If you’re a horror fan you know the name Larry Fessenden. In fact, you’re probably quite familiar. Actor, writer, producer, director, editor, cinematographer, you name it and Fessenden has done it. He’s been a staple in the horror community for as long as I can remember. On October 20, 2015 Scream Factory will honor Fessenden by releasing The Larry Fessenden Collection on Blu-ray.
This set will feature four films (No Telling, Habit, Wendigo, The Last Winer) from the multi-talented Fessenden and comes packed with bonus content.
Four tales of terror from multi-talented filmmaker Larry Fessenden – he’s a writer, a producer, a director and an actor. In this box set, he brings together four of his films, in HD for the first time, along with both brand-new and vintage bonus features including short films and music videos.
Bloody Disgusting has obtained an exclusive clip from the added bonus features. In this clip we get a behind the scenes look at Fessenden directing 1995’s Habit. It’s an interesting look at a true artist at work. This should hold you over until the collection hits shelves next week.
Porthos Films have released a first image from their debut feature Blood Money starring Klariza Clayton (Skins, House of Anubis), Ollie Barber (Skins), Scott Chambers (Chicken), and also introducing Nicholas Bourne and Sabrina Hansen.
A screenplay by 2013 Emmy winner Rosy Deacon, “the film centre’s around five friends living together in France following a botched art heist.”
Blood Money is Luke White’s directorial feature debut and is currently in post production, having shot this summer in on location in Normandy, France.
Porthos Films is a UK based feature film production company headed up by twin brothers Edward and Luke White.
“Is it 4:20? Cause you just got stoned!”
A new promo clip from Paramount’s Scouts Guide to the Zombie Apocalypse hits hard as one of the undead attack well-prepared scouts.
Directed by Christopher Landon, “Three scouts and lifelong friends join forces with one badass cocktail waitress to become the world’s most unlikely team of heroes. When their peaceful town is ravaged by a zombie invasion, they’ll fight for the badge of a lifetime and put their scouting skills to the test to save mankind from the undead.”
Tye Sheridan, David Koechner, Cloris Leachman¸ Halston Sage, Logan Miller, Joey Morgan and Sarah Dumont all star.
Scouts Guide to the Zombie Apocalypse will open in theaters October 30th, and as part of a new distribution deal, will arrive on home video and VOD within 17 days of the film nearing its theatrical exit.
Bloody Disgusting has a new look at Shut In, the latest horror thriller from team that brought you Delivery: The Beast Within, which will screen Sunday, October 18th at 4:15pm at the Toronto After Dark Film Festival.
In Shut In, “Beth Riesgraf stars as Anna, a woman who suffers from agoraphobia so crippling that when a trio of criminals breaks into her house, she cannot bring herself to flee. But what the intruders don’t realize is that agoraphobia is not her only psychosis.“
The film also stars Rory Culkin (Scream 4), Martin Starr (Dead Snow 2, HBO’s “Silicon Valley”) and Jack Kesy (FX’s “The Strain”).
Shut In is the debut feature from Adam Schindler, one half of LA based film collective Type AB, which was behind last year’s festival favorite Delivery: The Beast Within. That film also World Premiered at the LA Film Festival back in 2013, where it secured US distribution through Salient Media/Tribeca. TJ Cimfel and David White penned the screenplay.
Steven Schneider (WER, Insidious, Paranormal Activity) is producing with Jeff Rice (Lone Survivor), Lati Grobman (The Iceman) and Erik Olsen (The Book of Eli, Orphan). Executive producers are Christa Campbell (Texas Chainsaw 3D, Leatherface), Matthew Lamothe, Tommy Vlahopoulos, Brian Netto and Rob Van Norden.
Your mission, should you choose to accept it, is to grab that gun over there so you can empty it into every demon you see. Just keep shooting until they resemble spilled plates of lasagna with teeth.
Bethesda opened up registrations for the Doom closed multiplayer alpha this week, and you can get in on it so long as you did the right thing and bought a copy of Wolfenstein: The New Order by May 26, 2014. The alpha will offer a taste of the game’s Team Deathmatch mode, in which two teams of six fight on the industrial-themed Heatwave map.
The alpha will feature six different weapons and two equipment items — the Vortex Rifle, Super Shotgun, Repeater, Rocket Launcher, Static Cannon, Plasma Rifle, Personal Teleporter and Frag Grenade — as well as the chance to use the new Demon Rune to transform into the Revenant demon so you can “use your jetpack and dual rocket launchers to hunt down the other team for a limited time to either secure your team’s lead or mount a comeback.”
Just make sure you watch out for the Gauss Cannon, a crazy powerful gun that essentially serves as the anti-Revenant. Head over here to register.
Good, bad, I’m the one with the tickets…
Here’s a groovy promotion that’s going to make a lot of you jealous.
Bloody Disgusting has (1) PAIR of tickets to the red carpet premiere of “Ash vs Evil Dead,” Starz’s 10-episode series based on Sam Raimi’s The Evil Dead franchise, which will take place at the famous Grauman’s Chinese Theater in Hollywood, CA on October 28th @6:30PM PST.
One lucky Los Angeles-based reader and a guest of their choosing will join the cast and crew of “Ash vs Evil Dead” for a screening of the new series starring Bruce Campbell, and also enjoy a live outdoor performance by Iggy Pop!!
How do you get so lucky? Well, TO ENTER you should either comment with your best Ash one-liner on our Facebook post or you can tweet your best Ash one-liner. Include #AshBash so we can find you! Please only enter if you’re able to attend as no airfare or lodging is provided.
Set to premiere on October 31st, in the 10-episode “Ash vs Evil Dead”, “Bruce Campbell will be reprising his role as Ash, the stock boy, aging lothario and chainsaw-handed monster hunter who has spent the last 30 years avoiding responsibility, maturity and the terrors of the Evil Dead. When a Deadite plague threatens to destroy all of mankind, Ash is finally forced to face his demons –personal and literal. Destiny, it turns out, has no plans to release the unlikely hero from its “Evil” grip.”
Ash’s Value Stop co-workers are Pablo (Ray Santiago) and Kelly (Dana Delorenzo), with the great Lucy Lawless appearing as Ruby.
Sam Raimi directed the “Ash vs Evil Dead” pilot that following the events of his The Evil Dead franchise, including Army of Darkness.
There’s so much more “Ash vs Evil Dead” goodies that can be found at this link.
Gothic horror films were hallmarks of 1930s-era Hollywood, but they’re not quite as common in recent years. Guillermo del Toro is hoping to bring Gothic horror (and romance) back in a big way with his new film Crimson Peak (my review), so we thought we’d take a look back at some of the best Gothic horror films Hollywood has put out recently (and by recently we mean the last 25 years).
“Please! Haven’t you ever made a mistake?”
The above line is pleaded by Evan Webber (Keanu Reeves) to his gleeful tormentors, and you can’t help but be reminded of how many other home invasion films—an increasingly bloated genre—begin that way. And even though the trappings of Knock Knock make it feel like this one might be different, it still succumbs to a lot the same pitfalls that previous entries in the genre have. Even though the film might feel like director Eli Roth’s most accomplished picture yet, a number of issues hold it back from being the great definitive genre piece that it wants to be.
With a plot that very much resembles a Penthouse letter, two soaking wet damsels in distress, Genesis (Lorenza Izzo, fresh off of her role in Roth’s The Green Inferno) and Bel (Ana de Armas), come upon Evan’s house and beg him for help. Evan acquiesces, but as time goes on his peaceful, humble life begins to be dismantled apart in front of him, with him never going to be the same. The film seems to be so entrenched in Roth’s usual sensibilities that you’d be surprised to learn that this is actually a remake of Peter Traynor’s 1977 exploitation film, Death Game.
Before all of the chaos breaks loose, Roth takes him time, movingly slowly to help establish a tone. It’s also appreciated that in this prelude to everything you actually get to meet Evan’s family and see him interacting with them. Instantly they have more weight and the stakes feel higher when they are at risk because they’re not just names or random photos. We’ve met them. In spite of this beginning section taking its time, you know pretty much exactly where all of this is heading. Just like how Evan is constantly moving his position in the room or switching chairs as Genesis and Bel get closer to him, we too are never fully lulled into a sense of security through this narrative. Genesis and Bel pepper Evan with compliments, playing coy, and exuding uninhibitedness with every flirty touch and smile, and yet, the hanging guillotine is always present and Evan is nearly as aware of it as we are.
Knock Knock operates how a lot of Roth’s films do where it appears that characterization it not the priority and you might not be left caring about these people (especially in the case of Genesis and Bel where most of what they say is a lie anyway). In fact, you’ll likely resent Genesis and Bel as you essentially just see them act privileged and selfish before the danger sets in. The difference here comes in the form of Reeves’ Evan who is out of the age bracket that Roth is typically playing in, adding a little more dimension and “real worldliness” that his characters can often lack.
As Genesis and Bel carry on their wanton destruction there’s a bunch of veiled dialogue between them that hints at something more from their past. Their sexual behavior is also so often steeped in heavy daddy issues and infantilization that feels symptomatic of sexual abuse in their childhood that has stunted them psychologically and manifested as mental illness. This film is not interested in being torture porn, with it instead being more messed up on an internal level, which feels like an important distinction to make.
The moments of Genesis and Bel acting out behavior that shows them stunted mentally are the ones that hit the hardest and tease a somewhat original movie, even. Home invasion scenarios have certainly been done to death at this point and the mere subversion of swapping the gender roles is hardly enough to make a film feel fresh, but the idea of two victimizers who have psychologically regressed and have no way to be logically reasoned with is something different.
The villains in Roth’s other films have been driven by things like money and power in Hostel or instinct and tradition in the case of The Green Inferno, but this is the first film of his where the antagonizers feel like they might be this way because of something that’s happened to them and shattering who they are. That they are almost just as much as victims as Evan is, and it’s in that respect that Knock Knock is fascinating to me and becomes a much deeper picture than it lets on to be. The problem is that this dimension of the film isn’t explored nearly as much as it could be, which results in more scenes of Genesis and Bel seeming like they’re putting on an act, have no history of abuse, and are in control (there are lines referring to a larger organization and clean up crew at hand, and that they have done this many times before), as opposed to two unhinged victims that are acting out of psychosis, which I think is the much more interesting (and frightening) of the two scenarios. This feels like the film that the survivors of Roth’s other films would end up making due to the trauma they’ve been through.
Bel and Genesis’ sadistic chemistry with one another is very strong and probably the best part of this film. As these two sync up together and become increasingly intimidating, you can’t help but feel frightened and outnumbered like Evan does. There’s a sly line in the first half of the film where Evan mentions not being too scared of their physical prowess and that he could comfortably take the two of them. When the shoe is finally on the other foot though, it’s not their physical strength that matters, but their mental manipulation of Evan and how they team up on him in that respect. Him being outnumbered here isn’t dangerous because it means a second set of fists to pummel him, but rather another voice to play out his insecurities and feed the lies that have been wearing him down.
In a similar vein, there’s a through line of sexual violence that the film wallows in as much as it can. One piece of Genesis and Bel’s torture to Evan is framed like a pedophile-themed game show for instance, with the punishments being like-minded accordingly. This is the right sort of idea and the focus that the film should take more often. Like a more damaged version of Hard Candy. Like if Hard Candy had two Velociraptors on the loose in the house. Even the final act is more or less turned into a big game of hide and seek. Intense violence is often being married with juvenility in what seems like the perfect representation of Genesis and Bel’s mental states.
In such a minimalistic film, obviously a lot of it is going to hinge upon Keanu Reeves’ performances, and unfortunately he’s really terribly here, which is puzzle stuff since it almost felt like the actor was having a renaissance lately with stuff like John Wick. It’s very difficult to take him seriously as he screams out lines while tied to a chair, churning out a very Nicolas Cage-like performance. Because of how restricted he is for the second half of the film, so much is dependent on Reeves’ vocal performance and he just sounds downright wooden. Major moments where he’s yelling about being concerned over going deaf or calling the police to help his friend completely fall flat. It’s painful to see Reeves delivering pivotal dialogue life, “You killed him! You killed him!” or “I’m a good father!” and it not at all being taken seriously, as you’re left thinking of the wasted opportunity on what someone else could have done with the part. In the right hands this could actually be a great role—and someone like Dan Stevens from The Guest or even Bruce Campbell would have delivered a much more interesting take on this—but instead you’re sort of left mocking Reeves, which is not at all helpful to the character. You need to be endlessly empathetic to him and want to see him escape, not get further humiliated.
There’s a moment towards the end of the film that’s Evan’s huge scene. It’s a transformative monologue that makes nothing but good points and is a staunch reminder that Evan is the hero in all of this. It’s the sort of speech that the audience should applaud at afterwards but instead I guarantee you that people are just going to laugh, or even cheer when Genesis and Bel respond how they do. I don’t mean to be harping endlessly on Reeves here, but it’s a distracting performance that he puts out, even if he does just go for broke with it all. By the time he’s barking about taking “free pizza,” it’s already too late for him.
Knock Knock’s conclusion also frustrates as Evan really doesn’t deserve the fate that he’s given. The film treats the final moments as if Evan’s angry, raging side is who he really is, whereas that couldn’t seem to be further from the truth. Evan’s more than justified for his anger. With this blunt conclusion and the film offering up no hint of seeing the lasting psychological damage that Genesis and Bel may or may not be going through, the movie as a whole certainly feels hollow and the commentary that it might have been making about abuse is muddled and lost to Roth’s typically loud style. Instead the takeaway that the film wants us to have is on men being inherently unfaithful and “evil” with these two women in fact being some sort of misunderstood angels in disguise.
While Knock Knock can successfully claim that it does present that perspective to some degree, that’s nothing to be proud of. Countless films brandish this “edgy” theme, and for this one to ride out on that makes it merely feel like another face amongst the crowd as opposed to something unique. In Roth’s defense, this conclusion could have gone down a much worse route but he instead shows restraint. His ending does have a strong impact that arguably “works,” but the problem is that Evan doesn’t seem like the terrible person that needs to learn the lesson that he’s taught.
Knock Knock is far from a good movie, but also far from a bad one, with it more than anything seeming to be an interesting piece in the filmography of Eli Roth. It could act as the turning point as he ushers in a more cerebral, psychological brand of horror as opposed to the visceral variety that he’s been focused on so far. I might have thought I was finished with Roth’s outings in the past, and even if Knock Knock hasn’t gotten me back on board with the director, it has shown me that he perhaps has a little more left to say
I still maintain that American Werewolf in London, Dog Soldiers and Ginger Snaps are the holy trinity of modern werewolf movies, and when a new one comes along, I’ve no choice but to judge it according to these standards. Howl, directed by special effects maestro Paul Hyett (you probably know him from The Descent), already had two strikes in my book once I saw the trailer and noticed the CGI transformations and the reusing of plot elements from Dog Soldiers, but turned out to be an unexpectedly fun experience in the end.
Most of the entire film takes place in and around an overnight train from London travelling through a foggy forest. When the train breaks down for unknown reasons, frustrated ticket-collector Joe, played by Ed Speeler from A Lonely Place to Die, has to man up in order to protect the angry group of passengers from whatever dangers lurk outside. His coworker Ellen, played by Holly Weston, joins him and an ensemble cast of late-night travelers desperate to get home and escape whatever creature is stalking them in the dark.
Plotwise, it’s not anything new, but it’s the execution that makes this film stand out. Like any good thriller, a solid introduction to the characters makes you feel sorry for almost every one of them that meets an untimely end, even though many of them at times seem like cookie-cutter archetypes. The dialogue is believable and so are the reactions to the horror around them, but there were a few inconsistencies and leaps of logic regarding how the werewolf “infection” worked. It’s hinted at this might not be a supernatural phenomenae, and though it makes sense that the passengers wouldn’t exactly know what’s going on, I would like to have learned more about the mythology behind the film.
The atmosphere and stylish direction were the highlights of the film, with a subtle soundtrack emphasizing some of the tenser moments. That’s why even the shoddy CGI can be forgiven (It’s mostly used in full-body shots of the werewolves and thankfully sparse), especially considering the great make-up and practical effects. It’s no surprise that Hyett’s team did their best with the prosthetics considering his effects background, but there are a few close-ups on the digitally enhanced wolves that look simply awful.
Howl may be light on plot, but it’s also entirely worth the price of admission if you’re a fan of character-driven thrillers. The payoff may not be as good as the setup, especially considering the brutal and emotional scenes preceding the ending, but it’s still a satisfying experience. The gory parts are fun and frightening but don’t get in the way of the story and the characters are convincing. After watching this movie, you’ll think twice before taking a train on a full moon.
While there won’t be a Friday the 13th in October until 2017, we can still take this year to share a very cool infographic that was designed by the folk over at BuyCostumes.com that goes through each of the Friday the 13th films and breaks down each type of kill that is seen in that film, a list that amounts to over 200 kills! What’s obviously clear is that while the machete might not be the only weapon Jason Voorhees has used over the years, it’s definitely the one that has accumulated the most notches on his death belt!
Hopefully but the October 2017 Friday the 13th, this list will have to be updated because we’ll have seen our favorite hockey mask wearing mass murdered have another go!
Award-winning Turkish actress Derya Alabora (Innocence, When We Leave, A Most Wanted Man) stars as the title character Naciye in Lutfu Emre Cicek’s feature film directorial debut.
Naciye had its World Premiere screening at TCL Chinese 6 Theatres, 6801 Hollywood Blvd. Hollywood, CA at Hollywood & Highland as part of Screamfest LA last night. Cicek and the film’s stars Esin Harvey and Gorkem Mertsoz were in attendance.
In Naciye, “a pregnant couple (Esin Harvey, Gorkem Mertsoz) travels for the weekend to check on the house they rented on a whim for the remainder of the pregnancy. On their first night at the secluded home they encounter the dangerous woman who claims to be its rightful owner.”
Naciye was filmed on location during the off-season on the beautiful Princess Islands off the Marmara Coast of Istanbul, Turkey. Empty seaside mansions and gorgeous vistas belie the sinister and dangerous events about to unfold. The idyllic scene turns bloody and horrific as the body count quickly grows.
The film was directed, written, produced and edited by Cicek, produced by Refik Zafer Cicek and Begum Malaz, executive produced by Naciye Sonbay and Ekmel Sonbay with stunning cinematography by Kamil Satir.
Austin Stowell, pictured, has been cast as Anne Hathaway’s love interest in Colossal, the monster pic written and to be directed by Timeframes‘ Nacho Vigalondo for Brightlight Pictures, says Deadline.
Colossal is “Aaout an ordinary woman (Hathaway) who discovers she has a connection to a series of attacks by a giant lizard and a robot in Tokyo, and she needs to find out why she is the only person who can stop it.”
Production gets underway next week on the pic.
Vigalondo also helmed one of the V/H/S: Viral segments for us, as well as the indie sci-fe epic, Extraterrestrial.
The wait could be coming to an end, thanks to the success of shows like “The Walking Dead.”
THR is reporting that “Hack/Slash,” the long-in-the works adaptation of the cult horror comic is now being developed as a television series!
Skip Woods, whose credits range from Swordfish to A Good Day to Die Hard to the Hitman movies, is writing the script.
Created by Tim Seeley and Stefano Caselli, “‘Hack/Slash’ centers on Cassie Hack, a woman who symbolizes the cliche of the lone girl who survives at the end of every horror movie. However, the emotionally damaged girl not only survived but has become a killer of killers. Along with a burly protector named Vlad, Hack travels across the country hunting slashers in the vein of ‘Halloween’s’ Michael Myers, ‘Friday the 13th’s’ Jason Voorhees and ‘A Nightmare on Elm Street’s’ Freddy Krueger.”
When it was set up as a feature, it had directors such as Marcus Nispel, Fredrik Bond and Todd Lincoln attached, with Justin Marks and Stephen Susco among the writers.
The project is set up at Relativity Television, which has been spun off from Relativity Media with a new ownership umbrella that includes Anchorage Capital, Falcon Investments and Luxor Capital. Tom Forman remains the CEO.
Woods will also exec produce with Adrian Askarieh, who first optioned the comic back in 2005, and Ray Ricord.
Daniel Alter and Geoffrey Yim are co-exec producers.
Corin Hardy’s supernatural horror thriller The Hallow is now available to rent on DirecTV! The movie is making itself available on the PPV service starting today and ending November 4th, two days before its theatrical release. You can read our glowing review of the film.
“Deep within the darkness of secluded forest land in rural Ireland dwells an ancient evil. Feared by the nearby superstitious villagers as cursed creatures who prey upon the lost, their secrets have been kept from civilization and remain on their hallowed ground. But when a conservationist from London moves in with his wife and infant child in order to survey the land for future construction, his actions unwittingly disturb the horde of demonic forces. Alone in a remote wilderness, he must now ensure his family’s survival from their relentless attacks.”
It should come as no surprise that October is my favorite month. It’s the start of basketball season, of which I am a huge fan, but it’s also the month of Halloween and the one time of year that horror truly reigns supreme. As a kid growing up I always felt like everyone went all out for Halloween – stores, TV shows, every house on the block and so on. What really struck a chord with me were the TV commercials. It seemed like virtually every product got in the spirit and unleashed some Halloween-themed commercial.
Thanks to the likes of YouTube, I’m able to re-visit a lot of these commercials quite easily. In doing so I decided to make a list of 5 Great Halloween Commercials. These are in no particular order, and I’m not even saying they’re the 5 best, but they are 5 Halloween commercials that I really, really love.
Deviant Art artist Robert Shane has a small fan comic that he created where he merged the worlds of Star Wars and Aliens, facing several stormtroopers and none other than Darth Vader against a few Xenomorphs. It’s wonderful illustrated and the dialogue isn’t too bad. There are some nice nods to the source materials and there’s a twist ending that pretty much makes me really want to see more comics drawn. Alas, it seems that this was a one off for Shane but we should appreciate the work and effort he put into these several pages!
Make sure to give Robert a follow on Twitter to let him know your thoughts on the comic, which you can view below!
Welcome to the fifth chapter of our October Madness feature! Here are five more titles I highly recommend visiting on your October movie nights.
Stay tuned next week for more, and be sure to share your choices with us in the comments section.
These days Peter Jackson he has spent so much time in Middle Earth, it seems ages ago that we’ve seen the spirit of the New Zealand renegade filmmaker that created Bad Taste, Meet the Feebles and this work of splatter genius that gave us a Sumatran rat-monkey infected geriatric zombie, fun creative dismemberment by lawnmower, hilarious impalement by light bulb and best of all, a kung fu priest kicking ass for the lord. Several impressive recent genre offerings like Housebound and Deathgasm are clearly inspired by Jackson’s early balls-to-the-wall approach to cinema, and this wickedly entertaining gem is a reminder that we’re still waiting for the king of splatter to come back and reclaim his throne!
Tombs of the Blind Dead
This 1971 Spanish horror film written and directed by Amando de Ossorio was the first in a series of films that follows a legion of knights who have become blind reanimated corpses of evil wreaking havoc in the 13th century on those unfortunate enough to have their blood drained and bodies sacrificed to their unholy allegiance.
Atmospheric and chilling, Tombs of the Blind Dead is good exploitation fun. There’s an alternate ending included on the DVD from Blue Underground that was alternately used to cash in on the Planet of the Apes franchise that’s worth checking out as well.
At Midnight I’ll Take Your Soul
In 1964 a Brazilian filmmaker named José Mojica Marins introduced horror movie fans to fiendish gravedigger Zé do Caixão, known infamously as Coffin Joe. Coffin Joe is searching for a female companion to give ritual birth to his damned offspring, only his mischievous deeds have a price, and his destiny may beckon an inevitable journey to the depths of hell. At Midnight I’ll Take Your Soul is the first in a trilogy of films featuring Marins’ Coffin Joe character that includes This Night I’ll Possess Your Corpse and Embodiment of Evil, and to say that these films are sheer insanity is putting it lightly. The director ended up playing the main role when the original actor quit, and there was a rumor that things got so crazy while filming that the director forced his crew to shoot a scene by pointing a gun at the cameraman. Coffin Joe is one of the most demented characters ever committed to celluloid, and this is where it all began.
The Devil’s Backbone
A deep labor of love for director Guillermo del Toro, The Devil’s Backbone was strongly influenced by his relationship with his uncle, who del Toro claimed has visited him in spiritual form. Set in 1939 during the ghastly civil war in Spain, del Toro created beautiful and haunting visual poetry that pulls at the heartstrings as much as it sends chills down the spine. The pale ghost in this feature has Japanese horror aesthetic inspiration that works wonderfully with this film’s Gothic tone. This film is a perfect companion to Pan’s Labyrinth, a pure and euphoric cinematic experience.
Martin is a personal favorite of Romero and his first collaboration with special effects wizard Tom Savini, a truly overlooked masterpiece. Like Dawn of the Dead, there is an Italian cut with a kick-ass Goblin score that’s worth seeking out once you’ve seen the original cut. Romero originally had a cut that ran 165 minutes that will never see the light of day, and his original vision was for this intimate film to be in black and white, which didn’t seem like a good idea to the studio. I personally have no problem whatsoever with this version and find it to be Romero’s finest work. There’s also voice-over narration that was cut out and can be heard in the theatrical trailer; however, there was a novelization containing the missing narration if you feel like you’re missing out and want to track it down. Either way, when it comes to unique vampire lore in the movies, it doesn’t get much better than this.
I’m pretty excited to share the news, via TheWrap, that Southbound, a new anthology featuring Roxanne Benjamin, David Bruckner, Patrick Horvath and Radio Silence, has been sold to The Orchard!
I produced this new anthology (full disclosure) that’s being compared to “The Outer Limited” and “The Twilight Zone,” which is beyond humbling.
Southbound has its World Premiere in TIFF’s Midnight Madness program before screening at this September’s Fantastic Fest in Austin, Texas.
In Southbound, “Five intertwining tales of terror unfold along an endless desert highway. On a desolate stretch of road, weary travelers — two men on the run from their past, a band on their way to the next gig, a man struggling to get home, a brother in search of his long-lost sister and a family on vacation — are forced to confront their worst fears and darkest secrets in these interwoven tales of terror and remorse on the open road.”
Radio Silence reunites after delivering fun scares with “10-31-98” in V/H/S and doing Devil’s Due for Fox. Bruckner, who is hard at work on the new Friday the 13th, directed by The Signal, as well as the “Amateur Night” segment from V/H/S. Benjamin produced V/H/S and V/H/S/2 with Tom and myself, and is making her directorial debut with Southbound. Horvath landed on our radar with his and Dallas Dallas Richard Hallam’s haunting indie Entrance.
“When we saw Southbound, we knew we were looking into the eyes of a much different animal,” said Paul Davidson, SVP of Film & TV at The Orchard. “Southbound is a slick and stylish film that will have audiences engrossed from the moment the engines kick into gear and we can’t wait to invite them to take that journey.”
The Orchard has been making waves in the independent film scene this year, acquiring and releasing a wide range of high-profile titles including, but not limited to, Patrick Brice‘s The Overnight starring Taylor Schilling, Adam Scott and Jason Schwartzman; Joe Swanberg-directed Digging for Fire starring Jake Johnson, Brie Larson and Anna Kendrick; and Matthew Heineman’s 2015 Sundance award winning documentary Cartel Land.
Expect Southbound to hit theaters and VOD near you in 2016.
Eli Roth’s Knock Knock (read our review) is opening in limited theaters and On Demand October 9th, 2015 via Lionsgate Premiere.
We landed three new clips from the remake of Peter S. Traynor’s 1977 Death Game, which tells the story of two seductresses who have sex with and thus torment a married man on one fateful evening.
The clips begin with a playful game of boxing between one of the girls and Keanu Reeves, while the second has him seduced, with the last having a messy breakfast. Fun and games quickly turn sour.
In Knock Knock, “When a devoted husband and father is left home alone for the weekend, two stranded young women unexpectedly knock on his door for help. What starts out as a kind gesture results in a dangerous seduction and a deadly game of cat and mouse.
A sexy new thriller from director Eli Roth, ‘Knock Knock’ stars Keanu Reeves as the family man who falls into temptation and Lorenza Izzo and Ana de Armas as the seductresses who wreak havoc upon his life, turning a married man’s dark fantasy into his worst nightmare.”
Lorenza Izzo, Ana de Armas, Aaron Burns, Ignacia Allamand, and Colleen Camp also star in Knock Knock.
Elder Scrolls Online is getting a new expansion, and it’s set in the orc homeland land of Orsinium. I won’t even make a joke about what that sounds like.
Far from the bloodthirsty, savage brutes of Tolkien’s orcs, or the thuggish, foul-mouthed, cockney accented ones from Warhammer, the orcs of Elder Scrolls have evolved into a fairly civilised race. Fairly. You can judge for yourself when you get to know them in their homeland.
In true Elder Scrolls style, there’ll be a huge area to explore, along with tons of new quests and secrets to uncover. You would expect nothing less from what is arguably the most popular western fantasy RPG series of all time (suck it Dragon Age).
Orsinium, the once-great capital city of the Orcs, has long lain abandoned and in ruin. King Kurog, reigning monarch of the Orcs, has sent invitations far and wide to enterprising adventurers. Join him in rebuilding the city and returning it to its former glory. Your efforts and actions while in Orsinium and the mountains of Wrothgar have a direct impact on the reconstruction effort—the city will visibly transform.
The largest ESOTU DLC game pack to date, Orsinium takes you to the mountains of Wrothgar, and to the Orc capital itself, to unravel plots and counter-plots, and encounter all-new enemies and allies. Whether you choose to strike out and explore this vast new zone on your own, play through the quests, face the challenges of the Maelstrom Arena, or team up with friends to take on the new public dungeons and world bosses, there’s something here for everyone.
Bethesda have clarified that there won’t be any new Elder Scrolls game for a while, so we’ll just have to make do with the expansions from now on. Elder Scrolls Online: Orsinium will be summoned on November 2nd.
The post Elder Scrolls Online: Orsinium Expansion Will Feature The Orc Homeland appeared first on Dread Central.