Marvel’s second Star Wars series “Darth Vader” #1 proves the eponymous villain is worth the wait as his commanding presence can be felt on every page, and while the debut issue isn’t as exciting as it could be, it still stands strong on the merits of the character.
WRITTEN BY: Kieron Gillen
ART BY: Salvador Larocca
PUBLISHER: Marvel Comics
RELEASE: February 11, 2015
Knowing what we know now, there is nothing quite like seeing Darth Vader return to Tatooine to take care of business. His disdain for the planet can be felt with every panel. And throughout the entire first issue Kieron Gillen playfully reminds the reader of the character’s past. He roots the motivation of the story in something we already know but will now play out a different way.
Through the previews at the back of “Star Wars” #1 we already know that Vader comes face to face with Jabba The Hutt in this issue, and their showdown is a welcome one. I couldn’t think of two better characters to go head to head, and no one has proved a more formidable force against the gigantic Hutt.
Salvador Larocca’s art is impeccable at every single turn. His work is cinematic and detailed. Every character has layers to their appearance that speak volumes of the worth they live in. His framing choices make Vader look imposing and without question put the character in control. He compliments John Cassaday’s super realistic style and helps build out Marvel’s Star Wars universe in a unique and bold way.
The storytelling on display here is admirable, because it shows that everyone who was given a chance to play in this galaxy were at the same meetings. It’s a tightly crafted tale that had me pretty giddy in the first ten pages.
Only to stumble a little toward the back half thanks to some truly confusing jumps in time that don’t really add to the story but instead pull us out of what is going on only to remind the reader of what they already knew. Laying the groundwork of the original trilogy is something anyone picking up this comic should be spared of.
Consequently Vader’s plan is a little interesting knowing where the story is supposed to go. It’s interesting to see the character play against The Emperor for his own means and push his own agenda so hard. But, again, Vader is so unquestionably evil by this point that its hard not to have a one-dimensional character. Many stories have handled this well in the past, but here Gillen reduces himself down to retreading old ground.
For a first issue it’s a understandable but ultimately problematic choice. We’re treated to a whole assortment of things we already know, and are forced to see the character exactly as we have in the past. I learned nothing knew about Darth Vader through these pages, and I can’t help but long for something else more compelling to get me to return to issue #2.
Check out this EFM sales art for The Hoarder, which is being sold at the ongoing market in Berlin.
Matt Winn directs from a script he co-wrote with James Handel and Chris Denne
“When Ella (Mischa Barton) discovers her Wall Street banker boyfriend is renting a secret storage unit, she suspects he’s using it to hide an affair. Enlisting the help of her best friend, Molly (Emily Atack), she breaks into the facility only to discover something more terrifying instead. Now trapped in a darkened building with a group of neurotic strangers who start disappearing one by one, Ella soon uncovers even worse horror in the dank depths. Her life or death battle to escape eternal enslavement is about to begin.“
The film wants you to unlock the secret…
An official trailer has been released for Goddess of Love, the latest genre film from Jack Brooks: Monster Slayer director Jon Knautz.
In it, “An emotionally unstable woman begins a volatile descent into madness when she suspects her lover has left her for another woman.”
Rachel Alig, Alexis Kendra and Elizabeth Sandy star.
Keep up with the film over on Facebook.
The Coup, the action thriller starring Owen Wilson, pictured in Wedding Crashers, Lake Bell and Pierce Brosnan, is getting a title switch and a date change, says THR.
The movie is now called No Escape, and its release date has been moved from March 6 to September 2, 2015.
“The story centers on an American businessman (Wilson) as he and his family settle into their new home in Southeast Asia. Suddenly finding themselves in the middle of a violent political uprising (i.e., a coup), they must frantically look for a safe escape as rebels mercilessly attack the city.”
The site explains that one reason for the title change is that the name tested poorly with audiences, who didn’t know what the heck a “coup” was.
Devil, The Poughkeepsie Tapes and As Above/So Below‘s John Erick Dowdle directed the movie and co-wrote it with his brother, Drew Dowdle.
Indonesian action star Yayan Ruhian – best known from both The Raid films – toplines Takashi Miike’s Yakuza Apocalypse: The Great War of the Underworld, which now has a pair of super weird teaser trailers.
Hayato Ichihara stars in Miike’s return to hardcore genre filmmaking in what’s being billed as the world’s first yakuza vampire movie.
Scripted by Yoshitaka Yamaguchi, Yakuza Apocalypse stars Ichihara as a yakuza underling who discovers his boss is a bloodsucker, only to get bitten himself before going up against a gang of deadly international assassins.
Akira (Hayato Ichihara) admires Genyo Kamiura who is the most powerful yakuza. Genyo Kamiura has been targeted numerous times, but has never died. He is called the invincible person.
Because of Genyo Kamiura, Akira enters the world of the yakuza. His yakuza colleagues treats him like an idiot, Akira can’t even get tattoos because of his sensitive skin. Akira becomes disappointed in the yakuza world, because it’s not like what he say in the movies. Especially, in terms of loyalty and charity depicted of the yakuza.
An assassin is then sent to take out Genyo Kamiura. The killers know that Genyo Kamiura is a vampire.
Bloody-Disgusting has teamed up with renowned electronic musician Whiiite to bring you the exclusive stream of his latest EP Monstiiir. The two-track EP features the tracks “Lock Poppin” and “Monstiiir”, both heavily built for dance clubs.
A bit more about Whiiite:
L.A.-based Whiiite (Chris White) projects a theatrical, character-driven persona, building a cult following with an original, ongoing superhero graphic novel series that, along with his music and illustrations, tells an epic story.
As it goes: The DJ/producer was kidnapped and experimented on by a mysterious group of scientists, surviving to discover new musical superpowers. He got fast to work in his lab, creating darkly captivating tracks merging heavy bass, techno, house music and hip-hop with massive synth and haunting melodies.
Head on below to stream the EP and make sure to pre-order it via Beatport.
Studying film a bit in college I focused mainly on story and screenwriting… So once I moved into music I didn’t want to leave that part of my life completely behind so we incorporated into the project. The music is inspired by the story and the story is written back to the music. The saga continues with this latest EP… Whiiite begins to discover his powers…
February 21 | Fluxx | San Diego, CA
February 27 | Segredo | Madison,WI
Check out a first look at Let Me In and Carrie‘s Chloe Moretz in Sony’s The 5th Wave, an adaptation of the bestselling novel that’s the first book in a planned trilogy by Rick Yancey.
“The thriller centers on 16-year-old Cassie (Moretz), who’s on the run after fave waves of increasingly deadly attacks that have left most of Earth decimated. Against a backdrop of fear and distrust, Cassie is on the run, desperately trying to save her younger brother. As she prepares for the inevitable and lethal fifth wave, she meets a young man who may become her final hope.”
J. Blakeson is directing from a screenplay by Susannah Grant.
Over the last 24 hours there has been a rumor that NBC is planning to save “Constantine.” But not in a way we once thought. NBC Universal is apparently toying with the idea of moving the show to it’s cable sister channel SyFy, where it could be a little darker and have lower expectations for ratings. This would come with the ability for the show to be rebranded as Hellblazer.
This would be a remarkable move by NBC that shows faith in the property. Moreover moving the title to something that shows a tonally darker show is in store for fans would be a breath of fresh air for those of us who are tired by the procedural ongoings of the current TV show makeup. I can only hope that the people in charge recognize this as the best idea to let this world grow into something more sinister and beautiful. And, let’s be honest, SyFy needs this right now.
Constantine premiered in October to 4.28 million, and boasts a vocal fanbase with decent reviews, but has never really been able to find its audience. This might be due to the horrible Friday Night Death slot, rather than a lack of quality.
Constantine‘s 13th — and, as of now, final — episode, called “Waiting for the Man,” airs Friday at 8 p.m. ET/PT on NBC.
This past weekend we told you about the long-gestured Martyrs remake, which looks to finally be happening. Oh, wait, it’s already done.
The Goetz Brothers (Scenic Route) have directed the U.S. version of Pascal Laugier’s 2009 French horror film that challenged religion, and played a cathartic role in his real life loss.
Thanks to Bloody regular Fabien M., we have also learned that Martyrs, which is to be produced by Blumhouse and The Safran Company, has already been completed.
Bailey Noble, who played Adilyn Bellefleur on “True Blood” (pictured below), toplines with “Pretty Little Liars” star Troian Bellisario, Bloody Disgusting is told.
Kate Burton (Stay, Big Trouble in Little China) and Blake Robbins (Rubber) round out the cast.
Mark L. Smith (Vacancy, The Hole, The Revenant) penned the screenplay: “In ‘Martyrs’ 10-year-old Lucie flees from the isolated warehouse where she has been held prisoner. Deeply traumatized, she is plagued by awful night terrors at the orphanage that takes her in. Her only comfort comes from Anna, a girl her own age. Nearly a decade later and still haunted by demons, Lucie finally tracks down the family that tortured her. As she and Anna move closer to the agonizing truth, they find themselves trapped in a nightmare – if they cannot escape, a martyr’s fate awaits them…”
The Last Exorcism‘s Daniel Stamm was once attached to direct and called the screenplay “spellbinding.”
Did Poltergeist need a remake? Who will die next in “The Walking Dead”? Which “Hannibal” is better? All that and more in this week’s show.
Twilight‘s Robert Pattinson and Carice Van Houten (pictured; “Black Book,” “Game of Thrones”) have joined Mia Wasikowska and Guy Pearce in writer-director Martin Koolhoven’s (Winter in Wartime) thriller Brimstone, which Embankment has launched at Berlin’s EFM, writes ScreenDaily.
Set to shoot in May 2015, the film will follow a heroine on the run from her past and a diabolical preacher. Pattinson will play an outlaw.
Els Vandevorst of N279 Entertainment is producing, in co-production with Studio Babelsberg, The Film Farm and Prime Time.
Nik Powell and Backup Media’s Jean-Baptiste Babin and Joel Thibout are executive producers.
Devilworks is running around EFM with a new horror, Blood Ransom, writes ScreenDaily.
The vampire thriller stars Filipino Australian actress Anne Curtis.
In Blood Ransom, Curtis plays a young woman who must fight the monster she’s becoming to save the life of the man she loves.
Matteo Rolleri, CEO of Devilworks, said: “The foot print in technology and social media is something that is currently driving the content market. Blood Ransom, with such a vast ‘built in’ audience, and Afterimages approaching new technology in full, means both will be winners for distributors.”
We scared up a bunch of first look images and art!
Artist Phil Ball shared with us his beautiful The Amityville Horror painting, as well as a video tat details the creation of said art.
“I decided to a reworking of the film poster, to capture that eerie house in all its grandeur,” he explained on his blog.
“Alongside Psycho, it is probably one of the most iconic houses in horror history and with the top windows lit up at night just shouts scary story! The house was painted using a digital oil brush technique. This gives it a warmth and texture making the house feel likes it’s jumping out of the paper. This was drawn and painted in Photoshop, once painted I added additional colour saturation on the oranges and blues to give it a stormy moon lit feel, I then added a layer of grey to the bottom of the house to evoke fog or mist creeping across the ground and into the house, as though there was a presence of something there. Finally, I added a little extra light in the white areas and darkened the shadows to provide more contrast.
“The Image was finished by creating a border around the whole thing and using a templete of text from the original film release.”
Our friends at Badass Digest caught wind of a truly bizarre article that ran a few years back. Ironically, it comes out of ABC Chicago, where Bloody Disgusting is based (not sure how we missed this).
A man who died back in 2012 willed his estate to two actors he never met (how freaking weird…), leaving them an estimated half a million dollars each, reported ABC News back in 2013.
The actors? Kevin Brophy and Peter Barton, who both starred in the 1981 Hell Night.
Fulk had admiration for the actors, whom he had never met, explain the site. He admired them so much that he left his estate to be split between them.
Ray Fulk was 71 when he died. He lived alone on a 160-acre property in Lincoln, Ill. that he inherited from his father.
Why did Fulk will his estate to the two actors?
“He just said they were friends of his,” Behle said, who knew they were actors but did not know Fulk had never met them.
After Fulk died, Brophy and Barton received letters informing them of the bequest. The two are friends who had acted in the film Hell Night. They could not be reached for comment.
The truly bizarre article in full can be read by clicking here. Would any of you leave your money to some actors you’ve never met? This is strange…maybe even a bit creepy.
Sony Pictures Entertainment released two new posters – one international – for Chappie, their sci-fi thriller that hails from writer-director Neill Blomkamp of District 9 fame.
In theaters March 6, 2015, the film will star Sharlto Copley as the voice of Chappie, with Ninja and Yolandi Visser, voices of the South African Zef counter-culture movement and members of rap-rave duo Die Antwoord, who play two local gangsters who want to use him for their own nefarious purposes. Hugh Jackman, Dev Patel, Jose Pablo Cantillo and Sigourney Weaver also star.
Check out the fantastic second trailer here:
Movies like The Scarehouse are why it’s simultaneously wonderful and awful to write film reviews. On the positive side, it gives me a chance to passive aggressively take out my frustrations on a terrible movie (sad, but true). On the negative side, I have to actually watch said movie. Just to get it out of the way: The Scarehouse is not a good movie. Now let me tell you why. ***WARNING: There are some mild spoilers to some of the films setpieces in the following review, but explicit details of the second half of the film will not be revealed.***
The Scarehouse centers around Corey (Sarah Booth) and Elaina (Kimberly-Sue Murray), two ex-sorority pledges who have just been released from a 2-year stint in prison. They are plotting revenge on the six sorority girls who might have had something to do with their sentencing. Their plan is to put on a haunted house (which is where the film gets its title) as they begin to stalk the girls one at a time and kill them in increasingly gruesome ways. Interspersed among all of this are found-footage flashbacks to the night Corey and Elaina were arrested. Needless to say, the found footage style of filming these flashbacks is completely unnecessary.
The script, written by director Gavin Michael Booth, has many problems. There is a lot that doesn’t make sense in The Scarehouse. For one, Elaina says she built the house from scratch (or something like that). I would love to know how this girl who was just released from prison somehow managed to get a warehouse and put together a well-decorated haunted house. Two girls are “forced” into a pillow fight to the death (the pillows are filled with powdered acid), but there is nothing really forcing them to do it. They just do it for the sake of viewers being able to talk about a cool pillow fight with a Saw-like twist. Seemingly important things are brought up once and never mentioned again. There was a pink dildo dipped in some kind of chemical that was a prime example of Chekhov’s Gun if I ever saw one, and it’s never seen again after its introduction (trust me, I never thought I would be writing that sentence in my life).
The film’s biggest issue is that it thinks it’s hip, cool and funny; but it is none of those things. From describing the color of a scarf as “labia pink” to referencing the aforementioned powdered acid as “some Walter White shit,” almost nothing in the film feels authentic. The film already feels dated and it just came out. The non-pop culture references are equally hard to listen to. The actresses have to convincingly say lines like “I can feel the satisfaction pumping through my veins.” It’s all rather silly, and not in a good way.
The performances don’t help either. A film with a poorly-written script can sometimes turn out somewhat decent if you have good actors to speak the lines. The Scarehouse is littered with poor performances, starting with Sarah Booth’s Corey. As the mastermind behind the revenge plot, Corey spouts off a lot of very, very unfunny one-liners. Everything that comes out of her mouth feels forced and awkward. This may be the fault of the script, as opposed to Booth’s, but it’s still painful to watch. The other actresses fare slightly better, but none of them stand out whatsoever.
The film does have a few moments of inspiration, including a commentary on how no one uses cell phones to call anyone anymore (we only text nowadays) and a pretty brutal death by corset. Also, the ending does have a twist that I found somewhat surprising, so I will give it that. Overall, though, the film is hit and miss with far too many misses. One positive thing that came from me watching The Scarehouse is that I now have a movie to refer people to when they say that Sorority Row isn’t a good movie and tries too hard to be witty, or that Jennifer’s Body’s dialogue feels forced and awkward. I dare anyone to say that about those two movies after watching The Scarehouse.
The Scarehouse is currently available to watch on Amazon Instant and select VOD services.
We’re pretty thrilled to team up with Italian industrial rock band Dope Stars Inc. to bring you the exclusive track premiere of “Don’t Wanna Know”, which comes from the band’s upcoming album TeraPunk (out February 13th). The track mixes dark, chunky riffs with almost videogame-esque synths, all slammed with fierce, raspy vocals. It’s a blast and one helluva way to kick off the week!
The band states:
“Don’t Wanna Know” is one the 3 synth’n’roll songs of TeraPunk and it’s about the society of today flooded by usless informations. A society where everything is decided and influenced by others through the power of the internet distorting information on an audience that cares more of cat post on facebook instead of the war exploding all around the world.
On top of bringing you this exclusive track premiere, you can also download it for free! Simply head down to give it a listen and click on that little ‘Download’ button to get your copy!
The return of “The Walking Dead” proved somber and reflective, with “What Happened and What’s Going On” hammering home the theme of hopelessness, and yet remained one of the more uplifting episodes of the soul crushing drama.
It’s hard to fault the characters for being efficient killing machines at this point. Anything that seems to kill someone appears to come from a weird margin of error that we haven’t come to expect. In terms of the apocalypse, efficiency is the key to survival. So I come to forgive the moments with expository dialogue (of which there are many) I come to forgive the lack of subtext, and I don’t mind by the numbers storytelling.
Yet, someone took notice of these things behind the scenes because tonight was unconventional. The narrative structure was frayed and disjointed, it was hard to tell whose funeral we were at, and where we were going next. For once, the show concerned itself with being overly cinematic. There was subtext to the visual imagery that allowed the story to be told without the dialogue. And, my god, the dialogue wasn’t so on the nose.
The theme of hopelessness wasn’t as prevalent as I anticipated. Rick has the group united in moving along the road to find some sort of safe haven, and his plan to make good on Beth’s promise to Noah was noble. No surprise that the settlement was ravaged. That was to be expected. The place looked decimated in a very unique combination of explosions and zombie. Who or what caused the attack we may never know, but moving through the chaos reminded us of the dire stakes of this world.
It should have been heartbreaking to see Noah crushed with defeat upon seeing his home. But this is something we’re now accustomed to. Every character on the show has gone through utter and crushing defeat, but none more than Tyreese.
Tyreese began as a strong character with a razor sharp sense of will. He was almost the second coming of Shane, but through various defeats he lost his will. The world dulled him into an obsolete type of man. His compassion was his weakness and despite all of the violence he remained resolute in his (idiotic) promise to himself. But, somewhere within this week’s return we watched as he found solace in his character turn.
To watch this big lug die on the floor of Noah’s house was more than a little heartbreaking. The visual cues started to make more sense as we start to see more of his (almost) final resting place. But, the real shame of it call came from the calm and scary death hallucinations. Tyreese saw himself against the cannibal he spared, Bob, Beth, and the Governor. Each of them testing his will and his resolution to follow through on his character turn, and in the end, each of them convincing him to let go, proving that we’re alive and dead in this world because of each other.
I couldn’t help but feel touched in these moments. To see how calmly Tyreese welcomed his deceased friends, and to see how efficiently Rick and the group handled the situation. It became clear that community is what matters. A theme I’m sure we’ll see more of in the coming weeks.
I have no idea where “The Walking Dead” moves on from here, but it looks like we’re headed to Washington. If this week was any indication, it seems we’ll have a more cinematic and focused back half of the season. This was the character driven stuff I was longing for since the season began back in October and I can only hope for more. As Washington looms in the distance, so too does the idea of permanent settlement, but with that comes a drastic change in tone for the series, but with the reflective ideas put forth this week, I know it’s possible to make the change.
**I’ll be the first to dismiss comparisons between the show and the comic. They’re different versions of the same idea, but I couldn’t help but feel Tyreese was wasted on the show. The comic depicts him as such a strong and intimidating force, and he never really saw his full potential. I really thought/hoped that he was only going to lose his arm and we’d see a renewed and more angered version of the character we knew. Gone far before his time.
What did you think of “What Happened And What’s Going On?
Artsploitation Films is going to camp with Jonas Govaerts’ Cub (Welp), acquiring the film for U.S. release.
“The story follows an introverted 12-year-old boy as he and his Cub Scout troupe embark on a weekend camping trip in the woods. But an evil psychopath, aided by his feral young protégé, wreck bloody havoc on the boys and their troupe leaders.”
Cub was described by our very own Jay Hawkinson as “kinetic and brutal, gory and graphic with comedic beats in-between.”
The film, which world premiered in the Midnight Madness section of the 2014 Toronto International Film Festival, has gone on to play the London Film Festival, Fantastic Fest and Sitges, where Govaerts received its award for best director and the won the festival’s Youth Jury’s award for best film.
Artsploitation plans a theatrical release in the summer of 2015 with DVD and VOD release later in the fall.
Before Paul W.S. Anderson became one of the worst filmmakers around, he directed the underrated 1997 sci-fi horror Event Horizon, easily one of my all-time fav genre films.
Starring Laurence Fishburne, Sam Neill and Kathleen Quinlan, the pic follows a rescue crew investigates a spaceship that disappeared into a black hole and has now returned…with someone or something new on-board.
Even all of these years later it hasn’t lost its muster, and is easily considered a cult classic.
Artist Chris Garofalo shows that he too is also a fan, creating a new print that shows he had Hell on the mind during its creation. The black and white print, created for The Colonial Theatre, shows the device that sends the film’s ship through a black hole and back. Instead of traveling through space, they travel through another dimension… Hell.
It’s sized 18×24. 2-color screen print with metallic ink.
The best part? It’s only $30 and comes signed and numbered edition of 50. That’s a low print tun. HURRY (and buy me one).