Fox Home Entertainment is releasing a restored, special-edition Blu-ray of Tim Burton’s classic Edward Scissorhands, which starred Winona Ryder, Anthony Michael Hall, and Johnny Depp as the “world’s most gentle Frankenstein monster.”
EW breaks the news on the release ahead of the San Diego Comic-Con explaining that the commemorative package, which will be released on October 13, can be pre-ordered at the convention this week. Fans who pre-order will also be able to snag an exclusive limited-edition lithograph (pictured), designed by artist Mark Englert in partnership with Gallery 1988.
“Edward Scissorhands is one of those timeless movies that just works on so many levels,” Englert said in a press release. “I love how the movie portrays creativity, success, love, fleeting acceptance, and the intense isolation that comes with being that special kind of different.”
The set will come with collectible film-inspired premium items, and will also include never-before-seen bonus footage.
He’s back! This week we talk both “Terminator: Genisys,” and his vastly different role in “Maggie.” Plus, we shed some light on the indie games “Red Goddess” and “Traverser!” Enjoy!
According to Latino Review, martial artist/actor Donnie Yen has signed on to appear in the as-yet-untitled Star Wars: Episode VIII, which is aiming for a May 26th, 2017 release date. His role is unknown, although with his incredible athletic abilities, it’d be a shame if he didn’t weild a lightsaber at some point or another.
Yen is well known to Chinese audiences for his roles in films such as Iron Monkey and Shanghai Knights as well as being the title character in the Ip Man films. He also played “Snowman” in Blade II.
Supposedly, a lot of Chinese actors have been a focus of interest for the new swath of Star Wars films, mainly because Hollywood is seeing that China provides a huge boost to global box office revenue.
Four fresh character posters for the upcoming Guillermo del Toro-directed haunted house film Crimson Peak have been released.
“In the aftermath of a family tragedy, an aspiring author is torn between love for her childhood friend and the temptation of a mysterious outsider. Trying to escape the ghosts of her past, she is swept away to a house that breathes, bleeds…and remembers.”
The film stars Mia Wasikowska, Jessica Chastain, Tom Hiddleston, and Charlie Hunnam.
Legendary Pictures’ Crimson Peak, a co-production with Universal Pictures, is a haunting gothic horror story directed by the master of dark fairy tales, Guillermo del Toro (Pan’s Labyrinth, Hellboy series, Pacific Rim), written by del Toro, Matthew Robbins and Lucinda Coxon and starring Mia Wasikowska, Jessica Chastain, Tom Hiddleston and Charlie Hunnam.
The mystery of Crimson Peak is answered on October 16th.
We all have those faint dreams of what we’d do in a zombie apocalypse. Just how things would go down if we were in a state of complete control. Everyone has their over-prepared checklist of things they’d do, places they’d go, and people they’d save. For Double Take’s universe – this is decidedly more difficult to imagine.
This comes from a “different” approach to telling zombie stories. Often we’re treated to one side of a story. The narratives always slide into familiar territory – a fixed perspective with a given protagonist and their set of goals. Well, with the Ultimate Night of the Living Dead things are a little different.
You know those big universes filled with superheroes from Marvel and DC. Well, imagine if those universes were just different books in the same zombie apocalypse. Yeah, it’s not about one perspective anymore – it’s about ten. The books in the Big Bang imitative are meant to share a unique world, but show the different kinds of people who inhabit this apocalypse.
It’s worth mentioning that these books are meant to function on their own, but read together will give you a fundamental understanding of a world in ruin. It’s hard to embody that bigger world in just one book. With my own book, “Race” I was briefed continually on the larger mechanics of the world. It was imperative that I understood just how the world works. I was given an “escalation schedule” that broke down, in detail the events of the first three nights, beginning with the titular Night of the Living Dead.
Here’s a taste:
Sunday – April 24, 1966
Murderers band together.
Local Posses begin to form.
LBJ deploys Z-Men.
Radio/TV signals start to fail.
Road blocks are set up within and around the affected area.
Like most crises, however, life for most goes on as usual.
Federal government learns of zombies. They decide to deploy “advisors.”
Advisors reflect those deployed in the early days of Vietnam and other late 20th Century conflicts. Helicopters fly overhead.
This should show you just exactly how detailed everything fits into the framework of a shared universe. My story had to fit within a specific timeline that adhered to what was laid out here.
Previous to this, my idea was just to throw my story into their world. Perhaps this was ignorant of me but writing a story in a shared universe isn’t that easy. You know, if DC kills off Bruce Wayne, and you want to feature him in “Superman” well that’s too bad. You’ve got to go with the pulse of the universe.
Now, I know it’s not that groan worthy. It’s more to the idea that you need to learn the rules and the how’s and whys of these “zombies.” Once I had the escalation schedule it provided an incredible backdrop to the world of my writing. I knew exactly what was happening 50 miles away with a certain degree of intimacy. And, the best part is, as the events of my book begin to unfold they are weaved into the larger canon of the universe.
Suffice to say – there has been nothing like this in the zombie genre – ever. It’s why we’re all so excited at Double Take, and it’s why you should be too.
This Zomblog will run every Monday and Friday until I run out of things to say about zombies.
Get prepared deadite heads as your favorite chainsaw wielding hero is coming soon via Sideshow Collectibles!
Be prepared as pre-orders are to be announced soon for the “Ash” sixth scale figure as seen in Sam Raimi’s Evil Dead 2: Dead by Dawn.
Going to Comic-Con in San Diego July 8 – 12th, 2015? Get yourself to the Sideshow booth to see this S-mart employee!
Watch for imagery and pre-order info as it arrives.
In 1993, Charlie Grimille became the victim of a horrible accident during a high school play when the gallows prop he was standing on gave way, and tragically ended his short life. In the years that followed, small paranormal occurrences here and there in the school paved the way for rumors to spread about the supposed curse that had seeped into the veins of Beatrice High that fateful night; blood that can never be washed away from the hands of those who would seek to sweep this sad story under the rug. Now, in present day, in one final attempt to finish the play that has been in intermission for over twenty years, the 2015 class has decided to put on the production of “The Gallows”, an act which they hope will finally put an end to all of the superstition that surrounds the drama department. However bold their attempt to pay respect to the past, their efforts only wind up disturbing the slumber of the boy they laid to rest two decades prior, and after all these years, Charlie is well overdue for some vengeance.
“There’s something eerie about an old school in a small town, that it can just disappear. This story can just disappear.” Writer/director Chris Lofing knows that if you scratch the surface of any remote backwoods city, you may not believe what you find. Even the remnants of the most aggressive forms of betrayal, shame and death can be found in quiet little unknown towns if you take the time to sift through the dust and the smiles. In their own way, small towns are downright creepy — which is why they make perfect locations for horror movies. The film takes place in the real life city of Beatrice, Nebraska, although, as Lofing states with a smirk, “You’d never be able to find it”. This ambiguity, in addition to the terror of being trapped inside of a dark school, late at night with a deadly presence, combine to create a tangible, fearful feeling of isolation — a threat which he and co-director Travis Cluff decided to capitalize on.
As two up-and-comers in the film world, filmmaking partners Chris Lofing and Travis Cluff wisely chose to go the affordable route and attempt a found footage horror movie for their first official feature length film. Although he is a self-professed horror fan, Chris explains their approach to coming up with a story was mostly based on the fact that they both knew that the horror genre is simply an easier door to walk through than others. “I grew up on John Carpenter and Wes Craven, and I love the old classic slasher movies,” Lofing recalls, “but I think mostly for the film, it was a lot of necessity. We didn’t have a lot of money and we knew horror was a great genre to kind of get your foot in the door, get your experience, and again, we had no resources.” Giddy with anticipation for their upcoming project, but low on funds, Lofing and Cluff turned to found footage as a way to save money but still achieve their dreams. Once they had figured out the fundamentals, the next step for this budding filmmaking duo was approaching Blumhouse Productions through their manager, Dean Schnider. “We realized this is a micro budget horror movie and the king of horror movies is Jason Blum” notes Schnider, “and so we decided to do a test screening with Jason and us, and with a hundred teenagers, and we realized at that moment that there’s something really special here”.
With a low budget, completed first attempt at directing, and a solid production company under their belt,The next item to tackle on Chris and Travis’ list was the film’s rating, a detail that may seem minuscule to some, but in the land of box office sales, means everything, as it determines the target audience, and therefore, usually dictates the profits as well. “Chris and I were crafting the most wholesome scares” remembers Cluff fondly, “We really weren’t going for any blood and guts, we were really shooting for PG-13….but the fact is the movie was too scary for that, apparently”. Although they were slapped with a hard R rating, producer/manager Dean Schnider argues that it’s for the best in the end. “New Line and Jason Blum; we were all thrilled that it was R, because it was R for really being too terrifying, and we think it’s something, that these guys really outdid themselves”.
Aside from the small town setting and personal, feel-like-you’re-there experience of a found footage film, the success rate of the movie’s scary moments is largely based on the audience’s ability to relate to the characters, and feel the pressure of putting those characters in danger. Therefore, roping a group together of talented, hard-working actors is a crucial aspect of the filmmaking process, and one that Cluff and Lofing carefully constructed piece by piece until in the end, they not only had a cast, but a family, as well. “I’m realizing that you guys kind of grew up on set with us. I like that” comments Cluff, and hes not far off. With an entire four years spent working on The Gallows, each of the actors experienced the transition from young adulthood to grown ups all while playing high school students, ironically closely embodying the students they portray, forever (or at least temporarily) trapped within the school’s walls. As Cluff listens to each of the cast members discuss their similarities to their characters, he finds that his actors have even more in common with their roles than he thought. Like the boy he plays, Reese Mishler, too, played football in high school, and turned to drama after quitting team following an injury. “Whenever I strated acting, I was actually very shy as a kid, I still am, I got held back in school because I didn’t speak,” reveals Reese, “So playing somebody who was extremely nervous and had this incredible stage fight, I understood, that made total sense to me”. Ryan Shoos admits that he, like his character, was fairly immature in high school, and Pfeifer Brown found easy parallels between her real life love for acting and the arts, and her character’s obsession with the theater. However, it is really Cassidy Gifford that truly nails the reason why they were all able to find common ground with the people they played in the movie in a simple, profound statement: “Fear is fear when it comes to human nature. So, for all of us, even though we all started out as completely different characters, ultimately, we’re all faced with the same things and that’s what brings us together is it’s just human nature to be terrified, and that doesn’t necessarily manifest itself in completely different ways”. Mic drop.
Some may assume that a single set run by two directors could leave room for disputes, but this family constructively dealt with their differences in a way that actually improved their movie. “The best idea always won” states Lofing with pride, “It was always for the betterment of the movie, and even if it took a little while to get it figured out, and maybe try both ways, the better idea always won and made the movie better for it”. However admirable their approach to problem solving was, it wasn’t the only factor that contributed to the growth of this tight knit unit. Directors Cluff and Lofing had their hands in almost every facet of the filmmaking process, from writing and directing, to producing, editing, to visual effects, to craft services, and even acting in a few bit cameos. “It was a family affair” boasts Ryan, as Pfeifer nods in agreement, “It was a big family” she smiles. Like any family, members are willing to go beyond their comfort zones in order to make the ones they care about happy, “After being on set for so long we just became friends, and for us, we wanted them [Cluff and Lofing] to get what they wanted to get,” Cassidy explains, “even if sometimes we couldn’t see, like, if we got frustrated because it was taking so many takes, ultimately, when we would finally see it, we were grateful that the work had been done, because it’s hard to get a scare down just right. Two seconds off could make or break it, so you really have to be so specific”. The need to push past one’s limits definitely applied for “family” member Reese Mishler, a challenge he took on in arguably the bravest act of all of his peers, as he faced not only exhaustion, but also, possibly, real life ghosts. “So me and Pfeifer, we’re walking through the attic, and we’re just on these two little planks….and out of the corner of my eye I see this burlap sack just spinning….I see this thing just lurch up into the air and it’s gone,” shudders Mishler, “I was like ‘Guys we can’t do this again I just can’t handle it’ and they’re like ‘Just one more time, we’ve got it on the next shot’. So, we get to the exact same spot….and I’m just looking for this burlap bag, and then, we hear this whisper of my name….I swear I have no idea how it happened”.
The Gallows hits theaters everywhere on July 10th, 2015.
Some people would say that the zombie craze, much like the vampire craze, has run its course in media. I would disagree, although I know that there are those who are more than likely to immediately give up when it comes to generating new ideas within the confines of the zombie genre. Enter Ryan Nagata and his film, Amigo Undead. Following in the footsteps of the modern classic Shaun Of The Dead, Nagata attempts to put humour into a zombie film while keeping the gory details. It’s a fine line to walk, for sure.
Kevin Ostorwski (Randall Park) is a financial adviser. He largely keeps to himself much of the time. Estranged from his lazy loser brother, Norm (Steve Agee), Kevin is surprised one day to receive an invitation from Norm to join him and several of Norm’s friends to celebrate Norm’s 40th birthday. The party in question is a camping trip in the desert. Upon Kevin’s arrival, Norm explains that they’ll be relaxing for a few days. That is, until one of Norm’s buddies, Jovan (Ed Galvez), chokes on a hot dog and dies, is accidentally shot by Norm’s other friend, Wayne (Michael McCafferty), and is buried in the desert. However, being buried on sacred Native American grounds is never a good thing, as Jovan rises up for an undead killing spree.
Mixing in the spirit of Shaun Of The Dead with a pinch of Peter Jackson’s Dead Alive, Amigo Undead attempts to stand out with it’s humour (it’s a comedy, after all) and largely succeeds. While not as over-the-top gory as Jackon’s classic (nor does it intend to be), the film definitely doesn’t take itself seriously. Being that the reanimated Jovan is of the slow, lumbering types, his former friends end up having to try and dispose of him in increasingly drastic ways. Jovan isn’t the only victim, however, as he gets in on the creative fun as well. One such instance evokes a scene from Lam Ngai Kai’s Story Of Ricky, which has Jovan using a victim’s intestines to strangle them.
Helping to sell the humour is the acting. While Park and company don’t match up with Simon Pegg, Nick Frost et al, they still manage to keep things together and sell the humour while maintaining their fear. Park is the straight man of the film, pulling off awkward moments (such as a sales pitch gone astray) and no-so-awkward moments (such as blowing Jovan up and making reference to Terminator 2) with ease. Agee is also quite good as Norm, looking and acting the part of a slacker idiot. He provides the bulk of the humour, and hits it much of the time. Ed Galvez must have relished the part as Jovan. Acting like a zombie might seem simple, but Galvez really nails the part, hitting the timing of visual jokes with ease. The cop car scene where Jovan taunts the group is a great example, and shows how much he enjoyed the role.
On the downside, the film falters in spots. Given the low budget nature, there are obvious continuity errors (such as disappearing blood splatters) and blatantly obvious CGI. There are also moments where the humour falls flat, particularly with Ian (Josh Fadem), the “dumbass drug guy in a horror movie”. While that self-referential line at a deserted gas station was funny, there were moments that Fadem’s timing and execution of the stoner lines was off. Largely though, the film’s biggest flaw is that after the credits, there’s nothing that will stay with you. Sure, the humour grabs your attention, but in the end, it’s ultimately forgotten. It also doesn’t help that Comedy is a fickle beast, and I have to give credit to Nagata and George Edelman for crafting an enjoyable and entertaining screenplay. But ultimately, the film lacks that key ingredient to remain with the audience after it’s over.
I can’t say that I was disappointed with Amigo Undead, as it was a fun ride, overall. The humour didn’t hit all of the right notes, and there was nothing really to warrant a repeat viewing. However, the humour that did hit, and a cast that helped to sell everything and keep it together, made up for it. It’s not going to be a film that attains the status of Shaun, but it does showcase the talent that Nagata, Park and company have, and will absolutely burgeon into something bigger for them in the future.
Last week, it was announced that our favorite dhampir D would be coming back in a new series that has now been titled “Vampire Hunter D: Resurrection“. The series is being co-produced by Japanese studio Digital Frontier (Resident Evil: Damnation) and Unified Pictures. The series is also being brought to life with the assistance of Hideyuki Kikuchi, the author of the Vampire Hunter D novels, and Yoshiaki Kawajiri, the director of the 2001 film Vampire Hunter D: Bloodlust.
Anime News Network caught up with Unified Pictures’ Kurt Rauer and Scott McLean to discuss the upcoming series and some interesting bits of information came out.
The duo explain how the show might be released, stating, “…[We] presented the idea of using VHD as a springboard for animated feature television. And when I say that, it means to me, at least, high quality, one-hour dramatic series with a season-long arc. So the easiest thing is to say, think of it as an animated version of a Game of Thrones.”
The team also explain that they will not be using the novels as the source for the show:
The idea is to take the universe and to draw out of the universe, arcs. We have the ability to adapt novels and there may be storylines in there that are supportive of that, but I think that we go into it with a much more open mind. I think that what led us to believe that feature TV is the right way to go is the fact that the universe is so well described. George Martin’s universe is fairly well put together. You could take and make feature TV out of Dungeons and Dragons or Dragonlance universe, you can do the same thing in the Star Wars universe, because it’s so well thought out. Outlander is another version of that, where it’s very well described. Because of the scope of the novels and the detail in the novels, that’s what led us to believe it is an evergreen version. If we were to do a dramatic one-hour and it isn’t purely going to be trying to adapt a novel. I think that they’ve had a difficult time–I think Bloodlust was successful, but somewhat compromised, because they were trying to fit so much into a two-hour time frame.
You can read more at the link above. Also, an official website has been launched, although you can only submit your email for updates or link to various social networks.
Alright, who’s excited for this? As a big fan of the films, I’m really hopeful that this is going to be something very thrilling! I always felt like Vampire Hunter D was an anime-version of Castlevania, which is one of the things that hooked me into it. If they can keep that gothic vibe going, I’m going to be all over this.