Bloody Disgusting has an exclusive new clip from the phenomenal Spring, the stunning new genre-defying supernatural love story from directors Justin Benson and Aaron Moorhead (Resolution, V/H/S: Viral), now in theaters and on VOD nationwide from Drafthouse Films and FilmBuff.
“Evan (Lou Taylor Pucci, ‘Evil Dead,’ ‘Thumbsucker’) is a young American fleeing to Europe to escape his past. While backpacking along the Italian coast, everything changes during a stop at an idyllic Italian village, where he meets and instantly connects with the enchanting and mysterious Louise. A flirtatious romance begins to bloom between the two – however, Evan soon realizes that Louise has been harboring a monstrous, primordial secret that puts both their relationship and their lives in jeopardy.“
In the clip, someone sadly sacrifices a bunny. It appears that she has some regret…
The horror comedy Zombeavers was released on VOD this past weekend and to celebrate the fact that stoners everywhere can get blazed and watch a bunch of beavers attack college kids, Legolambs has released a video that mixes footage from the film with the end credits theme. The song features vocals from Nick Amado, who’s doing his best Frank Sinatra impression.
Legolambs is Jon and Al Kaplan, who also wrote the film, along with director Jordan Rubin. A soundtrack to the film will be released in the near future via La-La Land Records.
The video, which is HIGHLY NSFW, can be viewed below.
Acclaimed director Russell Friedenberg’s latest feature, Wind Walkers, has completed post and is primed for an Autumn 2015 release in both the US and UK.
“A group of friends and family descend into the swamp lands of the Everglades for their annual hunting trip, only to discover that they are the ones being hunted. A malevolent entity is tracking them and they begin to realise that one of their party, Sean (Zane Holtz), may be possessed by something he has brought home from a tour of duty in the Middle East – a demon of war so horrible and deadly that even he is unaware of its devilish presence.
Or are they facing something even more unspeakable? Is a legendary Native American curse about to unleash its dreadful legacy? Has the mysterious Wind Walker beast, thirsting for colonial revenge, returned to claim more souls?
With no place to run, the group, starved and consumed with fear, must make a final stand – before madness and murderous mayhem consumes them all…“
Apart from Holtz, who is currently starring as Richie Gecko in the Robert Rodriguez TV series “From Dusk Till Dawn”, the film also stars Glen Powell, Kiowa Gordon, Philip Burke, Castille Landon, Russell Friedenberg, Johnny Sequoyah and Christopher Kriesa with J. LaRose and Rudy Youngblood.
Michael Moreci’s “Roche Limit” was an inspired neo-noir science fiction series that embodied the best parts of Blade Runner. Now, after an incredibly successful and suspenseful first arc, Moreci is fast forwarding 75 years to show a new part of his world with new series artist Kyle Charles.
In ROCHE LIMIT: CLANDESTINY #1, it’s 75 years after the events that left the Roche Limit colony in flames. When a crew of military and science personnel are sent to the forgotten and desolate planet on a mysterious expedition, they quickly learn its dark secrets—and that their mission is not what they thought it to be. With danger lurking all around, the crew members fight to find a way off the planet and resist the mysterious presence that haunts them all.
Bloody-Disgusting sat down with Moreci and talk about what to expect in this brand new series.
BD: First off, why the name change and new numbering?
Michael Moreci: Well, we all know renumbering is, for the most part, a sales ploy. You slap a new number one on there and say “jumping on point!” and, viola, an increase in sales numbers. The decision to do so with Roche Limit, cross my heart, is purely creative. Each volume is very, very much its own story. It isn’t accurate or fitting to have the “Clandestiny” story be #6, because that would make it seem like it’s a direct continuation of issues 1-5, which it is not. Don’t get me wrong—these stories, all three volumes in the trilogy, link together in a very purposeful way. But they all have their own story and characters and stand on their own. You can read “Clandestiny” without having read volume one (which, little known fact, is titled “Anomalous”). It’s a better, richer, and more rewarding experience to read them both, but it isn’t essential.
As for the new name, I think I just like weird-sounding words!
BD: Clandestiny does rolls right off the tongue, but it also seems to allude to a secret fate. Do you find this relates more to the characters or to Dispater itself or possibly both?
MM: Definitely more that characters. The tagline for this volume is “This Is Where You Belong,” and I think one of the most prevalent threads in this story, and Roche Limit in general, is discovery yourself, internally and externally. There’s something to be said about a destiny that’s hidden, because that means you have to find it—but what if you’re wrong? We all thing that, individually, we’re supposed to do something meaningful or worthwhile with our existence; collectively, we have a similar sense of forging ahead with technology, exploration, things like that. The dangerous thing is that we never wonder if we’re even supposed to—who said we’re meant to “boldly go…”? That’s a big part of the book, seeing characters whose reach exceeds their grasp. I’m not saying that we shouldn’t do these things, not at all, but I do think there’s something to be said about what happens when we get too ambitious or want things without ever really knowing why.
But, stripping all that down to be more direct about “Clandestiny,” the thing we’ll see is characters struggling with where they belong, the reality they’ve made for themselves and if it’s truly what they want. And if not—maybe they can change it…
MM: Oh, for sure. It’s like Chekov said “if you have a gun on the mantle in the first act, it must be fired by the third.” Similarly, if you show a bomb in a characters chest in the second issue, well, that thing pretty much has to go off. I don’t know that I really had an exact reason for killing off so many characters, although I like that it plays out like a Shakespearean tragedy in the end. But, also, there’s this sense of death pervading over the book, the death of idealism, ambition, dreams, and I think the literal deaths followed from that. Langford’s death was the most profound, I’d say, because he had the most significant fall from where he was too where he ended up—his dreams broken around him, powerless to do anything about it. But, still, in his mourning, he realizes what is most important and delivers, in issue four, the most direct, hopeful message of the book: the best change we can make is within ourselves, and the greatest heights we can hope to achieve, as humans, is to love. It sounds hokey, it worked for The Beatles!
BD: 75 years seems specific for a time jump. Is that length of time important to the events that’ll unfold in Clandestiny?
MM: Not precisely, no. I figure that’s enough time where the colony and what happened there could realistically be forgotten. A generation has come and gone, and history moves fast, so it’s not too much of a stretch to believe that the place, and everything that happened there, would fall out on public consciousness. And that’s what I wanted—I never want to blow this story up so you have, like, the U.S. president getting involved and secret agents and all that. The story is intimate and has to remain so by keeping it low-fi. That closeness to the characters and richness of the world, to me, really helps make Roche Limit effective and resonate with on a more deeper level.
BD: Big stories can often become too focused on spectacle, losing profound character moments in the process. It’s nice to know that Roche Limit will stay true to itself in this sense.
Clandestiny looks just as astounding as Roche Limit did before it, but was it hard saying goodbye to Vic Malhotra & Jordan Boyd?
MM: Absolutely. We got close, as a team, and I’ll always have respect for those two guys. We still talk, and I consider them both friends. But things happen, and for various reasons it made sense for all of us to move on. I couldn’t be happier to welcome Kyle Charles and Matt Battaglia to the team; not only are they both tremendous artists, but they are absolutely perfect for the tone, look, and feel of “Clandestiny.” These guys are crafting something special, and I’m so excited for people to enjoy their stellar work.
BD: Is it important to you that your work be scientifically accurate? For example, the Roche Limit anomaly is fictional but is any of it based in real science?
MM: I’ll be honest—I’m not really interested in the science beyond the idea of what a Roche limit is being a cool parallel to the story. A Roche limit is the distance where one body enters another, larger body’s gravitational force and is basically torn apart. That’s how Saturn got its rings, some speculate—a smaller moon got too close and Saturn broke it into pieces, and those pieces got caught in its orbit. My story, of course, is very keen on things coming apart by overwhelming forces. But otherwise, no, I’m not too concerned with science. There’s this strange, ridiculous onus on serious sci-fi that it must be accurate. Like, if you don’t, Neil DeGrasse Tyson is going to tweet you apart. Movies like Transformers, though, are somehow excluded from this scrutiny.
What matters to me, what will always be paramount, is story. As long as there’s nothing horrendously egregious on a factual level—like people breathing in space or something—then I think there isn’t much of a problem.
BD: Would it be safe to assume that the soul Alex forgot to retrieve at the end of Roche Limit will play heavily into Clandestiny?
MM: So glad you picked up on that! The answer is ohhhhhhh yeah. It most certainly does.
ROCHE LIMIT: CLANDESTINY #1 hits stores on May 6. Cover A (Charles) can be pre-ordered with Diamond Code MAR150507. Cover B (Malhotra) can be pre-ordered with Diamond Code MAR150508.
Huge Hannibal news has dropped! In anticipation for the third season this June, series creator Bryan Fuller made a series of tweets last night that revealed three exciting tidbits of information.
First he revealed that the Hannibal season premiere is set over four time periods:
Next he revealed that Vincenzo Natali (Cube) will be directing the first three episodes, whose Italian cuisine titles were also given:
As the cherry on top, Fuller revealed that Neil Marshall (The Descent) will be directing the season’s 8th episode. It’s title? “The Grand Red Dragon.”
Fuller has previously stated that he intends for Hannibal to run three seasons before adapting Thomas Harris’ novels, the first being Red Dragon, and finally wrapping up the series however the hell he envisions it. The title of Marshall’s episode seems to back up this game plan.
Hannibal returns June 4th on NBC.
Universal Pictures’ techno-thriller Unfriended, told entirely from a young girl’s computer desktop, will haunt theaters on April 17, 2015.
Check out the first TV Spot for the film we reviewed out of the Fantasia Film Festival last summer. The footage is short and sweet – a bunch of kids harass a young girl, she kills herself, and returns from the dead for revenge. It’s a classic horror movie played out on social media.
“While video chatting one night, six high school friends receive a Skype message from a classmate who killed herself exactly one year ago. At first they think it’s a prank, but when the girl starts revealing the friends’ darkest secrets, they realize they are dealing with something from beyong this world, something that wants them dead.“
Shelley Hennig, Moses Storm, Renee Olstead, Will Peltz, Jacob Wysocki, Courtney Halverson, and Heather Sossaman star.
The film was developed and conceived by Timur Bekmambetov and directed by Levan Gabriadze from a script by Nelson Greaves.
“Sinestro” shows writer Cullen Bunn at his absolute best. The man is well known for writing anti heroes and making them strangely relatable. Perhaps its his work in horror where he has to make the unfamiliar relatable that allows him to make this look so easy, but Sinestro isn’t the most charming of DC villains. In any event his solo title has been a resounding success, offering some degree of insight into the insane yellow lantern. Now we’ve got an exclusive preview of this week’s issue, the last before Convergence shakes things up next month.
U.S. Price: $2.99ON SALE 3/25
From the pages of SINESTRO: FUTURE’S END #1 comes the Apex League! We’ve seen the kind of destruction they’ll bring down on the Sinestro Corps in the future. Now, learn how – and why – that conflict begins! Plus: Sinestro discovers a change that will pave the way to his ultimate goal!
Andrew Hennessy, Bradley Walker
Pulled from the latest issue of Empire Magazine comes a new look at Terminator Genisys, in theaters July 1, 2015.
One of the highlights is a clean look at Arnold Schwarzenegger looking old as eff.
“When John Connor (Jason Clarke), leader of the human resistance, sends Sgt. Kyle Reese (Jai Courtney) back to 1984 to protect Sarah Connor (Emilia Clarke) and safeguard the future, an unexpected turn of events creates a fractured timeline. Now, Sgt. Reese finds himself in a new and unfamiliar version of the past, where he is faced with unlikely allies, including the Guardian (Arnold Schwarzenegger), dangerous new enemies, and an unexpected new mission: To reset the future…“
Terminator Genisys is directed by Alan Taylor (Thor: Dark World) and is produced by David Ellison and Dana Goldberg of Skydance Productions. The screenplay is by Laeta Kalorgridis (Avatar) & Patrick Lussier (Drive Angry). The film also stars J. K. Simmons, Dayo Okeniyi, Matt Smith, Courtney B. Vance and Byung-Hun Lee.
Ruairi Robinson is at the top of my “directors to watch” list. While his The Last Days On Mars wasn’t everyone’s favorite, his previous shorts and commercial work are astounding – I’m sure many of you remember “Blinky”, the sci-fi short about the psycho-robot?
He was also once attached to Akira, which he would have killed for Warner Bros. He’s clearly a visionary with some incredible talents, and that’s going to be put to use with The Leviathan.
The Leviathan was a proof of concept short that went viral that looks like Jaws in space, with some heavy Alien and Star Wars inspiration.
After spreading across the Web, X-Men writer and producer Simon Kinberg came aboard to produce, says Deadline, with Fight Club‘s Jim Uhls penning the project. Kinsberg’s first-look deal with Fox also gives Robinson potential studio backing should they decide to move forward.
Mankind has colonized many worlds in a time when travel faster than the speed of light has been made possible by the harvesting of exotic matter from the eggs of the largest species mankind has ever seen. Those that take part in the hunt for the matter are mostly involuntary labor.
An old woman, her evil cat, and their nine lives.
Check out this sales trailer for the Spanish horror Darker Than the Night (Mas negro que la noche), which is jam-packed with loud sound design and jump scares.
Henry Bedwell directs the pic in which “Greta inherits a huge mansion after her Aunt Ofelia’s death with the only condition of taking good care of her life companion, Becker, a cat. Greta moves in with three girl friends. One of the nights Becker suddenly dies. In consequence, their carelessness will unleash unexplainable events that will make them feel horror in their own skin.”
Zuria Vega, Adriana Louvier, Eréndira Ibarra, Ona Casamiquela, and Margarita Saenz all star.
A new video featurette introduces the idea that the witches of “Salem” may have been the reason for the black plague and smallpox that wiped out millions of people.
“Salem”, a bold re-imagination of the infamous 17th-century witch trials, returns for season two at the dawn of a Witch War. As the disease and devastation unleashed by a deadly supernatural ritual spread through the war-torn village, Salem’s most powerful witch, Mary Sibley, must face off against adversaries old and new who are vying for her throne.
“Salem” is a gripping one-hour drama that boldly re-imagines the infamous 17th century witch trials in colonial Massachusetts. The series stars Janet Montgomery, Shane West (“Nikita,” “ER”), Seth Gabel (“Arrow,” “Fringe”), Ashley Madekwe, Tamzin Merchant (“Jane Eyre”), Elise Eberle (“The Astronaut Farmer”) and Iddo Goldberg (“Mob City”).
Lucy Lawless (“Xena: Warrior Princess”, “Spartacus”) and Stuart Townsend (“Betrayal,” “The League of Extraordinary Gentlemen”) joined the series for season two. Lawless joins the cast as “Countess Marburg,” one of the last remaining survivors of the legendary line of ancient German witches and Townsend portrays English aristocrat “Samuel Wainwright” – a doctor looking to uncover the secrets of “Salem” and keep his own from those who would seek to discover them.
“Salem” returns Sunday, April 5 at 10pm ET/9pm CT.
The James Wan-produced Demonic is opening in Thailand on April 16th, which is how we’ve landed this international poster and trailer. The pic is also out on Brazil.
“The film centers on the aftermath of a horrific massacre where five college students were brutally murdered inside an abandoned home. Detective Mark Lewis and psychologist Dr. Elizabeth Klein question one of the few survivors who explains they were amateur ghost-hunters, seeking out paranormal phenomenon at the abandoned house, which was believed to be haunted. But what started out as a harmless activity turned into something truly terrifying.“
Maria Bello, Scott Mechlowicz, Frank Grillo (The Purge: Anarchy) and Cody Horn star. Will Canon directs with a screenplay by Max La Bella.
We’ll update you with release info as soon as it arrives.
We’ve teamed up with Southern Californian death metal-infused hardcore band God’s Hate to bring you the exclusive track premiere of “Father Inferior”, the title track from their upcoming EP. It’s a pummeling track, one that hearkens to the sounds of groups like Merauder, Stigmata, and Hatebreed.
Father Inferior is the 7” single for the upcoming God’s Hate debut full length entitled Mass Murder, which will be available late summer 2015 from Closed Casket Activities. It was recorded by Taylor Young at The Pit Recording Studio in Van Nuys, CA and mastered by Brad Boatright at Audiosiege.
Head below to stream this exclusive track premiere and make sure to get your pre-order in via All In Merchandise!
3/27-3/28 – The Canal Club – Richmond, VA – United Blood Fest
4/11 – Game Changer – Howell, NJ w/ No Warning
4/12 – Amityville Music Hall – Amityville, NY
4/13 – Bogies – Albany NY
4/14 – Sala Rossa – Montreal, QC
4/15 – SHIBGB’s – Toronto, ON
4/16 – Ocean Garden – Buffalo, NY
4/17 – The Voltage Lounge – Philadelphia, PA
4/18 – The Palladium – Worcester, MA – New England Metal Fest
Anchor Bay Entertainment has acquired the awesomely titled I Spit On Your Grave: Vengeance is Mine, the third chapter in CineTel Films’ successful horror franchise, Bloody Disgusting exclusively learned.
R.D.Braunstein is directing the film and Sarah Butler reprises her role from 2010’s I Spit On Your Grave!
This latest installment is a continuation of the 2010 storyline. The third film, our sources tell us, will focus on a serial killer that uses a crisis hotline to target rapists. One of the counselor’s has a dark past, which sends Detectives sniffing in her direction — but is she the killer they’re looking for?
I Spit On Your Grave: Vengeance is Mine is currently in post-production, expected to be released later this year.
Anchor Bay has rights to all formats including theatrical, digital, home entertainment and TV for North America and other English speaking territories (UK, Australia, New Zealand).
The film is being produced by Lisa Hansen and Paul Hertzberg of CineTel Films, and Executive Produced by Meir Zarchi, director of the original 1978 cult classic.
“We know [Lisa and Paul at CineTel] will deliver another visceral chapter in the series that will thrill fans,” said Kevin Kasha, Executive Vice President, Worldwide Acquisitions at Starz.
Based on Meir Zarchi’s 1978 version, Anchor Bay Entertainment released I Spit On Your Grave in 2010 and I Spit On Your Grave 2 in 2013 to critical acclaim.
Last week, the Internet exploded when rumors surfaced that Kojima would be leaving Konami. Kojima was removed from the company’s list of executives and his branding was erased from Metal Gear Solid V: The Phantom Pain promotional art as Konami went to work erasing Kojima Productions from existence. It seemed like the relationship between the two had soured, and while we still don’t have the full story, we do know that it’s bad.
A joint statement recently confirmed that Kojima will stay long enough to finish Phantom Pain, but his tenure likely won’t last much longer than that. After three decades together, two hugely influential names in the games industry will be parting ways.
As much as I’d like to memorialize the two, there just isn’t time. We can get to that after they let us know they’ve noticed the elephant in the room. The world wants to know, just what in the hell is going to happen to Silent Hills? This is the series’ last chance at staying relevant. It’s the game that’s keeping one of the genre’s most beloved franchises from finally, quietly, fading into obscurity. If this game dies, Silent Hill will almost certainly die with it.
I don’t know about you, but that terrifies me. So before we get into this, here’s something to put a smile on your face, because the rest of this article might get a little heated.
Thankfully, it’s not all doom and gloom. At least not yet. Konami still owns the IP, they own the engine that powers it, they have a talented team of developers, and I think we can assume that while it’s still very early in development — it was only ever given a nebulous 2016 release window — some progress has to have been made on it. This is progress that Konami isn’t likely to throw that away easily, especially since it’s one of the few properties they have left that people care about.
If that’s not the most depressing thing you’ve heard today, it might not have sunk in yet. Silent Hill is currently one of Konami’s most promising brands, because aside from Metal Gear and Dance Dance Revolution, they don’t have a whole lot going on right now.
The company is very active in Japan, but not so much anywhere else. Pro Evolution Soccer is forever stuck in FIFA’s shadow, Castlevania isn’t nearly as popular as it once was, and that’s not even taking into account last year’s abysmal Lords of Shadow sequel. They’re relying heavily on the success of MGS V, which I’m sure will do great, because that’s one of the few brands they have left that large numbers of people still get excited about.
It feels strange to say it, but for the first time in years, Silent Hill has our attention. It has the world’s attention. Kojima’s publicity stunt with the P.T. demo was nothing short of genius, and it was also exceedingly effective. Even non-fans had their attention piqued when this happened.
A not-insignificant portion of our anticipation for Silent Hills came from the fact that Kojima would be directing it. That was exciting, but I’d argue his involvement was overshadowed by one of the other names that were — and are still, as far as we know — attached to it: director Guillermo Del Toro.
Kojima has name recognition among gamers, but Del Toro has it everywhere else.
Guillermo Del Toro is hot right now. Most of us fell in love with him around The Devil’s Backbone, Pan’s Labyrinth, or if you’re really into movies, Cronos did it for you. For the rest of the world, it took a massively successful vampire-themed TV show and some giant robots battling Kaiju. How long it took isn’t the point, we’re all on the same page now, and that’s what matters.
Silent Hills came to be because of this director. Kojima and Norman Reedus signed on after the fact — the deal is between Del Toro and Konami. I would have liked to see where he took it, but Kojima can be replaced.
I touched on this earlier, but I feel its importance can’t be stressed enough. Silent Hills has a lot of momentum behind it. Its reveal took over the Internet last August, and fan theories, discussions, and trailers like the one below have kept it in the spotlight ever since.
This game has a level of awareness that the franchise has never had before. Even in its prime, Silent Hill didn’t have this much excitement surrounding it. This series will never have as good a chance at being successful than it does now. If Konami wants to bring it back, this will almost certainly be their only chance to make it big again.
Some of this hype can be attributed to our wanting a good Silent Hill game for years now, but a lot of it also has to do with how much the horror genre has grown right now.
Scary is mainstream, and I’m sure Konami would like to take advantage of that.
This whole situation sucks. I’ve been dreading the moment I jump online only to see the headline “Silent Hills Cancelled!” and while that may very well happen, I’m going to try and stay optimistic. Because as bad as it might look right now, I think there’s as good a chance at our seeing this game release as we might see it get lost in dreaded development limbo, alongside so many other promising horror games.
Konami has handled this with absolutely no grace. This is a communications breakdown and they should be ashamed of how poorly they’ve been treating their fans. The only way they can make this up to us is by bringing us an unforgettable horror game, and they can start by opening their damn mouths already. If Konami hopes to survive this transition, they’ll need to do better than this.
It’s worth mentioning that while I have reached out to Konami for a comment, as my finger hovers over the ‘Publish’ button, they have yet to respond. I doubt that’ll change, but if it does, I’ll be sure to update accordingly.
Another episode of “The Walking Dead” has come and gone, and Zac Thompson is raving about it.
After an ending that left us all in shock, AMC is looking ahead to season finale, ‘Conquer’, that will air Sun., March 29th at 9/8c.
In it, Daryl finds himself in trouble while out on the run. Meanwhile, in Alexandria, Rick and his group continue to feel like outsiders as danger lurks near the gates.
Below we have the promo and two sneak peak clips to gear you up for the final episode of Season 5. What do you want to see happen to set up the sixth season?
And don’t forget, “The Walking Dead” not only returns this fall, but welcomes a friend… the tentatively titled “Fear The Walking Dead” spinoff!
“Try” begins with the most tonally jarring cold open The Walking Dead has ever produced. Everything at the house mourning last week’s loss to the soundtrack of Nine Inch Nails felt incredibly out of place, and oddly forced to make the viewer feel some sort of discord with Deanna and Reg. But, it didn’t feel authentic. Luckily, it was saved by the brief tease of Aaron and Daryl finding some glimmer of a survivor in the distance. Creating an awkward juxtaposition to kick things off.
Nicholas’ testimony was pure and utter bullshit. I wish Glenn left him out there. Alexandria’s discrepancies with the harsh reality of the outside world are starting to add up. It’s nice to see since everything felt so isolated and tonally off in week’s past. Glenn’s persistence that things need to work here gave me hope. He’s right. This is one of those times where Rick isn’t going to do the right thing. Acting against Alexandria would is a mistake, but since it’s all embodied in this abusive husband, he’s compelled to act. You can see the pain in Andrew Lincoln’s performance as he grips the gun during the night scene with Pete. This isn’t easy for him, but it’s here where Rick’s mind is already made up.
Michonne has been vastly under utilized in the back half of this season. Her scenes embody this vague sense of loss with extra emphasis on the vague. Tonight felt a little different by giving her a clear goal in helping Sasha. She’s been a driven warrior for so long that it was nice to see her out in the world again. Sasha’s insanity was a great way to bring Michonne back from the brink of mediocrity and gave perfect motivation for the final scene. I loved the three ladies taking on the waves of zombies but Sasha’s insistence that she doesn’t need help is going to get her killed.
I really strain to see how both her and Michonne are so upset over Noah’s death, when they just met the guy so recently. I’d get it if he contributed something to the group or even had one redeeming moment on the series, but this sort of emotional fallout just feels forced and inauthentic.
Deanna and Rick’s conversation about Pete made me see the error in Rick’s ways. Deanna is sensible, she is a good leader that is afraid to make the strong call, but life inside Alexandria has made her isolated to a point. It’s hard not to see why she wants to keep Pete alive, hell, it’s good to keep him alive.
That slow motion pre-teen running scene… I can’t even. All of Carl’s bonding scenes were awful, every single one of them. Whoever wrote the “It’s there world we’re just living in it” line should be ashamed of themselves. I couldn’t help but laugh at the forced sexual tension when they hid in the tree together. This isn’t the story for Carl. He could be such a strong character if given the right role to play.
After his speech to Nicholas, Glenn is one of the strongest characters on the show. His confidence is well warranted, but I’m beginning to see that every character in Alexandria is a waste of space. It begs the question as to how these people survived this long without experiencing some degree of bad stuff. It’s as if our survivors are the only ones who have lived in the walker filled world.
Aaron and Daryl’s investigation was by far the most invested I was during the whole hour other than the final fight. Finding that body tied to the tree with the same carving in the forehead was foreboding in all the right ways, but didn’t offer enough for me.
Rick playing cowboy is always a good time. But, his sense of justice is incredibly skewed. When confronted with the question of why he cares, he’s at a complete loss. He thinks he’s trying to help, but he’s getting too involved in other people’s business. I’m with him on this, don’t get me wrong, but I can’t help but think he’s going about it in the wrong way. His fight or die reasoning is sound, but his weird affinity for Jessie feels forced. I don’t buy their relationship, but I like that he asked for permission to kill her husband.
Pete and Rick’s showdown was incredible. That shot of the window was the perfect way to take us to the final commercial break. The fight was brutal, and suitable violent. More so than the traditional walker fight thanks to the editing. But, then Rick lost it. Andrew Lincoln’s delivery of Rick’s final speech was phenomenal, if not a little insane.
What an ending…
The amount of creativity that goes into a horror movie sometimes boggles my mind. Not only do you have to come up with a story that people will actually want to invest their time into, you also have to come up with exciting and thrilling scares, a spine-tingling score, and, if we’re lucky, some stand out moments that make us jump, scream, or grab the nearest object next to us.
For some of us, the main draw to a horror film is always gonna be how they manage to kill off a few unlucky folk. We keep our fingers crossed that the kills will be original or, at the very least, brutal enough that we don’t care that it’s been done 1,000 times before.
In order to accomplish these murders, we need some devastating tools of the trade. So let’s take some time to talk about some of the coolest weapons we’ve seen throughout horror!
Ahead are a few of mine and then I want you to comment with several of your own personal favorites!
Rob Zombie regular Jeff Daniel Phillips has landed a role in 31 as Roscoe, the ass-kicking carney mechanic of Venus Virgo’s traveling show.
Phillips is best known to Zombie fans as Uncle Seymour Coffins in Halloween 2, and also appeared in The Lords of Salem.
The Devil’s Rejects‘ Ginger Lynn recently was added as ‘Cherry Bomb’, a very special friend of Doom-Head (portrayed by Richard Brake), as was Jane Carr, who will portray Sister Serpent, a wicked cross of Satan meets Mother Goose
Malcolm McDowell plays ‘Father Murder’, the owner of Murder World for which the film is based.
Judy Geeson plays ‘Sister Dragon’, who runs Murder World alongside McDowell. She joins David Ury, who will be playing Schizo-Head, one half of murderous team of brothers living inside Murder World. Lawrence Hilton-Jacobs was recently cast as Panda Thomas, with Elizabeth Daily (E.G. Daily) playing ‘Sex-head’, and Torsten Voges as the insane partner of Death-Head.
Daniel Roebuck plays Paster Victor, an unfortunate participant in last year’s game of 31.
Lew Temple, Devin Sidell and Sheri Moon Zombie also star.
“31 follows five carnival workers who are kidnapped the night before Halloween and held hostage in a large secret compound known as Murder World.
Once there, they have 12 hours to survive a terrifying game called 31 in which ‘The Heads’- murderous maniacs dressed as clowns – are released to hunt them down and kill them.”
Welp, we got some bad information, and director F. Javier Gutierrez took to Twitter to make the correction.
Rings is actually a sequel, not a prequel, to the 2002 The Ring, the remake to the J-horror classic Ringu.
“Hey peeps, #Rings is NOT a prequel, the story takes place 13 years after #TheRing:),” explained Gutierrez.
This is actually good news because I love the idea of an old VHS tape being uncovered and played – and the idea that someone had to go out and find a VHS player is kind of neat. Not to mention, what happens when the tape is digitized and goes viral? There’s a lot of cool stuff that can come of the story taking place 13 years later.
In Rings, Alex Roe plays Matilda Lutz’s boyfriend ‘Holt’, and is said to be one of the cast who watches the legendary tape (see below).
Aviva Goldsman, David Loucka and Jacon Aaron Estes all had a hand in writing the script, which is based on the 1991 novel by Koji Suzuki.
Rings will be inserted into theaters November 13, 2015.