especially at the few comments that didn’t understand the goof.
After James Wan’s The Conjuring became one of the highest grossing horror movies ever, Warner Bros./New Line quickly spun off the franchise with Annabelle, which hit theaters one year ago.
Even though Annabelle wasn’t as critically acclaimed as Conjuring, it was a a box office monster ($246 million), so much so that scribe Gary Dauberman is returning for another sinister outing, says this tracking board.
On the other hand, their sources also confirm that Annabelle‘s director John Leonetti is unsurprisingly not returning as the search is on for a new director. The Conjuring helmer James Wan is once again producing, while Dave Neustadter and Walter Hamada oversee for New Line.
Following the superb financial and critical reception to The Conjuring, a spinoff/prequel featuring the film’s creepy mascot – the possessed doll named Annabelle- was quickly rushed into production. Loosely based on a true story, the film follows a a couple who find that their vintage doll becomes the host for a malevolent entity after their house is broken into by a satanic cult.
James Wan is currently filming his The Conjuring sequel, slated for release next summer, which sets Annabelle 2 up for release in 2017. What other demonic tricks do the Warrens have in store for us? How far can New Line push this franchise?
When Resident Evil creator Shinji Mikami returned to survival horror with The Evil Within, the game had a somewhat polarizing effect on fans of the genre. Even if you weren’t as enamored with it as I was, there’s no denying that it had a uniquely stylish cast of creatures, every one of which I wouldn’t mind seeing get tackled by talented cosplayers.
This is partly why I love this Leslie Withers cosplay so much, because he’s absolutely the last character I’d expect to see inspire brilliant cosplay like this.
Assuming the role of the mousy Withers is cosplayer Nero Hell, with make-up by Katrin Miralika and photography courtesy of Dokura-chan. You can find more of Nero’s work on his Tumblr.
Something about the 80’s and 90’s brought some really crazy yet awesome toys. In fact, I’m really not seeing toys of the same caliber, the same inventiveness, and the same batshit “What were you even thinking?” quality these days. It’s because of this void that I found myself recalling toys that I grew up with or wanting, the toys that seemingly made no sense and yet, at the same time, made all the sense in the world.
Below are five horror toys from the 80’s and 90’s that really stood out to me as being special. I’d love to see them make a comeback, even if most parents would probably say that they’re traumatizing their children. You know what? Fuck those people and fuck PC culture. I want my toys to scream and ooze! I want them to creep me out even if they’re just sitting on a shelf! I want toys that actually make me go “Wow!” Is that really too much to ask?Blurp Balls
Inception ain’t got NOTHIN’ on Blurp Balls! It’s a ball within a ball that shoots out when the larger ball is squeezed! Look at the above commercial and tell me that you don’t want one! That commercial was probably the bane of every parent’s existence during Saturday Morning Cartoons.Madballs
These things were so crazy and popular that they were turned into a cartoon series AND a video game! Just look at how gross the “sick series” is, especially the one that looks like you’re squeezing its brains out of its head. These are the perfect stress ball for any horror fan!Boglins
God, I remember how popular these were but also how it was damn near impossible to find them! It was like finding the holy grail when you stumbled across one in the toy store. For me, the real deal sealer was the box, which was a faux cage meant to “hold” the boglin in place. Such a nifty idea because that made the packaging part of the toy!Stretch Screamers Blisters
It’s Stretch Armstrong with a horror twist, so how can you go wrong? Look at how colorful the “blisters” get when squeezed! On top of being gruesome, it’s also rather pleasant to look at!My Pet Monster
Who wouldn’t want a large stuffed ogre-esque creature that had breakaway chained cuffs? Plus, it was large enough that you could use to stomp through your Lego towns and couch forts. What a perfect stuffed animal for causing chaos and then culminating in some harmless snuggling!
In August, indie developer Saibot Studios released the fourth chapter in their twisted Doorways series of horror games with the memorably titled Doorways: Holy Mountains of Flesh. That’s the sort of title I’d expect to see embossed on a Clive Barker novella, though I wouldn’t be surprised if the team behind it had drawn at least a modicum of inspiration from Barker’s work with how disturbing these games can often get.
The three acts that make up Holy Mountains of Flesh — The School, The Mansion and The Temple — are all connected by El Chacal, which serves as the game’s hub world. This “group of floating islands over fire and magma, in a desolated world of flames” is now something you can visit.
Doorways: Holy Mountains of Flesh is available now on Steam Early Access for $9.99.
Virtual reality is the future, at least as far as Capcom’s Development Division 1 — their in-house Resident Evil team — is concerned. In an Integrated Report published earlier this week, the company detailed their financial growth strategies and plans for the future, the latter of which will focus heavily on the VR tech that has yet to make its way to consumers.
The report gets interesting when Jun Takeuchi, head of the Resident Evil team, starts getting passionate about the tech.
“At present, we are focusing our energy on challenging the virtual reality (VR) game market,” writes Takeuchi. “In this terrifying world, you can twist and turn as you like, but there’s no escaping the creatures closing in on you…until you remove your VR headset and return to reality, that is.”
Virtual reality gear such as the Oculus Rift and Project Morpheus, which are coming from Oculus VR and Sony, respectively, could have a massive impact on the horror genre. It’s just a matter of time before we see the tech in future Resident Evil games.
The “Kitchen” demo Capcom used to show off their new virtual reality engine at E3 earlier this year traumatized some folks, but that was just the beginning.
“The response [to the “Kitchen” demo] was excellent. Currently, we are building a new game development engine able to support VR, which is the hottest market right now, while simultaneously developing titles for current game consoles. We have just set sail on our latest voyage.”
It’ll be interesting to see where this goes. What do you think?
Find out what happens when these unsuspecting people are invited to an open house, and end up experiencing “The Ghost Dimension”.
Paramount Pictures created the following viral video to promote Paranormal Activity: The Ghost Dimension, in theaters October 23, 2015.
What you’ll see is the original Paranormal Activity house in San Diego that’s been rigged to scare visitors who think they’re attending an open house.
Without any context, it’s not really that funny. I would have loved if the realtors told the guests something along the lines of, “This is the actual house that inspired Paranormal Activity,” so when crazy shit happens people believe it’s the real deal. Oh well, it’s still fun…
The chances of our ever seeing Zelda or Samus kick spectral ghost butt are fairly slim, so we’ll have to do with these unlockable costumes for Miu and Yuri in the upcoming Fatal Frame: Maiden of Black Water. The game hits the Wii U later this month, and with Halloween just around the corner, it’s fitting that these ladies would dress up as two of gaming’s most iconic heroines, if only to keep their actual clothes from getting ruined. No amount of stain remover can save a tasteful blouse from a smattering of ectoplasm. Or so I’ve heard.
Fatal Frame: Maiden of Black Water arrives on Oct 22 (NA) / Oct 30 (EU) only for Wii U.
All good things must come to an end. Savor every last drop of “Hemlock Grove, The Final Chapter,” streaming Friday, October 23 at 12:01am PT exclusively on Netflix.
We now have a juicy new clip from the Eli Roth-produced “Hemlock Grove,” a supernatural thriller which explores the strange happenings in a small Pennsylvania town. The show focuses on the unlikely friendship between the founding family’s young heir, Roman Godfrey (Skarsgård), and gypsy newcomer and outsider, Peter Rumancek (Liboiron). Each holds a monstrous secret that has been unleashed.
The series stars Famke Janssen (X-Men), Bill Skarsgård, Landon Liboiron (“Terra Nova”), Freya Tingley, and Dougray Scott (Mission Impossible II).
You’ll never guess where the blood is coming from…
One of my favorite sub-genres is the one where a military or para-military group encounters a supernatural or otherworldly antagonist and must find a way to survive against something that their training didn’t prepare them for. Films like Aliens, Predator and even Dog Soldiers follow this formula, usually with entertaining results. Wind Walkers is another addition to this roster, albeit not the one we might have hoped for. With his new film, Russell Friedenberg succeeds in creating tension and atmosphere while failing to deliver a memorable experience.
Wind Walkers follows an ensemble cast of friends back from the army after a tour in the middle east. They find normal life hard to adapt to after the horrors witnessed abroad, especially after one of their colleagues is discovered to have gone AWOL. When they depart for a routine hunting trip in the Everglades, it becomes apparent that they are not alone in the wilderness, and that an ancient force is stalking them, possibly a malignant spirit of Native American folklore.
While the mythological elements and atmosphere are amazing, Friedenberg presents us with a muddled script and confusing narrative that almost completely overshadows the meaty subtext and character portrayals. Early scenes do a good job of setting the mood and capturing the viewer’s attention, but soon enough some baffling editing choices and lack of focus derail the experience. This is a film that is at its best when fully embracing supernatural horror and action that it unwisely chooses to leave only implied. The last act does a lot better in keeping you invested, but by then it is too late to save the rest.
Rudy Youngblood (of Apocalypto fame), Zane Holtz (one of the Gecko brothers in the new From Dusk Till Dawn series), J. LaRose Johnny Sequoyah and a few others star in this tense thriller, where it’s apparent from early on that no character is safe. Sadly, almost none of the characters are satisfactorily developed, leaving us with no one to root for. The script does not give the actors much to work with, resulting in hollow performances that could have been much better within a more focused story. LaRose was especially wasted here, having some of the best scenes but also very little to do in the grand scheme of things.
There is an overall lack of energy that permeates most of the film, even though there were some honestly well-directed moments. Native American mythology is ripe for the picking concerning possible movie monsters and thrilling situations, but Wind Walkers doesn’t even come close to using the full potential of these stories, preferring to stick to safe and familiar tropes, leaving us unsatisfied by the end.
Wind Walkers isn’t terrible, but it ends with so much unfulfilled potential that one can’t help but imagine how a few minor tweaks could have resulted in a profoundly improved and memorable experience. Some of the ideas presented here were actually very original, and none of the actors gave a bad performance. Some scenes towards the end were also refreshingly chilling, though the movie could have used more of them. Overall, this is a harmless movie; disappointing, but not a total failure.
Screening as part of the After Dark Film Festival’s “8 Films to Die For.”