I am so incredibly, insanely jealous of those with the income, space and sanity to purchase everything produced by NECA – the greatest toy company that’s ever existed.
Heading into the New York Toy Fair, they’ve just unveiled another masterpiece of a line: their Cinemachines, which include vehicles from various films.
The first completed and painted batch of prototypes are from Ridley Scott’s Alien and James Cameron’s Aliens.
Vehicle replicas shown above include the Nostromo (Alien), Narcissus Escape Pod (Alien), USS Sulaco (Aliens) and Hadley’s Hope Daihotai Tractor (Aliens).
These join previously announced M577 Armored Personnel Carrier, UD-4L Cheyenne Dropship, Space Jockey and Space Jockey Spaceship.
Heading to EFM in Berlin is a new doc that focuses on the world of creating monster effects.
Alexandre Poncet and Gilles Penso’s Creature Designers: The Frankenstein Complex, features the likes of Guillermo Del Toro, Joe Dante, and even John Landis.
Here’s the lengthy synopsis to go with the sales trailer sent to us by Fabien M.
“The success of Avatar, Jurassic World, the Planet of the Apes reboot or series like The Lord of the Rings has proved one thing: movie creatures have never been as popular as they are today.
Finding its roots in ancient folklore and mythology, the art of creating monsters for the big screen is on the other hand as old as cinema itself. From early experiments with apes and dinosaurs to the birth of special make-up effects, from the pinnacle of animatronics to the digital revolution, Creature Designers: The Frankenstein Complex explores a century of cinematic thrills and wonders. Most importantly, the feature film focuses on the relationship between the creatures and their makers: like modern Frankensteins, special effects wizards create life out of raw material, art and complex machinery.
For two and a half years, Gilles Penso and Alexandre Poncet have met all the greatest artists in the genre, visited dozens of studios and gathered hours of exclusive footage from classics like Gremlins, Ghostbusters, The Abyss, Terminator 2, Jurassic Park, Starship Troopers or Spider-Man 2. The result celebrates a world of human imagination and unparalleled artistry, but also shows how fragile traditional crafts have become, in the wake of futurist technologies.”
For me, I want the never-before-seen goodies. That’s the biggest selling point for me.
Sweden’s Tribulation embrace the black metal style with an almost delightful punk enthusiasm. Their music has all the earmarks of modern blackened metal but there is a certain “old school” quality about them, a nod to the dark past from whence they came, that mellows the harsh edge many attribute to the genre. Instead, what you get is a smooth, almost velveteen evil that is as seductive as a vampire’s gaze.
The band is going to bring their sound as the opener on the upcoming 2016 Decibel Magazine Tour, which will see them share the stage with High on Fire, Skeletonwitch, and one of the biggest names in the black metal world, Abbath!
To celebrate this upcoming tour, we spoke with guitarist Adam Zaars about their latest album The Children of the Night, the tour, and their fascination with the occult and horror. Head on down for this exclusive interview!
Talk to me about the upcoming Decibel Tour. It’s one helluva lineup, one that appeals to several different metal genre fans. What are you expecting? What’s it like knowing you’re going to be touring with the legendary Abbath?
We’re looking forward to going back to the US again, it’s always a pleasure playing there. For some reason it works there for us, we like it there. This time around it’s a bit different than the previous tour we did with Deafheaven since it’s four bands now instead of just the very convenient two, but I’m sure this is going to be cool anyway, we’ve done it before. All of the bands are pretty much new to us so we don’t really know what to expect to be honest. It seems like a very wide line up style wise which is always nice, so we’re expecting a lot of different kinds of people to come! The more the merrier…
‘The Children of the Night’ received incredibly high acclaim from several big name publications. What do you feel this kind of support brings the band?
It of course helps us in some way, but in the end it’s all up to the music and it’s up to us to deliver that music to people live. Albums are of great importance, but we very much see Tribulation as a live band, a full experience, a place to let go of the mundane world and your mundane self. It’s all up to us basically, and the fans, not journalists. Better distribution and better press is never really a bad thing of course and it helps bring any band to new people, but so does touring. That said, of course it’s nice for us to get great reviews in so many different places and in magazines and webzines that are so different in style, it shows that we can reach a wide array of people with our music.
I watched your video for “Strange Gateways Beckon”, which looked to me like it had a strong influence from Ingmar Bergman. There’s obviously a love for the darker side of art with your music and visuals. What draws you to that?
I’m pretty sure Gustav Öhman Spjuth who directed it is influenced by Ingmar Bergman, and we also wanted it to have that old Swedish feel to it. Darkness gives things an edge that is otherwise missing, and it’s what makes Tribulation…Tribulation. It’s always felt like home to us, so I’m not sure what draws us to it, it’s just there and it’s always been there. It’s what makes something otherwise dead interesting I would say. What we are doing, since we’re already immersed in it, is that we’re mining the gold that is hidden inside of it and bring that to the surface. That’s what we’re presenting to the world, because there’s a depth and a width to our music I would say, it’s not only the darkest of dark, there are also glimpses of light.
I know that Tribulation has some strong influences from the occult and supernatural mythology. Can you tell me about that and what kind of impact it has on your songwriting and general musical approach?
That’s a personal interest finding its way in to the art that we make. It would be strange if it didn’t affect it, and it sure does. I think we all (in the band) have different answers to this question, but to me it’s a matter of a lifestyle choice and world view that is always present even when I don’t compose music, so it’s not that Tribulation is the final outcome of a spiritual life, it’s a part of it, it’s the art of it. To me music in itself is a very spiritual and psychedelic thing because it makes you think, it makes you feel, it makes you travel to different universes and it can completely change your day or even your entire life. It’s activity that creates changes, and so is spirituality. Also when I compose music I always make a thing about making the foundation of the songs, be it a melody or a drum beat, come from some place unknown to me. A long walk is usually the best thing for that for me, eventually I find myself humming a melody and that then makes it into the songs. It’s an unconscious thing, and it’s been a very good formula so far. “Occult”, in a way I guess. The lyrics also always have a spiritual theme.
Metal and horror have long been bedfellows. Do you find inspiration in the horror genre and, if so, what about it intrigues you? What do you takeaway from it?
We take atmosphere and aesthetics (which in itself creates an atmosphere) from it. And it’s not really horror in general, it’s quite specific and I guess anyone can tell really. I mean, we don’t really have zombies all around anymore, and even when we did in the past that wasn’t really the big thing. Ever since the beginning of the band we wanted the music to have the same feeling we get when watching Nosferatu (both of them actually), it’s a very bone chilling atmosphere, deadly and poisonous in way, yet it’s very , very beautiful at the same time. It’s “necromantic” I guess. The music and what the music actually transfers to people is always in motion and it reaches outside of that feeling at times, but that’s still the core of it. Another thing we have taken from horror movies is inspiration from the soundtracks, most notably music by Fabio Frizzi and Goblin. Atmosphere again. I also personally have an interest in a lot of other horror and b-movies, but that doesn’t really have anything to do with Tribulation.
Decibel Magazine Tour Dates:
Thursday, March 17 – Baltimore, MD – Baltimore Soundstage
Friday, March 18 – Charlotte, NC – Amos’ Southend
Saturday, March 19 – Atlanta, GA – The Masquerade
Sunday, March 20 – Ybor City, FL – The Ritz Ybor
Tuesday, March 22 – Dallas, TX – Gas Monkey Live!
Wednesday, March 23 – Austin, TX – Emo’s
Friday, March 25 – Scottsdale, AZ – Live Wire
Saturday, March 26 – San Diego, CA – The Observatory North Park
Sunday, March 27 – Santa Ana, CA – The Observatory
Monday, March 28 – Los Angeles, CA – The Regent Theater DTLA
Tuesday, March 29 – San Francisco, CA – The Regency Ballroom
Thursday, March 31 – Portland, OR – Roseland Theatre
Friday, April 1 – Seattle, WA – El Corazon
Saturday, April 2 – Vancouver, BC – Commodore Ballroom
Tuesday, April 5 – Denver, CO – Gothic Theatre
Wednesday, April 6 – Lawrence, KS – Granada Theater
Thursday, April 7 – Minneapolis, MN – Mill City Nights
Friday, April 8 – Chicago, IL – Metro
Saturday, April 9 – Cleveland, OH – Agora Ballroom
Sunday, April 10 – Toronto, ON – The Opera House
Tuesday, April 12 – New York, NY – Webster Hall
Thursday, April 14 – Boston, MA – Royale
Friday, April 15 – Philadelphia, PA – Union Transfer
This week: Rise of the Tomb Raider is no longer ‘Only on Xbox,’ and Justin runs down plenty of other games to keep you entertained.
Something awful is about to happen in this new clip from Robert Eggers’ The Witch (read our review), opening wide February 19, 2016.
A new clip/teaser has been shared, keeping with the cold, moody and atmospheric motif that’s been consistent through the entire campaign. This new clip, however, foreshadows something truly awful – the death of a child.
Anya Taylor-Joy, Ralph Ineson, Kate Dickie, Harvey Scrimshaw, Ellie Grainger, and Lucas Dawson star in the film rated R “for disturbing violent content and graphic nudity.“
“In this exquisitely made and terrifying new horror film, the age-old concepts of witchcraft, black magic and possession are innovatively brought together to tell the intimate and riveting story of one family’s frightful unraveling in the New England wilderness circa 1630.
New England, 1630. Upon threat of banishment by the church, an English farmer leaves his colonial plantation, relocating his wife and five children to a remote plot of land on the edge of an ominous forest — within which lurks an unknown evil. Strange and unsettling things begin to happen almost immediately — animals turn malevolent, crops fail, and one child disappears as another becomes seemingly possessed by an evil spirit. With suspicion and paranoia mounting, family members accuse teenage daughter Thomasin of witchcraft, charges she adamantly denies. As circumstances grow more treacherous, each family member’s faith, loyalty and love become tested in shocking and unforgettable ways.
Writer/director Robert Eggers’ debut feature, which premiered to great acclaim at the 2015 Sundance Film Festival — winning the Best Director Prize in the U.S. Narrative Competition — painstakingly recreates a God-fearing New England decades before the 1692 Salem witch trials, in which religious convictions tragically turned to mass hysteria. Told through the eyes of the adolescent Thomasin — in a star-making turn by newcomer Anya Taylor-Joy — and supported by mesmerizing camera work and a powerful musical score, THE WITCH is a chilling and groundbreaking new take on the genre.”
Visit the film’s official website for more.
Exciting EFM news that has some teeth.
Spotlight Pictures shared new imagery for the gothic drama Angelica, written and directed by Teeth‘s Mitchell Lichtenstein and starring Jena Malone (Sucker Punch, The Hunger Games), two-time Academy Award nominee Janet McTeer (Albert Nobbs, Tumbleweeds) and Ed Stoppard (The Pianist).
“Angelica is a gothic tale of a newly married couple living in Victorian London who endures a series of increasingly alarming psychological and supernatural effects following the birth of their child.“
Produced by Joyce Pierpoline (Teeth), the film is based on the novel by Arthur Phillips with the same name.
Angelica first premiered as an official selection at last year’s Berlin Film Festival and will be showing this month at the European Film Market on Sunday, February 14th at 6:30pm at CinemaxX.
Aside from its talented cast, a team of seasoned artists collaborated on the movie, including two-time Academy Award nominee cinematographer Dick Pope (for Mr. Turner and The Illusionist), Academy Award nominee costume designer Rita Ryack (Casino, Apollo 13) and Academy Award winning production designer Luciana Arrighi (Howard’s End). Two-time César winner Zbigniew Preisner also composed the haunting score.
Academy Award Nominee Ethan Hawke (Regression, Sinister, Boyhood, Training Day) will star in Fundamental Films and Thunder Road Pictures’ upcoming thriller 24 Hours to Live, with acclaimed Second Unit Director Brian Smrz tapped to direct, Bloody Disgusting learned out of EFM in Berlin.
Penned by Zachary Dean based on an original script from Ron Mita & Jim McClain, “24 Hours to Live follows a career assassin who is given a chance at redemption after his employer brings him back to life temporarily, just after being killed on the job.”
Basil Iwanyk of Thunder Road, Fundamental Films Chairman Mark Gao and International President Gregory Ouanhon are producing the film, with Fundamental fully financing. Fundamental Films’ Gary Glushon and Thunder Road’s Kent Kubena and Jonathan Fuhrman will executive produce. Sierra/Affinity will handle international sales starting next week at Berlin.
Smrz is highly regarded for his work as Second Unit Director on the likes of X-Men: Apocalypse, X-Men: Days of Future Past, Iron Man 3, Rise of the Planet of the Apes and Live Free or Die Hard.
UFO fanatics will know the inspiration behind The Phoenix Incident, as the docudrama-thriller is based on the largest UFO sighting in North America known as the “Phoenix Lights.”
The Phoenix Incident will receive its U.S. national premiere through Fathom Events for a one-night event on March 10 in 100+ cinemas nationwide.
The event will be shown in 100+ theaters nationwide with Fathom Events for one night on March 10, 2016 at 7:30 p.m. local time. Tickets available starting February 12, 2016 at www.FathomEvents.com and participating theater box offices.
Yesterday we premiered one of the best one-sheets of the year, with the art displaying a man standing on a cliff looking up to the sky where a massive flying saucer hovers. The real “Phoenix Lights” was the most-witnessed UFO event in U.S. history, with the craft said to be as large as several football fields.
The Phoenix Incident is the debut feature film (writer-director) of veteran gaming industry talent director Keith Arem, responsible for the talent direction in AAA video game franchises including “Call of Duty,” “Titanfall,” “Saints Row,” “Tony Hawk Pro Skater,” and more!
Starring famed gaming actor Troy Baker, “The Phoenix Incident is based on the largest UFO sighting in North America known as the Phoenix Lights. Blurring the line between fiction and reality, the fact based, sci-fi thriller revolves around a military conspiracy and the controversial missing person’s case surrounding the infamous 1997 event. With the support of the victims’ families, along with classified military documentation, cockpit recordings, Air Force pilot interviews, actual FLIR footage, and first-hand recovered video evidence, The Phoenix Incident exposes the military’s engagement with extraterrestrial contact, and the collateral damage of 4 civilians.”
Get more at the official website.
Ahead of the EFM in Berlin, AMBI shared a new shot from the sci-fi adventure thriller Rupture, starring Noomi Rapace (Prometheus, The Girl with the Dragon Tattoo, Sherlock Holmes: A Game of Shadows, The Drop) and Michael Chiklis (Fantastic Four, The Shield).
Rupture is a science-fiction thriller about a single mother (Rapace) abducted by a terrifying and mysterious organization who reveal to her that humanity faces an unsettling threat from within.
It also stars Peter Stormare (Clown, Fargo, 22 Jump Street, The Big Labowski), Kerry Bishé (Argo, Sex and the City), Lesley Manville (Maleficent, Mr. Turner, Another Year) and Ari Millen (Orphan Black, Exit Humanity, 12 Monkeys).
Steven Shainberg (Secretary) directs Rupture, which is based on a story by he and Brian Nelson (Hard Candy, 30 Days of Night, Devil). Nelson wrote the screenplay.
Here’s the full market synopsis, which reveals there will be spiders in the film. No. Thanks.
Renee Morgan (Noomi Rapace), a single mom who lives with her twelve-year-old son Evan in a quiet suburban home, is terrified of spiders. Unbeknownst to both, their every move is being observed. While running her daily errands her car breaks down and she is violently kidnapped by a group of strangers.
About 24 hours later, in an anonymous laboratory, she is tied up and questioned about her medical history, including her great fear of spiders. Soon her captors explain to her that with her genetic abnormality can potentially allow her to RUPTURE in which her own alien nature can be released. Through the experience of one’s deepest fear (in Renee’s case spiders) causes this transforming her into her true self.
Here’s an addition shot shared by EW.
vIn a world where directors are constantly fighting the MPAA, it’s so expensive to make a film independently that it’s nearly impossible, and once filmmakers do finish an indie feature, it doesn’t generate enough revenue because it can only reach a handful of theaters, it seems more and more that television shows are the way to go.
While obstacles may push a filmmaker into the world of the living room screen, once there, it becomes apparent that TV programming can be just as cinematic as stories that hit the local theaters, and push the envelope artistically in ways that benefit all forms of celluloid. Daredevil revealed superhero fans’ desire for darker content, while Penny Dreadful proved people will appreciate a more intelligent version of Frankenstein’s monster. Preacher sets out to explore the effect of tackling extreme violence with a sprinkle of humor, while Luke Cage stands firmly as evidence that caped crusaders of color can and should be just as in demand as their counterparts. Television is laying the groundwork for the future of cinema, and it all starts here, in 2016, with the continuation of some terrific shows, and the introduction of some very promising new projects.
Without further ado, and in no particular order, here are the top ten genre shows you should be watching in 2016.
There’s much comfort to be found in religion. Those seeking a purpose, or a guardian to look over them, or answers to life’s most daunting questions can find solace in the open arms of an old belief, or a new religious movement. But what if the feeling of relief is only temporary? What if, after dedicating oneself to the well of a particular following, the water runs dry? Such is the inner conflict that family man Eddie Cleary faces in the new controversial Hulu original The Path. Although he and his loved ones have grown accustomed to their current way of life as members of a controversial cult, Eddie begins to experience a crisis of faith, and questions whether if they all are being lead down the wrong path. Starring Breaking Bad‘s Aaron Paul, True Detective‘s Michelle Monaghan, and Hannibal‘s Hugh Dancy, The Path’s cast is just as intriguing as its bold premise. Look for it to hit Hulu on March 30th, 2016.
“Game of Thrones”
The last time we saw the Game of Thrones gang, Sanasa and Theon joined hands and jumped off of the side of Ramsay’s castle, Margery was locked away for her brother’s “crimes”, Cersei was publicly shamed, Arya was flipping faces, Jon Snow was left for dead (or, “for the watch”), Tyrion finally joined forces with Daenerys, and Bronn was still nowhere to be found. What lies ahead for our beloved familiars of Westerns remain uncertain — although HBO has hinted pretty hard that we haven’t seen the last of Jon Snow — but one thing’s for sure: winter is coming, and the dead are coming with it. Season six hits HBO on April 24th.
Season one of Marvel’s Daredevil was a revelation in more ways than one, as it proved both that people want and will accept a much darker angle on the superhero craze, and that Netflix is capable of delivering some truly impressive original content. Also, just as a horror fan, how cool is it that show runner Drew Goddard stems from Buffy the Vampire Slayer roots? Goddard also recently directed the wickedly clever horror comedy The Cabin in the Woods, one of the most original and profoundly funny love letters to ’80s slasher movies to come out in years. In the same way that Cabin put a new spin on an aged subgenera, Daredevil has set a new, much more mature standard of the representation of our caped crusaders. And it’s only getting better. In the upcoming second season, the DD team has made the excellent decision to cast Jon Bernthal as Frank Castle, a.k.a. The Punisher. With Bernthal’s background as an extremely intimidating and complex antagonist on The Walking Dead, it will be thrilling to watch him portray one of the most merciless antiheroes Marvel has to offer up. Season two lands on Netflix on March 18th.
We, as an audience, believe we’ve seen the dreariest and most deranged moments that Penny Dreadful has up its sleeve, but we’re wrong. We watched in stupefied horror as Eva Green contorted her spine and delivered a chilling performance as a possessed woman being hunted by the devil, we sat mouths agape as Ethan revealed himself as a murderous werewolf, and we shed tears for Sir Malcolm when evil witches used their magics to trick his wife into taking her own life. Grief and mayhem has characterized the journey for this ragtag team of misfits thus far, but the road ahead looks to be the darkest passage yet for these fascinating fairy tale creatures, in this brilliant little Burton-esque gothic drama series. Make sure to see what lies in wait on May 1st, only on Showtime.
After thirteen long years, the cynic and the credulous are back. Searching for answers, and further seeking to define their complicated relationship, the two set out on a brand new expedition, while still hitting all the old beats. The suggestive partner dynamic, the monster of the week, and the general questioning of the government are all there, but now, Mulder and Scully are facing off against their biggest conspiracy yet: the end of the human race. Returning for a tenth season in the form of a six episode mini-series, Gillian Anderson and David Duchovny have proven thus far, just as always, that while the plot may occasionally veer off course, the chemistry between these two talented actors is always worth watching. Catch this exciting revival all throughout February, only on Fox.
Making his first live action appearance in Marvel’s Jessica Jones, a gritty noir style TV show that debuted to overwhelmingly positive reactions, Luke Cage is one of the newer superheroes, hitting comic books for the first time in June of 1972. Since then, the man sporting unbreakable skin and superhuman strength has popped up in a few cartoons here and there, but didn’t make his mark in the flesh until Mike Colter provided a booming performance as the Power Man in the Netflix original, which has already been called upon for a second season. At the same time, a spin-off show, simply titled, Luke Cage, has been greenlit to also air on Netflix. It seems like the show will act as a prequel to the Jones legacy, which is interesting as it will portray Cage’s origin story as the man who is wrongfully incarcerated, experimented on, and eventually accidentally released out into the world again, cursed and gifted to fulfill his higher purpose — to stop evil and saves lives. Luke Cage is set to air on Netflix sometime in 2016.
November twenty-second, nineteen sixty-three: that fateful day when President John F. Kennedy was assassinated during his visit to Dallas, Texas. Not only was it one of the most tragic moments in American history, but it also prompted the swearing in of Vice President Lyndon B. Johnson, which in turn, prolonged America’s involvement in the Vietnam War. Thousands of men fresh out of high school were drafted and dragged off into military combat; many only returning home in body bags. But what if someone was able to throw a wrench into the wheel of time? What if one man found a way to go back in time and derail the attack on the president, saving his life, and altering the world for the better? Such is the goal of high school teacher Jake Epping (James Franco), who stumbles upon a time portal, which allows him to travel back to September 9th, 1958, just a few years prior to the infamous incident. Jake decides to take action, but along his path to redemption, Jake encounters various obstacles, such as love, contentment, and the past’s own stubborn resistance to change. Will Jake succeed with his outlandish plans to the course of history forever? Find out when Stephen King’s latest adaptation lands on Hulu on February 15th, 2016.
There have been many failed attempts to bring the Preacher comic book series to the screen, but the latest interpretation of the early ’90s DC comic looks like it actually contains quite a bit of potential. The show’s airing on AMC, which has been known to push the boundaries when it comes to what’s allowed on television, which means that it can probably get away with more graphic violence and language than if it were to air on such channels as the CW or CBS, thus allowing the show to stay more loyal to the source material. Also, Superbad/The Interview/Pineapple Express/This is the End comedic collaborators Evan Goldberg and Seth Rogen are credited with being the head writer and directors of the series, which means that this portrayal of the conflicted man of faith will get the sarcastic edge it always needed. It will be thrilling to see how the show fares with new viewers, and old fans. Look for Preacher to hit AMC sometime in 2016.
Based on the 1973 film by the same name, Westworld takes place in a Las Vegas-type of vacation setting, where people can act out their wildest fantasies without fear of repercussions or damage to their reputations. The Westworld amusement park is in many ways, exactly as it sounds — a western themed community filled with fun attractions, like horseback riding, cattle roping, and musket shooting. The only surprising aspect about this rustic utopia are the robots. Artificially intelligent cowboys roam the countryside, engineered to partake in shooting games with paying customers. However, when some of the robots malfunction, the hunters become the hunted, as the humans learn that the true price to pay wasn’t their admittance fee, but the cost that comes with playing God, and granting consciousness to machines. Pushed back for re-writes, Westworld will air sometime in 2016 on HBO.
There are many reasons to get excited for the upcoming first season of Outcast, such as the fact that the show was created by The Walking Dead showrunner and comic book originator Robert Kirkman, or the fact that the comics that the show’s based on were picked up for a televised adaptation a mere week after they were released, but there’s one main draw that is sure to capture horror fans’ attention: both Adam Winged and Leigh Janiak direct their own episodes. Wingard has become a household name in the genre community, with several notable entries, including A Horrible Way to Die, V/H/S, and most recently, the pulse-pounding, action-packed ’80s themed gem The Guest. Janiak gained notoriety for her indie sci-fi thriller Honeymoon, which put eerie new parameters on extra-terrestrial territory by using the threat of an alien invasion as a metaphor for marital turbulence. More recently, Janiak directed one of the best episodes of Scream: The TV Series, “In the Trenches”, and became attached to the upcoming remake of the ’90s witch flick The Craft. In their new show, Outcast, Wingard and Janiak join forces with Kirkman to tell the story of a young man suffering from a series of ongoing possessions whose cause have yet to be explained. Tune in to all of the horror-charged madness on Cinemax, debuting sometime in 2016.
Danny! and Tim are joined by Ryan Oliver of Deathblow Productions to talk about a very curious pair of films on this month’s episode of Double Murder: High Tension vs. Intensity!
High Tension (2003) is Alexandre Aja’s breakout slasher film. While the well-known twist can be very polarizing among horror fans, it is still a highly respected and launched Aja’s career. In it, a young woman finds herself stalking a killer who has taken her friend captive and murdered her family. It features some impressive and inventive kill scenes and lush cinematography.
Intensity (1997), though, is not as highly respected. It was a 2-part made-for-TV movie based off a book by Dean Koontz. It is notable in that it it stars Molly Parker and John C McGinley (who puts on an IMPRESSIVE performance as the antagonist), but other than that, it is a not particularly well-aged artifact of the 90’s. So why would we bother to review it here?
Because High Tension and Intensity have the same plot. Almost exactly.
Is this a case of horror plagiarism? Tune in to DOUBLE MURDER to learn more, and give us your thoughts below!
It’s been fifteen years since writer/director Alejandro Amenabar terrified audiences across the globe with his gothic ghost story The Others. The prolific filmmaker has found success in several other genres, as he’s responsible for such gems as The Sea Inside and Abra Los Ohos (Open Your Eyes), a.k.a. the original Vanilla Sky, but after all those years, something called him back to the darker side of cinema. Now, with his new film Regression, Amenabar takes on the task of telling the tragic tale of a young girl named Angela Gray (Emma Watson), who was abused by those close to her in an ongoing series of satanic rituals. With police officer Bruce Kenner (Ethan Hawke) on the case, and Professor Kenneth Raines providing help to the victims through regressive therapy, the truth is bound to surface. However, the facts are uncovered, the results turn out to be even more outrageous than anything anyone involved in these horrendous acts could have ever imagined.
“Right after my last period movie I wanted to try a horror movie, and I thought about the devil, and why not try to explore the world of satanic cults?” Amenabar inquired. “I started to read a couple of books, but I couldn’t find an interesting approach, something that made the movie sort of special so I put it aside for awhile. Then, I read about satanic ritual abuse, and the psychological techniques that were used in the ’80s and ’90s, which is something I never heard about. So, I thought that would allow me to make a movie about the devil, but secretly a movie about our mind, and how our mind shifts and plays with us, and that’s something that always interested me”.
As for star Ethan Hawke, his initial interest in the project was less about the world of the occult, and more about the man behind the camera. “I have a lot of respect for Alejandro Amenabar, I took him incredibly seriously” Hawke explains. “I didn’t really understand the script or the character, and I went to meet with him to tell him so, and he was such a compelling person, and the desire to make the movie seemed so sincere and interesting to me that I decided just to take a chance on him”.
Not only does Hawke hold a certain appreciation for Amenabar’s work, but the Sinister star also possesses an affinity for filmmakers that emerge from different cultures than his own.
“I like anything about working with directors from other parts of the world” Hawke says excitedly. “I got to work with Alfonso Cuaron when I did Great Expectations, Jean-Francois Richet when I did Assault on Precinct 13, and Pawel Pawlikowski when I did The Woman in the Fifth. I love working with different filmmakers; filmmakers that come from a different education, because I tend to learn more. You know, people who grow up in the U.S. kind of have a one-film vocabulary, and people who grow up in other countries have a different film vocabulary and they live differently, and they think about images differently, and they think about performances differently, and it’s fun to be a part of it”.
2016 seems to be the year of the devil, with films like The Witch, February, and The Devil’s Candy coming out, and even a TV show titled Lucifer airing on Fox. All of the films, each having to do with Satan, deal with the darker aspects of religion in their own ways. For Amenabar, Regression “was about portraying the world of the occult and about the rituals”, as he drew inspiration from books like Making Monsters, Satan’s Sirens and Satanic Panic, exploring and researching as much as he could about the followers and their forbidden religion.
Regression seems to fit right in with the year’s new trend, but popular horror sub-genres come and go, as Amenabar explains. “Sometimes in terms of horror, we go like in waves, so there’s been zombies, and after that there were vampires, and I think it’s about the devil again”. However, according to Amenabar, he simply sought to personify his own vision, and just happened to capitalize on a flourishing angle. “In my case, like I said, I was just trying to find the proper approach, and I thought it was right for me”.
Still, coincidental as it may be, it’s admittedly a pretty exciting time for horror, as it seems to be delving more and more into the taboo subject that made so many ’70s films so memorable. Amenabar’s new film, however, plays more on the engaging, tension-ridden aspects of the decade’s thrillers, pulling from movies like All the President’s Men, Marathon Man, just as much as he does from The Exorcist. “We wanted to get some of the style and the flavor from hose American thrillers from the ’70s,” says Amenabar. “We wanted to keep some of the gravitas or the seriousness of those movies”.
To Ethan Hawke, the film is less about religion, and more about the curious actions that people take once real fear sets in. His character Bruce starts out the film as a logic-based non believer, but as the case carries on, and he begins to suspect that members of the cult he’s investigating may be following him, he turns to the ancient artifacts of the bible and the crucifix as a way to cope with his concerns.
“I think what Alejandro’s saying is it’s not the idea of religion necessarily, but everybody, people start getting superstitious and they’re scared to get superstitious” Hawke emphasized. “I don’t think it’s religion that’s oriented in any kind of real faith, or pure exploration of his inner life, but more based in superstition. And I think that’s what Alejandro was most interested in trying to say at that moment in the movie”.
Through the film, Hawke and Amenabar collaborate to set out on an expedition to find what drives people to religion, and how everyone, whether religious or not, comes to believe their own superstitions and personally-based theories.
“I think that in general people like to be right, and one of the things that’s most interesting to me about the movie is that people, we all want to be right all the time, and even though sometimes this truth starts lining up that we might be wrong, but we still persist in not wanting to let go of the idea that we’re right” Hawke comments. “It becomes very important to us to stick that ground, and I think one of Bruce’s problems in this movie is, he thinks he’s right about Angela, and he starts being blind to certain facts because of his own desire to prove himself right”.
It’s always harder for people to see themselves as clearly as they can others, but as the film suggests, part of this self-serving bias is due to the iffy nature of psychotherapy, which is still to this day, and will always be, mostly based on theories. While Officer Kenner approaches the case through files and interviews, his partner Professor Raines tackles the issues through his own process, as he uncovers locked away memories of the victims through hypnotherapy.
Therapists, although seeking to help their patients, can sometimes point them in the wrong direction, especially because the mind is such a fragile thing. As Amenabar says, “One thing for sure is I would never submit myself to hypnotic therapy. I’m afraid of what I could find there”.
The process of how the mind interprets inspiration, coercion, and submission is a fascinating, endless journey of self-exploration. People often think of the factors that influence the mind as merely being interactions with other people, but in actuality, people are affected by every daily correspondence we encounter, whether that be with friends, family, or even the movies we watch for fun. Although shy to be a patient of hypnotherapy himself, Amenabar doesn’t deny the fact that the act of sitting down to watch a movie is just as much hypnosis as any session with phototherapy or use of a metronome. In an interesting way, his movie seeks to hypnotize the audience just as much as it seeks to explore the effects of hypnotherapy.
“Well the idea was something that has to do with movies, that also has something to do with hypnosis” says Amenabar. “People sit down in a theater and start watching the movie, and even we as filmmakers, we use that expression, we try to hypnotize them. So like that process, exploring it or portraying it in the movie itself, the process of hypnotizing, the images you see in the movie, you can see what is my approach to that”.
Was Angela abused by satanic cults? Is Professor Kenneth Raines extracting memories that ought not to be tampered with? Is Officer Bruce Kenner being stalked by the same cults that have tortured Angela for so long? Find all of the answers to this terrifying exploration of satanism and psychotherapy when Regression hits theaters on February 5th, 2016.
Bloody Disgusting is giving away (2) Blu-ray copies of Alchemy’s Hangman (review), directed by Adam Mason (Broken, The Devil’s Chair, Blood River) and starring Amy Smart (The Butterfly Effect, Crank, Road Trip), Jeremy Sisto (Wrong Turn, TV’s “Wicked City”) and Kate Ashfield (Shaun of the Dead, The War Zone, Secret Smile).
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“Returning from vacation, the Miller family find their home has been broken into. After cleaning up the mess they continue with their lives, shaking off the feeling of being violated. Little do they know the real nightmare has just begun.“
The film will be available on Blu-ray and DVD on February 9, 2016.
After premiering at the Slamdance Film Festival in Park City, Utah, the trailer is now online for the sci-fi anthology Embers, directed entirely by Claire Carré.
Embers features five interwoven stories each explore a different facet of life without memory in a future that has no past.
“After a global neurological epidemic, those who remain search for meaning and connection in a world without memory.”
It stars Jason Ritter, Iva Gocheva, Greta Fernández, Tucker Smallwood, Karl Glusman, Silvan Friedman, Roberto Cots, and Dominique Swain.
Two lovers struggle to stay together, afraid that if separated, they will forget each other forever.
A boy loses his guardian and searches for a new home beyond the limits of the city.
A violent young man takes what he needs to survive, no matter the cost.
A professor researching a cure makes a connection that is not what he expected.
A girl living with her father in an underground bunker safe from the virus must decide whether to risk infection to regain her freedom.
Thanks to Fabien M. for the tip.
Calvaire, Vinyan and Alléluia director Fabrice Du Welz is heading to EFM with Message From the King, which now has some market art, courtesy of Fabien M.
Luke Evans (High-Rise, Dracula Untold), Tom Felton (Rise of the Planet of the Apes), Teresa Palmer (Warm Bodies), Natalie Martinez (End of Watch) and Chadwick Boseman star in the thriller in which, “A mysterious outsider named Jacob King from South Africa arrives in Los Angeles to avenge his younger sister’s death.”
There’s no other info at this time. We’ll update you with any stills that come out of the Berlin market.
Thank to Bloody regular Fabien M. we have market shots of Fast and the Furious and Resident Evil star Michelle Rodriguez in Walter Hill’s gender-swapping action movie Tomboy, a Revenger’s Tale, which also stars Anthony LaPaglia and Sigourney Weaver (Alien, Aliens, Ghostbusters).
“The script, written by Hill from a story by Denis Hamill, centers on an ace assassin who is double-crossed by gangsters and falls into the hands of rogue surgeon known as “The Doctor,” who turns him into a woman. The hitman (now a hitwoman) sets out for revenge, aided by a nurse named Johnnie, who also has secrets.”
Rodriguez is to play the hitman while Weaver is the scalpel-wielding doctor. Here’s our first look!
Zelda Williams (“Teen Wolf”), Alberto Frezza (“Charlie’s Angels”) and Eli Goree (“The 100”) have joined the cast of Freeform’s “Dead Of Summer” horror drama series, reports Deadline.
“Set in the late 1980s, school is out for the summer and a sun-drenched season of firsts beckons the counselors at Camp Clearwater, a seemingly idyllic Midwestern summer camp, including first loves, first kisses—and first kills. Clearwater’s dark, ancient mythology awakens, and what was supposed to be a summer of fun soon turns into one of unforgettable scares and evil at every turn.”
Williams will play a counselor at Camp Clearwater who is a mysterious loner with no interest in bonding with the rest of the group. Frezza is Deputy Garrett Sykes, a young deputy who has ties to Camp Clearwater and who grows immediately suspicious when events at the camp don’t add up. Goree will play Joel, an aspiring filmmaker who is returning to Camp Clearwater as a counselor and begins to buy into the idea that something weird is happening.
In addition, the network announced that series creators/executive producers Adam Horowitz and Edward Kitsis (“Once Upon A Time”) will direct the first episode. Williams, Frezza and Goree join previously announced cast members Mark Indelicato (“Ugly Betty”), Ronen Rubinstein (“Orange Is The New Black”) and Paulina Singer (“Gotham”).
Production will begin in March.
High school archetypes have a rough year ahead of them what with all these murderers loose and walking about in search of something soft to poke. Behavior Interactive has finally pulled the sheet off their next game, and it seems those curious red stains were blood, after all.
Dead By Daylight joins Friday the 13th: The Game and Last Year as the latest teen stab ’em up to put a handful of stereotypical teens in mortal danger for our amusement. With procedurally generated environments and multiple bad guys — not all of them human — this 4-on-1 asymmetrical multiplayer horror game promises to be anything but predictable.
As a survivor, you’ll make use of your surroundings to survive against an unknown threat. This threat could be flesh and bone, or it could be something else. Each match has been designed so “you’ll never know what to expect, what you’re facing and how to get away,” and with limited time to think and even less time to react, your survival depends on outwitting your hunter.
An emphasis on character progression leaves room for each character to be tailored compliment your specific play style so neither team will know who or what they’re going up against. Dead by Daylight will release on PC, through Steam, as soon as it’s ready.
Come Tuesday, Harran will be unrecognizable from what it is today. Dying Light: The Following and the free enhancement patch will overhaul the game with new features and environments, in addition to some long overdue endgame content for those of us who beat it last year.
After a few failed attempts at liking its “Be the Zombie” mode, I hadn’t even thought to consider what this imminent renovation would mean for it. This trailer makes it look like it’ll be the best kind of bonkers, with tendril monsters raining down from the sky and onto speeding dune buggies encased in electrified metal cages. That may be what finally makes this mode click with me.
And to all you achievement/trophy hunters out there, these are your new targets.
May 13th, 2016.
Mark that date on your calendars, folks. That’s the day the new Doom arrives, and you’re going to want to have your trigger fingers properly limbered up before then. You may also want to grab a shotgun so you can practice that twirly, one-handed reload maneuver from Terminator 2, because that’s just a generally useful life skill to have.
Doom will hit everywhere at once with a worldwide release on PC, PS4 and Xbox One, ensuring no one will have to wait to take on its “avalanche of demons.” And if you’re still on the fence about it, a public beta will kick off prior to the official launch so you can give it a test drive first.
Bethesda shed some light on the game’s pre-order incentives, if you’re still paying for those. All pre-orders will come with a half dozen consumable “Hack Modules,” to give you an edge in the multiplayer, and the Demon Multiplayer Pack. That includes three variations of a set of demon armor, six paint colors, and three id Software patterns for you to slap on your gear.
The Doom $120 collector’s edition comes with a limited edition metal game case and a 12″ Revenant statue designed by TriForce that comes perched atop an LED-lit base, since everyone needs a flying demon with dual rocket launchers on their desk. Did that sound sarcastic? It wasn’t. Everyone really does need one of those at the office. Or at least I do.