Update: Adam Levine was in season 2 of AHS, not season 1.
I can almost see the pitchforks and torches coming towards me for this week’s Twisted Music Video Of The Week. Yes, it’s Maroon 5. I’m aware of their style and I’m aware that they’re not really all that horrific. However, don’t forget that vocalist Adam Levine starred in season 1 of American Horror Story. So, we’ve already got a start here, okay?
But when it comes to this specific video, “Animals”, there’s a lot more here than you might expect. First of all, the video is directed by Samuel Bayer, who directed the 2010 remake of A Nightmare On Elm St.. Secondly, the video is definitely right up the alley of any horror fan, calling to mind such films as Maniac and Texas Chain Saw Massacre.
Check out the video before burning me at the stake, okay? And then, once you finished, leave a suggestion for next week!
I don’t know why it seems to be so hard to make a good werewolf movie of late. I mean it’s a fairly easy structure to build around. A tragic but likeable character gets bitten by a werewolf (or cursed by a gypsy) and has to concede to their life by sacrificing themselves for someone they love. OR you can make an evil werewolf movie too, which is always fun. The beauty is you can go a million different ways using this skeletal structure!
Werewolf Rising misses the bar on so many levels. It’s poorly made, it’s sloppily written and there isn’t a decent character or werewolf to be found. I freely admit that I’m not fond of the “digital age” of filmmaking, especially low budget, because I can’t shake the feeling that I’m watching someone’s home video. However, I have reconciled with digital filmmaking so that is not my complaint about the technical workings of this movie. I really only have 2 major hang ups about the technical prowess (not that there aren’t more) that went into making this. First, if any of you reading are budding filmmakers like I please take this advice very seriously: BUY A GODDAMN TRIPOD! They sell them on Amazon for $15, especially if you are trying to do fluid movement. Watching Werewolf Rising was like watching a video my mom took on her cell. Secondly, don’t rip off your soundtrack unless you are Stuart Gordon and even he shouldn’t have but Re-Animator fucking rule. When I first heard the score I thought to myself wow this is actually a pretty cool throwback…until I realized it was a blatant rip-off Halloween. C’mon guys.
Technical ineptitude is something that I am willing to look over sometimes, especially in the low budget arena, as long as there is decent writing behind it. Unfortunately, yet again, Werewolf Rising doesn’t have that either. When we first encounter the werewolf it’s from a POV shot as he/she attacks an escaped prisoner who has kidnapped a woman and is intending to rape and kill her out in the middle of nowhere. The man is attacked and severely injured by the wolf and the girl is killed. Solid beginning to a werewolf movie and also the introduction to the best actor in the film, Bill Oberst Jr., as Rhett the creeptastic rapist. Flash forward to the next day and we meet Emma (Melissa Carnell) who is going up to her parents old place to dry out after deciding to give up alcohol.
Now, it may seem like that is all fine and dandy for the movie and it really would be if they just stuck with that main story. Unfortunately writer/direct BC Furtny doesn’t exactly seem to know what he wants from this film. Enter in the weird and completely uncalled for romance that occurs within 12 hours of Emma meeting Johnny Lee (Matt Copko) who is also an escaped who got out with Rhett. The romance makes little to know sense considering the only time we see Johnny Lee is when he appears to be stalking her. Although, pickings are slim here for Emma between to escaped cons and her dad’s friend who goes by Uncle Wayne (Brian Berry), I guess I would choose the least rapey one too. There is also one other character who isn’t introduced until 15 minutes or so before the movie ends. Not only is that not fair to the audience in a whodunit movie but it also shows that the writer seemed to have two have two plot lines and this one just got phased out.
And finally, the biggest ball drop of the entire movie is that there is NO TRANSFORMATION SCENE! We get a brief look at the face turn and then we cut to the next scene where the character is already wolf. Mind you, this wolf costume looks like something you could get at a local costume shop. I almost always give points to practical effects because it at least shows the filmmakers tried but I can’t even do that here. No one made this costume or put any effort into it and if they did it sure doesn’t look like it. I really like the actor had an old Halloween costume in his closet and brought it to the set one day and they said “sure, why not?”. The answer is: Because we all want to see a goddamn transformation scene!!!!!
I have been wishing for years that there would be another Werewolf movie boom but sadly it looks like I will be waiting a long time. If anyone out there has seen it and actually liked it please let me know why and if you didn’t feel free to share your thoughts too!
‘Killer Karl,’ who reviewed Kristy for us, is getting more regular as he’s turned in his thoughts on Lionsgate and WWE’s See No Evil 2, opening this weekend on VOD.
“See No Evil 2, the sequel nobody asked for.
In 2006 WWE and Lionsgate made sweet love and created their first baby, See No Evil, a slasher movie starring wrestling superstar Glenn ‘Kane’ Jacobs. It (surprisingly) went theatrical and didn’t fare well among critics nor fans, although some have found it does have long legs in terms of re-watchability. Even so, nobody ever wanted a sequel, or cared for that matter. So, when it was announced, it came as a shock. At least expectations were kept in check…
With See No Evil 2, WWE tapped Jen and Sylvia Soska to direct, who reunited with American Mary star Katharine Isabelle. It bizarrely opens up on the same night as the first, even though it took place 8 years prior. The problem with this is that it forces the characters to continually reference the first film over and over, which makes the film a but exposition heavy. Being that it’s the unfortunate direction the filmmakers chose to take, this is the path we must follow and it begins in a morgue, where Danielle Harris and her boyfriend finishing up work before preparing to celebrate her birthday. A pretty great scare introduces the friends, and brings the group into the single location that looks to be the same hospital used at the end of The Innkeepers.
During the festivities, the sex-crazed Isabelle rides a presumably dead Jacob Goodnight, who awakens angry and ready to punish the sinners. Although the violence is pretty regular, none of it is really all that impactful, with some being as tame as throats or heads being crushed, and the camera focusing on the dead or dying teens for way too long.
The introduction of a mask for Jacob Goodnight was a solid idea, although it appears it was an easy way to cover the effects filed eye that was removed in the finale of the first film. (And I’m pretty sure it switched eyes later in the movie.) I also don’t really buy his motive, which was force fed down our throats again through flashback (you know, to remind us that the first exists.)
It’s not a bad movie per se, and is surprisingly fun through the first hour. But once Jacob Goodnight begins stalking the halls everything slows to a crawl. Maybe it’s because the environment was so generic, or maybe it was because it’s not a franchise I care to see continue on, but it was hard to remain engaged until the very end.
That said, I wish this were a standalone sequel instead of being forced into a corner in trying to continue the events from 8 years ago. But as it stands, See No Evil 2 is a fun little VOD rental for your Halloween festivities, especially if you’re seeking something new to watch. Otherwise, you may be better off picking up the Halloween box set or Texas Chain Saw Massacre re-release for something that’s both nostalgic and franchise-worthy. Unfortunately, it doesn’t appear Jacob Goodnight is staying dead anytime soon…”
Editor’s note: I cleaned up the following review for grammar.
From the director that brought audiences Sinister and Exorcism of Emily Rose comes Deliver Us From Evil (read our review), debuting on Blu-ray, DVD and Digital HD October 28 from Sony Pictures Home Entertainment.
Check out this exclusive featurette, “Blessed”.
Deliver Us From Evil is a story inspired by the actual accounts of New York Police Department Sergeant Ralph Sarchie (played by Eric Bana, Lone Survivor), who teams up with “Father Mendoza” (played by Edgar Ramírez, Zero Dark Thirty) to investigate a series of strange events that are taking over and terrorizing their city. Olivia Munn (Magic Mike) co-stars as Sarchie’s wife and Joel McHale (“The Soup”) co-stars as Sarchie’s NYPD partner.
“A New York police officer Ralph Sarchie (Eric Bana) begins investigating a series of bizarre and disturbing inexplicable crimes. When he uncovers that the crimes are of super-natural origins, he must join forces with an unconventional priest (Edgar Ramírez), schooled in the rituals of exorcism, to combat the frightening and demonic possessions that are taking over and terrorizing their city. Filled with action and thrilling suspense, the film is inspired by the book, which details Sarchie’s bone-chilling real-life cases.“
Produced by Jerry Bruckheimer (“CSI: Crime Scene Investigation”) and directed by Scott Derrickson, the Deliver Us From Evil Blu-ray and DVD give fans bonus materials, including Director’s commentary, as well as an all-new featurette, “Illuminating Evil: Making Deliver Us From Evil,” which explores how writer/director Derrickson collaborated with Sarchie on the film. The Blu-ray includes three exclusive featurettes: “Deliver Us From Demons,” gives an all-access pass to the production team’s approach to creating a realistic and frightening demonic presence in the film; “The Two Sergeants,” highlights the collaboration process between Ralph Sarchie and Eric Bana; “The Demon Detective” offers fans an intimate interview with Sarchie as he recounts some of his more harrowing experiences in the field of demonology.
Whether you love it or hate it, there’s no denying that The Blair Witch Project changed everything.
From the way it was directed to the way it was marketed and absorbed into the culture, there hadn’t been a film that big and that groundbreaking in a very, very long time. And there hasn’t been since, really. Besides perhaps Saw, there hasn’t been a game-changer in the horror world on the same level as Blair Witch.
I clearly remember the night I went to see it in my little hometown theater, in Newton, NJ. Going in, I still didn’t know if it was real or not. The media had been covering the film like crazy (it was even on the cover of Time magazine), but I didn’t really pay attention to that kinda stuff back then. I left the theater jarred. Up in rural north Jersey, the forest extends to your backyard. The woods were my playground. But after Blair Witch, it was rare for me to go in them without coming down with a wicked bad case of the willies.
15 years later, I had a chance to confront the two guys who scared the hell out of 17-year-old me. At the mighty Mile High Horror Film Festival, I interviewed directors Dan Myrick and Eduardo Sanchez in a service hallway of the Alamo Drafthouse Littleton.
Going back 15 years, you made the film and submitted it to Sundance. What were your expectations like?
Eduardo Sanchez (E): We were broke, so we just wanted it to sell it on video, maybe. We couldn’t even imagine a theatrical release.
Daniel Myrick (D): Maybe in Romania.
E: We were thinking maybe video or one of the cable networks would pick it up, give us a little money so that way we could go and make another movie. That was basically our expectations. Before we got accepted into Sundance we had a whole plan for in case we didn’t get in, you know? But luckily we got in.
When the film finally got released the hype was incredible, like nothing that had been seen in years, particularly for a horror film. But what was the hype like at Sundance that night?
D: Pretty crazy. There was a high level of awareness going into Sundance and we had an agent lined up and a lawyer already setting things up. There was an industry vibe too, a lot of the industry had dialed into it. But the first screening at the Egyptian was great. There was a lot of people lined up outside the theater and there was a lot of excitement. And I think Sundance had a lot to do with it, with the resurrection of their midnight screenings and they had a lot of promotion going on for it which built up a lot of anticipation.
Going back to the filming, I remember hearing that you guys wanted to show the witch or were planning on showing the witch, but then you never did?
E: Well, we wanted to show something more spectacular than what we ended up with. But we couldn’t come up with an idea and we had a limited budget, so it was going to have to be something really clever. We actually didn’t have the ending of the movie when we were filming. We started shooting the movie without the ending and I remember Gregg (Hale), our producer, would come in and be like, “Man, you got five days,” and we would go back and think about it. But we were so busy trying to keep the movie going. It was like this constant movement because we had to monitor the actors and direct them three or four times a day, figure out where they were going. What the hell was the question again?
Were you ever planning on showing the witch?
E: Okay yeah, so we were thinking maybe we could show somebody levitating or have arms coming out of the walls. I mean, we had no idea, but we didn’t want to betray the rest of the movie. There are no real gags in the movie, we weren’t showing anything, you know, except a bundle of sticks and some teeth. And then maybe two or three days before we had to shoot the ending we came up with the idea for the ending. Also, Gregg came up to us and said “You can’t do any art department, you can’t come up with an idea that requires any building or anything.” So we were lucky we came up with the idea and it worked well. Artisan wanted to change it when they bought the movie. That was the first thing they wanted to do was change the ending.
D: Yeah they did a test screening in New Jersey and they were a little freaked out by everyone asking questions about the ending. It was scaring people, but they wanted some kind of closure. So they had us shoot like five new endings. We were broke, so we took the money.
E: Yeah, we got paid. It was something like $80,000 so we were like “Hell yeah, we’ll shoot an alien invasion for that,” you know? Then we decided to keep the original ending and I remember them telling us “Your ending is going to cost us millions at the box office.”
I also remember hearing about what you put Heather, Michael, and Josh through while filming. That you fed them in the beginning, then gradually cut off their food and sleep. Could you talk about the process a little bit more?
D: When we cast the movie we sort of let the actors know that this wasn’t going to be a normal shoot. For example, we informed the actors just what their characters would know about the background of the Blair Witch mythology. So Heather knew more about it than the guys did, because we wanted them to ask her questions as to what they’re doing out there. So that was in keeping with our whole methodology in how we prepared the actors. When they first went into the woods, we wanted them all charged up, ready to go, and as time moved on, they had less and less sleep, they we hungrier and hungrier, and it allowed them to stay more in character. I mean, they were really tired. They look exhausted in the film. So we let that work for them in their performance.
E: And they didn’t know what was going to happen. We never gave them the whole treatment.
D: Heather thought she was may have signed up for a snuff film.
E: She was really the only girl. She didn’t know Mike or Josh or us either, you know? It was a big gamble for her. She had some balls. They knew a little bit what was going to happen because of the rehearsals and the audition process, but other than that they had no idea what was going to happen. Especially with how it was going to end.
D: We made adjustments as we went along too. First we were going to pull Mike out, then we were going to pull Josh out.
E: Yeah, it was always going to be the sound guy that disappeared, but we were watching the footage and Josh and Heather were just at each other’s fucking throats. So we pulled Josh out to maybe get a different tone and it was a good decision. Also, Josh wanted to get the fuck outta there. He was done.
After the release and the film blew up, was there any kind of pressure from Artisan to make a sequel?
D: Oh yeah. That came pretty early on. I think it’s a natural inclination. It was hot, so they wanted to capitalize on it right away. And I get it. Our logic was that Blair got so big, that it naturally started getting backlash…it just got too big, it got too much hype and it became fashionable for everyone to dislike the movie, so we figured we’ll just let it die down for a couple of years and then decide to revisit it or not. But Artisan wanted to get something going right away.
E: Yeah right away they wanted us to do a sequel and we were just not ready or willing. So they did the second one. We gave them our blessings and they wanted us creatively involved but we didn’t like what we saw. I mean, we like Joe (Berlinger) and we love his documentaries, but this story was going to be really tough to pull off. But the train had already left the station so we just kinda sat back and watched it happen.
Weren’t you guys taking about a prequel at some point?
D: Yeah we thought about a prequel, an origin story of Elly Kedward we thought would be cool. We also maintained that the Blair mythology has so much stuff to mine from, you know? There’s a lot of cool things that we came up with for this 50 year cycle of shit that happens in those woods that we could explore creatively. So we wanted to do a non-traditional follow-up to Blair Witch. The problem that I see is that the studios see the found footage movie and they want something just like it because it made them money. But we’re more in the mind of we built this world and the found footage episode was one episode, so that needed to be what it was for the filmmakers that disappeared in the woods. But we could do a period piece, a black and white film, whatever, and it could all be part of the Blair Witch brand. I still think it’s valid, it’s just hard for studios to embrace that.
E: Yeah, Book of Shadows was pretty far off of what we wanted to do. I didn’t think it was a bad movie, it just wasn’t in the same world, you know?
D: We just felt betrayed, you know? It became this self-referential thing, where it was like the studio was purposely betraying the original mythology or they didn’t understand it. If they called it anything else, it would’ve been a decent little genre film. But it’s kind of the sign of death now for the franchise. It’s like they didn’t understand anything about what made our movie work.
Now that it’s been 15 years, what do you think of the entire state of found footage. You obviously didn’t invent it, but Blair Witch certainly popularized it.
D: It’s definitely become a sub-genre, but I think that found footage would’ve happened regardless. Today, everyone is videotaping everything, man. It’s part of our pop-culture and our social language now. So it can’t not be a part of our narrative storytelling in this day and age. And I think that a lot of the films that call themselves found footage films, they’re bad because of flawed storytelling and the fundamentals that make any movie not a good movie to watch. I’ve seen found footage movies that they’ve chosen to make a certain way, and they haven’t developed the characters and it doesn’t make any sense, all the same reasons any movie doesn’t work well. And then every once in a while a found footage movie will come along that’s a really cool movie, a really cool way of doing it. So it’s gotten kind of a bad wrap I think, because it’s so easy to shoot things that way, cost wise.
E: But it’s not easy.
D: Cost wise, you think it’s going to be easy. But it’s a whole different set of rules you have to follow.
E: When we were working on V/H/S/2, Jason Eisener and Adam Wingard and Simon Barrett thought it was going to be easier, but they said it was one of the hardest things they’ve done. You have to think about filmmaking in a different way. So I agree with Dan, you still have to have a good story, you still have to have a good reason to be making the movie. So it’s not just the genre that’s fucking up the movie, it’s just that it doesn’t work with the filmmaker.
D: But there are some great ones.
E: Yeah there are. And we’re kind of like the godfathers of found footage. So when we agreed to do a segment of V/H/S/2, we were like, “Man, ours better be not be the fucking worst one.” But I think all the movies were solid and it was cool to be inspired by all these filmmakers that are at least 10 years younger than us. But like Dan said, I think found footage is always going to be a part of something new, a part of something else. It’s part of the way we live now. As a technique now, it’s going to be around forever.
D: It’s all part of the visual landscape now. You watch a crime drama now or any TV show for that matter and it’s all cellphones and CCTV. It wasn’t so much that 10, 15 years ago, when we first did Blair. But now it’s everywhere, man. We’re so interconnected now and I think that’s cool. It’s all just about a clever way of making it work for a story.
Opening October 24 from Millennium, check out this exclusive clip from Brad Anderson’s (Session 9, The Machinist) Stonehearst Asylum, starring Underworld‘s Kate Beckinsale, Jim Sturgess, Michael Caine, Ben Kingsley and Brendan Gleeson.
This exclusive clip takes you into a cell where a doctor comes face-to-face with a patient, and he’s super angry. Kingsley’s character looks on and laughs.
In the film, “A recent medical school grad who takes a position at a mental institution soon finds himself taken with one of his colleagues, though he has no initial idea of a recent, horrifying staffing change.“
The past several entries in the ‘Check This Band Out’ series have focused on really creepy music that would be perfect for Halloween. However, I want to take a quick jump away from that to bring you eccentric Russian duo Iamthemorning, who just released their new album Belighted on Kscope.
The album is rich, beautiful progressive rock, focusing more on the art of the genre, crafting wonderful tracks with some fantastic songwriting. There are some truly gorgeous moments, as well as a few haunting passages. I’ve spent the entire morning listening to this album and loving every second.
Head below to check this out, especially if you’re a fan of Porcupine Tree, Anathema, White Willow, Leprous, and bands of that ilk. Then, if you enjoyed it as much as I did, you can order the CD here.
Having just watched Nightbreed for the first time, I can safely say Clive Barker is a master of world building. BOOM! Studios have known it for years, and have worked to further develop these huge worlds into a more robust form. The “Clive Barker’s Nightbreed” series has built characters and a world revolving around a world far too few appreciated in the time of it’s release. Now we get to torture ourselves again with a brand new tale set in the Nightbreed universe.
After watching the film, I sessioned through these first five issues, and I eagerly await #6, next week.
CLIVE BARKER’S NIGHTBREED #6
Author: Marc Andreyko
Artist: Piotr Kowalski
Cover Artists: A. Riley Rossmo B. Christopher Mitten (Incentive)
Synopsis: Boone must learn what it means to be a god of man and a god of beast. In Annastajia’s search for beauty, a monster will be born from her imperfections. Lude, the demon of a god long past, will live a lifetime of jest in the face of an eternity of chaos. All creatures of the night must learn that life is a fickle thing. Midian calls to us all.
Los Angeles reader who want to be the first on their block to see Blair Witch director Eduardo Sanchez’s Exists, which pits a group of twenty-somethings against the legendary Bigfoot, we have 5 PAIRS of tickets to a special screening taking place Thursday, October 23rd at 7PM.
To RSVP, send an email to firstname.lastname@example.org. Winners will be selected at random and contacted with a location. Each winner can bring (1) guest. Please only RSVP if you can make it.
“For five friends, it was a chance for a summer getaway— a weekend of camping in the Texas Big Thicket. But visions of a carefree vacation are shattered with an accident on a dark and desolate country road. In the wake of the accident, a bloodcurdling force of nature is unleashed—something not exactly human, but not completely animal— an urban legend come to terrifying life…and seeking murderous revenge.“
The film stars Chris Osborn, Dora Madison Burge, Roger Edwards, Samuel Davis, Denise Williamson and Brian Steele and is produced by Jane Fleming, Mark Ordesky, Robin Cowie and J. Andrew Jenkins.
Exists hits theaters and iTunes on October 24.
The folks behind the Canadian production company Black Fawn Films (Antisocial, In the House of Flies) are as hard-working, down to earth and humble as they come in this industry. You can see their steady growth with each passing film. The craftsmanship is impressive especially considering their insanely low budgets. That willingness to better themselves as artists is apparent whenever you talk to them face to face. Black Fawn takes great pride in building their brand in a real grassroots sort of way. I’ve run into them on several occasions at the convention scene and have never met a group more passionate towards both the filmmaking process and the genre itself. You can get stuck for hours at their booth, chatting up about shared experiences especially growing up loving movies. That undeniable affection towards the past is clear as day with their latest production The Drownsman. It’s a straight-faced, total throwback to early Wes Craven, most obvious being A Nightmare on Elm Street. The film accompanied by its gorgeous poster artwork would be more than welcome on the video shelf, when that sort of thing was all the rage.
I had the pleasure of sitting down with Co-Writer/Producer/Director Chad Archibald (Neverlost, Ejecta) to talk about Black Fawn’s latest venture and beyond.
Q: What was the genesis behind The Drownsman?
Chad Archibald: When I was growing up, I loved all the Nightmare on Elm Streets, all the Jason films, all the iconic villains. When we (Archibald and his co-writer Cody Calahan) came up with this concept, it was us wanting to make one of those films…with a tiny budget but that was the inspiration.
Q: How did the story of The Drownsman came to be?
CA: I started watching horror films at such a young age. My mom basically realized that it would shut me up for a long time so she put me in front of some horror films. We were just trying to come up with an iconic villain. Everyone has got their little hook — Freddy has fire. Water is terrifying to me. I couldn’t swim for the majority of my life. I’m still a pretty poor swimmer. I was always terrified of drowning so that’s always been a huge thing with me. When Cody and I started to discuss it, we just realized it’s an element that hasn’t really been explored in this genre all too much. I think part of it is just the fear that when you drown there’s no blood and horror movies love blood. So we did this film and there’s maybe a cup full of blood in the entire film where our other films we literally brought in like 15 gallons of it. The more blood the better. So I know it was kind of a risk doing that but the concept of claustrophobia and being underwater is so terrifying that we felt it could work.
Q: What was the challenge of still maintaining that edge in the material?
CA: I think the idea that water is everywhere. We’re in a world where water is safe but at the same time water has the potential of becoming dangerous. It’s literally everywhere. The idea of using it as kind of a portal; if you spill a cup of water, The Drownsman can reach out and drag you into the table. We kept with the idea that water can become a threat no matter where you go. Yes, there’s no blood but we have that element of fear dragging you into it plus the character of The Drownsman. His backstory (which will be further explored in a potential sequel) is that basically he’s been in the womb for too long. When he was born, he was basically a two and a half year old child. His mother was so obese that she didn’t even realize she was pregnant. She died during childbirth. His father beaten him all his life and because he was in the womb for so long he had vivid memories of being underwater and feeling the heartbeat of a woman. As he grew older, he started kidnapping these women, bringing them into his basement tub and holding them underwater to relive the sensation of hearing the heartbeat of his mother.
Q: How did you come up with the look of The Drownsman?
CA: We watched a bunch of stuff even about the Titanic, boats that have gone down and finding bodies that are bloated and wrinkly. The idea that he’s a bloated body that’s been walking around for a while so his skin is hanging. We worked with Jason Derushie (one half of The Brothers Gore FX who were behind Monster Brawl and Exit Humanity) on the design. Ry Barrett (who plays The Drownsman) was in the makeup chair for four hours. The inspiration was just kind of soggy, something creepy and terrifying. We wanted to stay away from iconic looks such as The Ring with just wet hair.
Q: I absolutely adore your poster. If I had seen this cover art in the video store back in the eighties, I would have totally rented it. Can you tell me a little about how it was put together?
CA: I love the first Nightmare poster. We took that and few other classic horror inspirations and worked through it. We did a photo shoot with Michelle Mylett who played Madison in this bathtub that we got. I think all of the actual hands are my hands. We shot it all separately.
Q: How about all of the water elements?
CA: The majority of the water is actually real. There was a lot of splashing Michelle. She basically got under water and struck a pose with all of her limbs and water splashing out. A lot of that is real. The makeup on the hands is photoshopped because they are just my plain hands.
Q: You’re presently completing Antisocial 2. What can we expect?
CA: It’s much different from the first; the scope, the story. The first one was really contained. It was in a house, it was during a world much like ours now, dealing with social media, easily accessible. We like cliffhanger endings but we never actually talked about doing a second one or what the story would be. In the first one Michelle is pregnant so in this one, we continue the story with her and her child, in a world years later with this idea that social media kind of took over the world, got a mind of its own and where we would be. It was so interesting to create this world where people are so afraid of technology. We have burning crosses with computer monitors on it. It’s a post-apocalyptic but technology-based world where if you’ve never been on this website The Social Redroom (the protagonist of Antisocial), you’d always be terrified of a screen, a monitor. We live in a world where we’re connected through social media all the time. I can reach out to whoever I want in my friends’ list, wherever they are in the world. The idea moving forward is that the users have been turned by The Social Redroom; they’re all connected like the Borg. It’s very different yet there are elements that we drew from Skynet, the Borg, zombie films and squished them all together.
Q: How many films does Black Fawn have slated to make with Breakthrough Entertainment?
CA: Including Antisocial 2, there are nine films we are slated to make. The majority we have lined up are all genre. When we signed this group of films with Breakthrough, we didn’t want to start pumping out generic, faceless horror films that are just going to get swallowed up. We still want to continue doing what we do, coming out to conventions and talking to people face to face. We worked really, really hard on concepts, turned down probably five hundred scripts. Concept is king for sure. It’s a huge thing for us, making sure we keep the quality up, work as hard as we need to get this slate out and maintain the quality that Black Fawn and Breakthrough has done in the past.
The Drownsman screens at Toronto After Dark Film Festival on Sunday October 19th.
If it’s Halloween it must be Saw.
We announced last month that Saw would be getting a limited theatrical re-release for this coming Halloween. Now, a third artistic alternate one-sheet has premiered to commemorate the film’s 10th anniversary!
The film will open on Friday, October 31st, with select screenings beginning Thursday night, October 30th. The seven Saw films grossed $874 million at the box office worldwide and were hailed by the Guinness Book of World Records as the “Most Successful Horror Franchise” of all time.
Saw was the first collaboration for co-creators James Wan, who directed the film, and Leigh Whannell, who wrote the screenplay. Together, they also created the successful Insidious franchise, and Wan has gone on to direct such high-profile films as The Conjuring.
Directed by Wan from a script penned by Whannell, Saw is a psychological thriller focusing on two men who wake up in a secure lair of a serial killer, with a dead body lying between them. The killer, nicknamed “Jigsaw,” leaves them tape recorded messages with details of how to make it out alive. The only way for one man to make it out alive is to do the unthinkable. The two men desperately try to find a way out, while also trying to figure out who’s behind their kidnapping.
The film, which was released over Halloween weekend on October 29, 2004, was produced by Gregg Hoffman, Oren Koules, and Mark Burg.
Check out some newly discovered rare hi-res images from Saw!
Magnet Releasing shared their annual V/H/S director featurette, this time for V/H/S: Viral, which will complete our V/H/S trilogy when it hits VOD platforms October 23, 2014 (next Friday!), with a limited theatrical run slated for November 21, 2014.
The new tape features segments directed by Marcel Sarmiento (Deadgirl, the incredible The ABCs of Death segment “D Is for Dogfight”), Nacho Vigalondo (Timecrimes, Extraterrestrial), Gregg Bishop (The Other Side, Dance of the Dead), as well as Justin Benson and Aaron Moorhead (Resolution, Spring).
“A police chase after a deranged ice cream truck has captivated the attention of the greater Los Angeles area. Dozens of fame—obsessed teens flock to the streets with their video cameras and camera phones, hell—bent on capturing the next viral video. But there is something far more sinister occurring in the streets of L.A. than a simple police chase. A resounding effect is created onto all those obsessed with capturing salacious footage for no other purpose than to amuse or titillate. Soon the discovery becomes that they themselves are the stars of the next video, one where they face their own death.”
Patrick Lawrie, Emmy Argo, Heather Hayes, Jessica Luza, John Curran, Justin Welborn, Mary Ralston, Michael Aaron Milligan, Gustavo Salmerón, Marian Álvarez, Xavi Daura, Esteban Navarro, Nick Blanco, Chase Newton, Shane Bradey and Jayden Robison star.
Marcel Sarmiento, TJ Cimfel, Dave White, Gregg Bishop, Nacho Vigalondo, Justin Benson and Aaron Moorehead wrote the screenplays.
Intrada has released the soundtracks for several fantastic horror and giallo films, including Bad Milo! (Ted Masur), Halloween: The Curse Of Michael Myers (Alan Howarth), Le Foto Proibite Di Una Signora Per Bene (Ennio Morricone), as well as Howard Shore‘s scores for three David Cronenberg films: Dead Ringers, Crash, and Naked Lunch. They’ve also posted the soundtracks for Brian Retzell‘s Hannibal.
The soundtracks can be purchased here.
Swedish melodic death metal band At The Gates have released an official video for “Death And The Labyrinth”, which comes from their upcoming album At War With Reality (out October 28th via Century Media Records). The video was directed by Patric Ullaeus, who has created videos for In Flames, Arch Enemy, and many more.
Vocalist Tomas Lindberg comments:
We had a very special idea about the kind of approach we wanted for the first video from ‘At War With Reality’. What we needed was someone gifted enough to throw himself artistically into the project full on. The lyrics to the song are very multi-layered and surreal, so we wanted someone to create a fevered dreamworld that went with the melancholic frustration and dramatic desperation that we feel comes across in the song. This is exactly what Patric has created for us. It’s his vision of the music and lyrics, which compliments the track perfectly in my opinion. I couldn’t be happier!
Read our 5-skull review of At War With Reality here.
Directed by Steven R. Monroe
Distributed by Kaleidoscope Home Entertainment
Ah, vengeful Asian ghosts – can ever we get enough of them? Director Steven R. Monroe hopes not as he dishes up a forest full in Grave Halloween. Set in the real-life Aokigahara Forest in Japan (a strange cultural hotbed of self-termination), Grave Halloween follows a bunch of American students studying nearby who set off to the forest in order to perform a ritual that should lay to rest the tortured spirit of the mother of one of their number. The girl in question, Maiko (Leeb – looking nowhere near as convincingly Asian as the child playing her in flashbacks is), lost her mother to suicide when she was a young girl, and was then adopted by American parents.
Seeking to reconnect with her heritage, she is thus back in Japan with the only physical reminder that she has of her mother – a box of trinkets that she received, supposedly left to her by her late parent.
Accompanying Maiko on her trip are a group of various friends, including film students looking to make a documentary of the ritual, and a further uninvited group of stereotypical party dudes who take none of their activity within the forest seriously. Pretty soon, the theft of a watch from one of the suicide sites by the aforementioned part dudes angers the restless spirits residing in the forest, and the blood begins to flow. Throw in a couple of cops who take care of the forest, and are sick to death of disrespectful tourists, and a wizened old local man and you have a recipe for some ghostly fun, right?
Well… almost. As your typical ‘twenty-something “teens” in peril’ movie, Grave Halloween mostly achieves what it sets out to do via some good use of location (even if completely fails to capitalise on the disturbing nature of its setting), and especially its effectively grim menagerie of menacing ghosts. There’s a surprising amount of convincing gore to be had, most impressive being a particularly nasty sequence involving one unfortunate being quartered by living trees. On the flipside the characters are generally nondescript – usually only making their mark on you when being particularly annoying – and the presentation rarely feels anything beyond the typical Syfy Channel fare amongst which it holds root. Monroe attempts to spice things up a little by chucking in found footage elements using the film crew’s camera, but it merely serves to add to the unambitious feel of the entire affair; a ‘been there, done that’ element that merely adds to the sense of familiarity and really isn’t necessary at all.
The history of Maiko and her mother feels muddled – strange flashback sequences presenting a foreboding element that makes you constantly question why on Earth she’d want to have anything to do with her spirit, restless or not – but does lead to a nice twist in the payoff that unfortunately may be missed, or misunderstood, if you’ve already given up on caring by then. Which would be entirely forgivable, frankly, given the threadbare script. There’s also a secondary twist, quite integral to the story, that is so cack-handed and difficult to believe that it’s a wonder that anyone involved saw fit to keep it in there.
Still, the cast do what they can with the thin script and Monroe sets up a number of tense and creepy set pieces, relishing the manner in which the spirits of the forest toy with and segregate their prey before moving in for the kill. Grave Halloween isn’t great – hell, it’s barely even ‘good’ – but it does what it needs to, ultimately. It’s a relatively inoffensive, if overly familiar, slice of horror sporting a smattering of creepy moments. If anything, at least it’s a step up from Monroe’s odious 2013 effort, I Spit On Your Grave 2. Then again, that’s faint praise indeed.
Kaleidoscope Home Entertainment’s UK DVD release of Grave Halloween is a barebones one. Just like the film, there’s nothing special to see here, folks.
Good news for our UK fans: we got our furry mitts on two copies of director Lowell Dean’s howlin’ good time, WolfCop (review), on Blu-ray to give away courtesy of Studiocanal. Get in here and enter nooooOOOOOWWW!
It’s not unusual for alcoholic cop Lou Garou (Leo Fafard) to black out and wake up in unfamiliar surroundings, but lately things have taken a strange turn. Crime scenes seem oddly familiar. Lou’s senses are heightened, and when the full moon is out, he’s a rage-fueled werewolf.
WolfCop is one cop’s quest to become a better man… One transformation at a time.
To be in with a chance of winning, just send us an email at email@example.com including your FULL NAME AND POSTAL ADDRESS; then sit back, crack open a brewski and enjoy some hair o’ the dog. We’ll take care of the rest.
Please note that this competition is open only to UK residents.
Tattoo artist Shane Murphy is getting into the holiday spirit with his Crown of Thorns Tattoo shop in Worcester, MA.
“This month I’ve been working on a series of 5×7 watercolor paintings based off Bart Simpson in various horror costumes,” he tells us. “I will have 12 in total but here is the first 8.”
The first 8 include Bart Simpson dressed as Freddy Krueger, Jason Voorhees, Leatherface, Beetlejuice, Candyman, The Terminator, Pinhead and, of course, Ash!
Get more Halloween Treat articles here on Bloody.
Go Inside American Horror Story: Freak Show to Meet Dandy; See a Preview of Episode 4.03 – Edward Mordrake Part 1
Is everyone enjoying the sights and sounds of “American Horror Story: Freak Show” so far? Want to learn more about Finn Wittrock’s character, the lovably loony Dandy? Then check out this “inside” look at him along with a preview of next week’s Episode 4.03, “Edward Mordrake Part 1,” which features guest star Wes Bentley.
As a bonus, FX has also released Sarah Paulson’s amazing performance of “Criminal” from last night’s episode.
“American Horror Story: Freak Show” – Episode 4.03 – “Edward Mordrake Part 1″ (airs 10/22/14)
The Freaks refuse to perform on Halloween due to an old carny superstition. Jimmy (Evan Peters) is smitten by a woman claiming to be a fortune teller. Ethel (Kathy Bates) receives life-changing news.
Alt-rock band Foo Fighters have released a stream of “Something From Nothing”, the first single from their upcoming album Sonic Highways. The track has some serious funk while mixing in vocalist Dave Grohl’s signature croons and yells. You can listen to it below.
You can pre-order Sonic Highways, which comes out November 10th, via iTunes, which will net you the song for an immediate download.
There’s a big dinner happening in N’awlins next Monday night on “The Originals,” and along with a clip from the upcoming Episode 2.03, entitled “Every Mother’s Son,” we also have a new preview hosted by executive producers Julie Plec and Michael Narducci.
“The Originals” Episode 2.03 – “Every Mother’s Son” (airs 10/20/14): When Klaus (Joseph Morgan) and Elijah (Daniel Gillies) receive a cryptic invitation to dinner from their mother, Esther, who continues to inhabit the body of Harvest girl Cassie (guest star Natalie Dreyfuss), they find themselves preparing for the worst.
With the help of a new witch named Lenore (guest star Sonja Sohn), Klaus, Elijah, and Hayley (Phoebe Tonkin) attempt to stay one step ahead of Esther, but things quickly take an unexpected turn. While Elijah finds himself reluctantly teaming up with Gia (guest star Nishi Munshi), a newly-turned vampire, Hayley is faced with an enticing proposition about her new status as a Hybrid after a startling encounter with Esther.
Finally, Esther reveals a shocking secret about Klaus’ childhood and unveils her ultimate plan for her children. Charles Michael Davis also stars. Dermott Downs directed the episode written by Christopher Hollier.
The post See a Clip and Then Go Inside The Originals Episode 2.03 – Every Mother’s Son appeared first on Dread Central.