A satisfying, disturbing ‘X-Files’ hits both the frightening and the familial in an episode that you shouldn’t even try to logically explain
“It’s not alive. It’s not dead.”
Oh, that episode of The X-Files where a homeless person’s thoughts manifest themselves into vengeful murderous trash? Yeah, I remember that one.
That very well might be the legacy that “Home Again” leaves behind. And that’s not a bad thing.
Officially past the halfway point now, this episode comes courtesy of Glen Morgan. Much like James Wong, Glen Morgan knows how to do horror, and the cold open for this episode is some classic slow burning dread. The stage is effectively set with the backdrop of relocating housing projects and the rolling progress of gentrification, but then before you know it you’re screaming at the legitimately terrifying stuff that’s happening on the screen. Much like what we saw with his brother last week, Morgan hasn’t lost his touch and seeing him tap into this heavy horror monster-of-the-week vein is deeply gratifying. If anyone checked out his promising-yet-cancelled Intruders, you got to see him flexing a bit of this muscle, but he really let’s loose here. The sequence set to Petula Clark’s “Downtown” or the final set piece with Landry are exercises in tension that show you how far Morgan has come. It really is a shame that he didn’t catch on as more of a horror feature director because the talent is obviously there. There are moments here where it feels like he’s intentionally trying to outdo and outgore his work in “Home” (if the title alone is any indication), and I’d say that he manages to pull it off…in fact he pulls both of them off, right from the torso.
Morgan’s directorial eye is also at display here, with a number of gorgeous shots and creative filming styles, like mounted cameras, adding some nice touches that amp up the atmosphere. There’s a particularly beautiful/gratuitous shot of Mulder and Scully’s flashlight beams (“Back in the day, is now.”) crossing and making an X as they descend into the unknown. It’s a very pretty episode to look at. Carter has gone on to say that this was the most expensive episode of the season to produce (which includes the crazy UFO and explosion special effects that went down in the premiere), but none of that money is that obvious (other than the ripping effect).
Once again, a very traditional sort of story sees itself being told here when a string of city officials are murdered in a way that defies all conventional logic. They’re murders that scream monster-of-the-week, and our intrepid FBI agents even acknowledge its on-its-sleeve-spookiness from the jump.
Morgan gets to push all of his favorite buttons here between inexplicable monsters, technology, and the big one—Scully’s family. I suppose it wouldn’t be a return to The X-Files without something horrible happening to one of Scully’s family members. Morgan effectively balances Scully opting out to deal with her ailing mother, while Mulder gets the opportunity to go “Full Mulder” here with a case that’s perfect for his limitless imagination. Not having Scully as the usual sounding board is exactly what he needs for these unexplainable murders. Also, for those that have been hungry for that snarky, sardonic Mulder, “Home Again” is going to make you happy. There are tons of instantly quotable one-liners at Mulder’s ready.
Scully delving back into her family life ends up seguing rather organically (which can be the case when pretty much every male in your family has the name “William”) into her woes of putting William up for adoption. Carter has spoken about how “Home Again” was originally slated to be the second episode of this revival, which means all of this William discussion here was meant to happen before what we saw in Wong’s “Founder’s Mutation.” This doesn’t change a lot, but it does show Scully dealing with this trauma alone, and unsure of herself, before she ultimately decides to push it further with Mulder, which we saw in the second episode. There’s heavier motivation to that action now. It’s got the weight of her mother’s last words, even. Those that have been looking for the entry of this season that gets to be the breakout Gillian Anderson vehicle where she gets to show what she’s capable of, look no further than “Home Again.” Anderson really kills it here, but Mulder’s pained looks at her as she compartmentalizes and forces herself back to work are equally devastating. And on the inverse, it’s nice to see that after thirteen years Bill Scully is just as much the asshole brother as he always was, too.
What I kind of love about this episode—and this isn’t necessarily saying that it’s a good thing—is the entry tying its monster to some ridiculous, unrelated concept. In this case: homeless people, graffiti, and tulku Buddhism. There are so many early X-Files that decide to throw in an element like some “Magical Homeless Man” and cryptic nomenclature like “The Band-Aid Nose Man” just to pad out the supernatural aspect that’s going on. Again, this might not be good writing per se (this honestly feels like Gilliam’s The Fisher King mixed with Guillermo Del Toro’s Mimic more than it should), but it distinctly feels X-Files-ian, and Morgan does a flawless job at harkening that tone. The idea of the collective plight of the homeless personifying itself into some horrible crusader doesn’t make any sense, but it fits, y’know? I mean, this whole thing is basically a big, fat parable for “People treat each other like trash”, but it somehow sells itself. The classic storytelling also only makes the horror of The Band-Aid Nose Man (or “Trash Man,” to each their own) hit all the harder when special effects and filmmaking have improved considerably since the show ended.
Watching the mystery of “Home Again” unspool is part of the fun, and as you begin to connect the dots between these disparate elements and figure out how this Trash Man can be neither living nor dead, the madness only becomes more entertaining. The end of this sees Mulder and Scully tag-teaming the monster and basically getting a big ramble of nonsense to explain it all. Like so many X-Files episodes, this one doesn’t try to explain the specifics, and Mulder and Scully really don’t do anything to stop this carnage. Everyone on the Trash Man’s kill list gets theirs, and then this monstrosity ceases to be. Frankly, I didn’t need an explanation and the episode’s decision to coast more on tone than logic worked for me just fine.
What didn’t exactly work for me however are the connections that the episode tries to make between the enlightened nature of the Trash Man, and Mulder and Scully’s child. There are a lot of superfluous flashbacks and attempts to tie things together that are treated like there’s a larger pattern at work, but there really isn’t. I suppose it’s fair to reason that Scully is incredibly emotionally fragile at this moment, so these leaps in vulnerability that she’s taking aren’t exactly out of character. The show has certainly made bolder claims in the past, but this still felt a little inorganic to me.
The episode’s final thoughts focus on an introspective, albeit overdue, moment between Scully and Mulder. The idea of turning Scully’s “quest” for William and plaguing her with these unanswerable questions as her own “Samantha Mulder” equivalent is an interesting move by the show (“I want to believe—I need to believe—that we didn’t treat him like trash.”). This episode very much sets up William to be Scully’s ultimate payoff in the same way that The Truth is Mulder’s, and I suppose I’m okay with that. It’s really the biggest piece of lingering mythology for the show to address, so it’s focus makes plenty of sense. Any symmetry is nice, and more than anything it seems like this path is taking us down to a William reunion either when the finale, or inevitable next movie, take place. Mulder, Scully, and William somehow ending up as one happy family wouldn’t be the worst ending for the show that I can think of. They’ve certainly ended the solitude at this point.
Until then, let’s all keep searching for the dark wizards in our lives.
I’ve been looking forward to director Jared Masters’ exploitation flick Ballet of Blood since reading Staci Layne Wilson’s interview with the guy last year. Masters’ love of old-school exploitation seems to have heavily influenced the film, which takes a look at some blood-drenched tomfoolery at a ballet school. As you can see from the trailer and artwork below, it looks like a hell of a lot of fun. Fortunately, the folks at Gravitas Ventures plan to release the movie on VOD next month. Start practicing those pirouettes now! Those suckers are exceptionally hard to master.
From the Press Release:
Ballet of Blood, the 9th feature film by Jared Masters, has been picked up for distribution by Gravitas Ventures. It will have a vast cross-platform VOD release March 1, 2016.
What critics are saying: “A lot of potential to plumb… Solid… Fun… Compelling… Extremely poetic… Complex and intriguing… BALLET OF BLOOD delivers big ideas … I appreciated a lot.” – Ain’t It Cool News.
The motion picture won Audience Choice Award at the 2015 RIP International Horror Film Festival. It was also nominated for Best Acting Ensemble and Best Editing. It should also appear on DVD very soon (a rare VHS is currently available on eBay for $89).
Synopsis: After years of emotional abuse and body shaming, two ballerina’s drug-fueled fantasy, of viciously attacking their ballet school, becomes reality. Meanwhile, a nerdy ballerina starts writing a novel based on the events that transpired, deeply offending some for turning such sensitive material into a book, for young audiences. Soon, her and her sister realize every word being typed is somehow altering real life. Will this strange and psychedelic paralleling fantasy carry the sisters, along with anyone else, to a merciless blood-splattered doom?
The film stars Sydney Ray and Jessica Knopf, as the partners in crime. Laura Amelia as the dance teacher, Delphine, and Julia Faye West as company co-owner. The film also features Mindy Robinson as the prima ballerina, with Walter Hochbrueckner, Vera R. Taylor, Rubi Garcia, Marla Martinez, Jacqueline Marie Alberto, Dawna Lee Heising, Dallas Chandler, Krystall Schott, Georgie Borchardt, Sky Patterson, Christopher Arias, Kimberly Cohen, Robert Evans and Marylyn Brooks.
Produced by Julia Faye West, Sydney Raye, Vera R. Taylor, Walter Hochbrueckner, John Gonatos, Mikko Tervonen, Michael Anthony and Bouvier. Production design by Mystic Marlow. Art Direction by Ryan Henneman. Sound by Jean-Paul Inesta, stills by Mark Rakocy, script editing by H. Raven Rose. Written and directed by Jared Masters.
Some artwork and a nifty trailer for Ballet of Blood reside in below.
The post Jared Masters’ Ballet of Blood Pirouettes Onto VOD This March appeared first on Dread Central.
The folk over at Man At Arms: Reforged have done it again!
This time, the crew over at Baltimore Knife & Steel have taken the cover weapon from Bloodborne, which made Adam’s Top 5 games of 2015, and brought it to life using a ton of metal, grinding, and welding, ultimately creating a weapon that looks as weathered and battle-tested as it does vicious and devastating.
I love this show because even if I don’t know the weapon that they’re making I can still appreciate the vast amount of love and work that they put into the final product. Plus, you get to see the weapon in action, which is always fun!
Make sure to check out Adam’s review of Bloodborne here.
Ah, Walmart. The company that will graciously sell me a vast array of deadly hunting equipment apparently has a big problem with a little fake blood. Shortly after forcing Dark Sky Films to release its insanely enjoyable horror flick Deathgasm under the alternate title Heavy Metal Apocalypse (complete with piss-poor artwork), the largest retailer in the country is strongarming the folks over at Midnight Releasing to issue a more consumer-friendly cover for its release Silent Retreat. Apparently, a severed tongue in a tiny box is one toke over the line, so to speak.
Instead, director Ace Jordan’s movie now features a picture of a house. In the dark. With an upstairs light illuminating a window. Although you shouldn’t judge a movie by its cover, sometimes indie filmmakers rely on cool artwork to coax uninformed shoppers to splurge on their endeavor. The original Silent Retreat art was pretty strong — it would certainly catch your attention if you were mindlessly perusing the movie section in the middle of the night. The other one, well, not so much.
You can check out some pics of both the original Silent Retreat artwork and the admittedly weaksauce alternate version below. Here’s hoping that Walmart’s questionable shenanigans don’t hurt sales in the long run. After all, trying to sell your wares in a crowded market is hard enough without a retailer mucking things just to keep the pearl clutchers from raising a stink.
And if you’d like to know more about the movie, you can point your browsers in the direction of Twitter, Instagram, Facebook, YouTube, or the official Midnight Releasing website. Never let it be said that you didn’t have a plethora of options available at your fingertips.
The post Walmart Strikes Again! Midnight Releasing Issues Gore-Free Silent Retreat Artwork appeared first on Dread Central.
We told you at the end of January that The CW has a “reimagining” of the film Frequency in the works as a possible series with some gender swapping, and today we have the first casting news. Since the project was written by “Supernatural” showrunner Jeremy Carver, we figured it’s worth at least a mention.
Per Deadline, Riley Smith (“True Blood,” “The Messengers,” “True Detective”) will portray Frank Sullivan, the dead detective character played by Dennis Quaid in the 2000 film. The storyline of this new version of “Frequency” revolves around Raimy, a female police detective in 2016 who discovers that she is able to speak via a ham radio with her estranged father (Smith), who died 20 years ago.
Seen in 1996, Frank Sullivan has been undercover for two years. The strain of the assignment effectively destroyed his marriage and separated him from his little girl, Raimy, but he gets a new chance at building a relationship with her when she begins communicating with him from the future. The two forge a new relationship while working together on an unresolved murder case, but unintended consequences of the “butterfly effect” wreak havoc in the present day.
The CW’s “Frequency,” from WBTV and Lin Pictures, is executive produced by Carver, Toby Emmerich (who wrote the film), John Rickard, and Lin Pictures’ Dan Lin and Jennifer Gwartz.
The post Riley Smith Lands the Lead in The CW’s Frequency Reimagining appeared first on Dread Central.
We’ve all been waiting for something solid pertaining to what Lionsgate is planning to do with the Saw franchise… will we get another sequel? A remake/reimagining/reboot/prequel? Hell, how about a TV series? They seem to be all the rage today, no? It’s been eerily quiet for a couple of years, but now some news has come. Get ready for Saw: Legacy.
According to The Tracking Board, Lionsgate has tapped writing duo Josh Stolberg and Pete Goldfinger to pen Saw: Legacy, which will serve as the eighth installment of the venerable horror franchise. Although story details are being kept tightly under wraps, original Saw director James Wan and screenwriter Leigh Whannell will serve as executive producers on the project.
Goldfinger and Stolberg are no strangers to the horror genre. The pair worked together on Sorority Row, Piranha 3D, and Piranha 3DD. Whether Saw: Legacy will be a reboot, a continuation, or an origin story has not been announced; but given Goldfinger and Stolberg’s ability to craft creative kills while maintaining an undercurrent of devilish humor, the film could prove to have the right combination of self-awareness and shocking gore needed to jolt the franchise back to life.
Check out the full image gallery and hi-res poster art for Travis Z’s Cabin Fever remake, which will be releasing in limited theaters (New York and Los Angeles) and on Digital HD February 12th.
IFC Midnight is behind the new Cabin Fever, which is a near word-for-word remake; Travis Z’s take is from a screenplay by Eli Roth & Randy Pearlstein (based on a story by Roth).
“The story is familiar: fresh out of college, a group of five friends retreat to a remote cabin in the woods for one last week of partying—only to become snacks for a gruesome, flesh-eating virus. What’s surprising are the ingenious new deaths, which offer a fresh spin on a horror-comedy milestone.”
The redo of Eli Roth’s 2002 film of the same name stars Gage Golightly, Matthew Daddario, Samuel Davis, Nadine Crocker, and Dustin Ingram.
If you recall, back in March Roth said he was “blown away” by the remake.
The film was produced by Evan Astrowsky, Christopher Lemole and Tim Zajaros, and was executive produced by Roth, Cassian Elwes, Jerry Fruchtman, Peter Fruchtman and Ike and Jaclyn Suri.
Back in 2004 Jigsaw became a household name when Lionsgate carved out a theatrical release for James Wan and Leigh Whannell’s low-budget festival fav Saw.
It was so successful that it became an annual tradition to expect a new Saw sequel each and every October.
The games came to an end with 2010’s Saw 3D (Saw: The Final Chapter), which was pegged as the end of the franchise. Yet, the final scene set up a world that could easily be expanded.
Since then, Lionsgate has been taking a breather. We’ve reported multiple times that the seventh Saw wasn’t the end, and that the studio has even considered remaking Wan and Whannell’s film that’s one of the most important horror films of all time.
After five years of pitches, and a re-release of the classic back in 2014, Lionsgate has decided to move forward with an eighth film in the franchise, according to a trustworthy tracking board.
Lionsgate has tapped writing duo Josh Stolberg and Pete Goldfinger – the duo behind Sorority Row, Piranha 3D and Piranha 3DD – to pen Saw: Legacy, although there’s no story details at this time.
James Wan, who has gone on to direct Insidious, The Conjuring, Dead Silence and Fast 7, will executive produce with Whannell.
Will Saw: Legacy start at the beginning? Could it follow an entirely new cult of Jigsaw followers? What do you guys think will happen next?!
The Blu-ray and DVD release of Guillermo del Toro’s Crimson Peak (review) will be here tomorrow, and to celebrate its arrival, we have an exclusive clip for you! Dig it!
Crimson Peak Release Details:
A sheltered young woman abandons the safe certainty of her upbringing for life with an alluring aristocrat on a remote English estate in Crimson Peak, a visually stunning and intensely disturbing thriller from writer and director Guillermo del Toro (Pan’s Labyrinth, Hellboy), coming to Digital HD on January 26, 2016, and Blu-ray Combo Pack, DVD, and On Demand on February 9, 2016, from Universal Pictures Home Entertainment and Legendary Pictures.
Brilliantly unforgettable visuals and an atmosphere steeped in dread make Crimson Peak an elegant, gorgeously realized, and completely original horror mystery that has been declared “a masterpiece” by Fox-TV. The Blu-ray Combo Pack comes with more than an hour of bonus features that reveal some of the terrifying secrets hidden behind the doors of sinister Allerdale Hall.
From the imagination of director Guillermo del Toro comes a terrifying Gothic romance masterpiece starring Tom Hiddleston (The Avengers, Thor series), Jessica Chastain (Zero Dark Thirty, The Help), Mia Wasikowska (Alice in Wonderland, Stoker), and Charlie Hunnam (Pacific Rim, FX’s “Sons of Anarchy”).
When her heart is stolen by a seductive stranger, a young woman is swept away to a house atop a mountain of blood-red clay— a place filled with secrets that will haunt her forever. Between desire and darkness, between mystery and madness, lies the truth behind Crimson Peak. From the imagination of director Guillermo del Toro (Pan’s Labyrinth) comes a terrifying, Gothic romance masterpiece starring Tom Hiddleston, Jessica Chastain, Mia Wasikowska, and Charlie Hunnam.
Special Features Exclusively on Blu-ray:
- I Remember Crimson Peak: A series of interviews with director Guillermo del Toro and his standout cast: Mia Wasikowska, Tom Hiddleston, and Jessica Chastain.
- A Living Thing: An army of artisans was amassed to construct the Sharpe mansion on North America’s largest soundstage. Witness first-hand and in great detail the construction of Del Toro’s most elaborate set to date.
- A Primer on Gothic Romance: Employing his encyclopedic knowledge and passion for the genre, Guillermo del Toro traces the lineage of Gothic romance in cinema. Using Crimson Peak as the basis, Del Toro outlines the history of cinematic terror and illuminates the differences between traditional scares and elevated horror.
- Crimson Phantoms: Del Toro’s approach to make-up effects is discussed by award-winning effects house DDT. In this piece they offer an exclusive look inside their workshop, where they deconstruct the creation of the film’s most disturbing prosthetic effects. The discussion delves into the mythology of these elegant creatures and how Del Toro’s belief in the supernatural informed the design and narrative of the ghosts.
- Hand Tailored Gothic: Costume designer Kate Hawley unravels her collaboration with Del Toro and reveals the symbolism constantly at play in the wardrobe’s design.
Blu-ray and DVD Special Features:
- Deleted Scenes
- The Light and Dark of Crimson Peak offers a stylized turn of the century with carefully crafted visuals that provide the perfect backdrop for Del Toro’s brand of psychological horror. Follow the phases of production to discover a booming America and a dark and removed England portrayed with a multi-layered sophistication unlike any seen in recent cinema.
- Beware of Crimson Peak: Tom Hiddleston (Sir Thomas Sharpe) offers a walking tour of the many secret spaces in Allerdale Hall.
- Feature Commentary with co-writer and director Guillermo Del Toro
If you’ve had a pair of either ears or eyes over the last few years, you will no doubt be aware of PewDiePie. The insanely popular YouTube celebrity now has no fewer than 42 million subscribers, making him arguably the most well-known internet celebrity of all time.
We reported a few months ago that he was working with The Walking Dead‘s Robert Kirkman on Scare PewDiePie, a new webseries that would see him in scenarios from horror games. As reported in a blog post from YouTube Red, it’s set to premiere this Wednesday, February 10, on YouTube Red, so get ready to hear his signature annoying scream a hell of a lot more times.
See PewDiePie get scared like never before in this YouTube Red Original Series, from the creator of The Walking Dead at Skybound Entertainment and Maker Studios. You’ll be laughing and screaming along with PewDiePie as he makes his way through terrifying pranks inspired by his favorite video games.
We haven’t covered Syfy’s “The Magicians” much since it falls more on the fantasy side of the fence, but news of its renewal hit our inbox today so we thought we’d share the news with any of you who might be fans of the show.
From the Press Release:
Syfy today announced it has renewed hit drama series “THE MAGICIANS” for a second season of 13 episodes, expected to air in 2017. “THE MAGICIANS” is from Universal Cable Productions and is executive produced by John McNamara (“Aquarius”), Sera Gamble (“Supernatural”), Henry Alonso Myers (“Covert Affairs”), and Groundswell Productions’ Michael London and Janice Williams (Milk).
Based on the bestselling novels from Lev Grossman, “THE MAGICIANS” is currently airing its first season on Syfy on Mondays at 9PM ET/PT. The series’ fourth episode premieres tonight.
“Thanks to an extraordinarily gifted creative team of executive producers and our partners at Universal Cable Productions, ‘THE MAGICIANS’ has become a buzzed-about hit, enchanting fans of the novels as well as attracting new and younger audiences to Syfy,” said Dave Howe, President, Syfy & Chiller.
During its first three episodes, “THE MAGICIANS” averaged 1.7 million viewers, 853K Adults 18-49, and 910K Adults 25-54 (based on L3 data). The series is also strong among younger viewers, with Adults 18-34 growing consecutively over each episode, averaging 180% above Syfy’s prime time delivery in that demo.
Digitally, the series’ first episode was sampled more than 6.7 million times during its pre-linear launch (January 8 to January 25) across Syfy.com and select partner sites, as well as On Demand cable, satellite, and telco TV platforms. Additionally, an on-air sneak peek of the pilot, airing December 16 at 10PM ET/PT, drew 1.3 million total viewers (based on L+7 data).
Starring Jason Ralph (Quentin Coldwater), Stella Maeve (Julia), Olivia Taylor Dudley (Alice), Hale Appleman (Eliot), Arjun Gupta (Penny), and Summer Bishil (Margo), “THE MAGICIANS” centers on Quentin, a brilliant grad student chosen to attend Brakebills College for Magical Pedagogy, a secret upstate New York university specializing in magic. He and his 20-something friends soon discover that the magical fantasy world they read about as children is all too real when they unwittingly invite a malevolent entity from the other side into their world. Also reprising their roles for Season Two will be series regulars Rick Worthy (Dean Fogg) and Jade Tailor (Kady).
The team behind the V/H/S series heads Southbound (review) with a new anthology film, and you’ll be able to check it out in select regional theaters on February 12th, 13th, 19th, and 26th (New York and Los Angeles on February 5th and VOD on February 9th). On tap today is a new clip that comes to us via Deadline.
Directors of the individual segments are Radio Silence, David Bruckner, Roxanne Benjamin, and Patrick Horvath. Kate Beahan, Matt Bettinelli-Olpin, Susan Burke, Zoe Cooper, Gerald Downey, Karla Droege, Larry Fessenden, Dana Gould, Hassie Harrison, Davey Johnson, Nathalie Love, Hannah Marks, Tipper Newton, Maria Olsen, Kristina Pesic, Matt Peters, Anessa Ramsey, Fabianne Therese, Tyler Tuione, Chad Villella, Justin Welborn, David Yow, and Mather Zickel star.
Weary travelers confront their worst nightmares — and darkest secrets — over one long night on a desolate stretch of desert highway in this spooky anthology that merges five tales of death and mayhem on the open road.
Mitch and Jack are on the run from their past when they turn up, blood-splattered, at a lonely roadside diner; an all-girl rock group called Siren must rely on the kindness of strangers when their tour van breaks down at the side of the road; a harried businessman is desperate for help from an unusual 9-1-1 operator in the aftermath of a car accident; a frantic gunman bursts into a bar demanding to know the whereabouts of a girl in a photograph; all hell breaks loose when masked men interrupt a family vacation.
These interlocking tales of terror and remorse are rooted firmly in the logic of “Twilight Zone” and EC Comics morality plays, each one winding seamlessly into the next. The result is original, cohesive, and consistently fun — a Möbius strip of ghoulish frights on an endless road.
The post New Southbound Clip Stranded in the Middle of Nowhere appeared first on Dread Central.
More casting news has come in for the next film from Steven C. Miller, entitled Office Uprising, as Bloody Disgusting is reporting that Evil Dead‘s Jane Levy has signed up for active zombie-slaying duty!
Levy joins the previously announced young actor Brenton Thwaites (Pirates of the Caribbean: Dead Men Tell No Tales), who has been cast in the lead role. Miller will direct the film for The Exchange from a script by Ian Shorr and Peter Gamble.
Office Uprising takes place inside one of the world’s leading arms manufacturers, where the board of directors drugs its employees to make them work more efficiently. Due to a slacker’s error, the employees are given the wrong drug and start turning into homicidal maniacs. It’s up to the slacker to rescue himself and his friends from the zombie plague that has been unleashed inside the company compound.
William Clevinger produces with Giulia Prenna. Brian O’Shea’s The Exchange will begin shopping the film to foreign buyers in Berlin at this month’s European Film Market.
The post Evil Dead’s Jane Levy Joins Steven C. Miller’s Office Uprising appeared first on Dread Central.
Writer/director Ilya Naishuller’s newly renamed film Hardcore Henry (formerly Hardcore) is set for release on April 8th via the STX Entertainment Motion Picture Group, and right now we have the official artwork for you.
Hardcore Henry‘s cast includes Sharlto Copley, Danila Kozlovsky, Haley Bennett, Andrey Dementyev, Dasha Charusha, and Sveta Ustinova. The film was produced by Timur Bekmambetov, Ilya Naishuller, Inga Vainshtein Smith, and Ekaterina Kononenko.
You remember nothing. Mainly because you’ve just been brought back from the dead by your wife (Haley Bennett). She tells you that your name is Henry, and congratulations: You’re now a cyborg. Five minutes later, your wife has been kidnapped and you should probably go get her back. Who’s got her? His name’s Akan (Danila Kozlovsky); he’s just a psychotic megalomaniac with telekinetic powers and a never-ending army of mercenaries. You’re also in the unfamiliar city of Moscow, and everyone wants you dead. Everyone except for a mysterious British fellow called Jimmy (Sharlto Copley). He might be on your side. Good luck, Henry. You’re very much likely to need it…
STX won the film after a heated bidding war out of the Toronto International Film Festival, and will now release it in theaters on April 8th.
This afternoon the official poster was dropped out of a plane and free-falls right here to Bloody Disgusting. The art in insane, displaying the title character falling out of the sky with his guns a blazing. It’s a tease of the opening scene which is straight up bananas.
District 9‘s Sharlto Copley stars with Danila Kozlovsky, Haley Bennett, Andrey Dementyev,Dasha Charusha, and Sveta Ustinova.
Its producers include Timur Bekmambetov (Wanted, Night Watch).
“Resurrected with no recollection of his past, a cyborg named Henry (the audience’s POV) and his ally, Jimmy (Copley) must fight through the streets of Moscow in pursuit of Henry’s kidnapped wife in the world’s first action-adventure film to be entirely shot from the first person perspective.”
Freaks of Nature will be abducted on Blu-ray, DVD and Digital February 9, 2016, from Sony Pictures Home Entertainment.
This exclusive trailer mashup takes us to beginning and the end of the apocalypse filled with aliens, vampires and a zombie!
Robbie Pickering’s horror comedy takes place in the town of Dillford where humans, vampires and zombies were all living in peace… until the alien apocalypse arrived. Now three teenagers – one human, one vampire, and one zombie – have to team up to figure out how to get rid of the visitors.
The massive cast includes Nicholas Braun, Mackenzie Davis, Josh Fadem, Joan Cusack, Bob Odenkirk, Keegan-Michael Key, Ed Westwick, Patton Oswalt, and even Vanessa Hudgens and Denis Leary!
In ‘Freaks of Nature,’ we welcome you to Dillford, where three days ago, everything was peaceful and business as usual: the vampires were at the top of the social order, the zombies were at the bottom, and the humans were getting along in the middle. But this delicate balance was ripped apart when the alien apocalypse arrived in Dillford and put an end to all the harmony. Now it’s humans vs. vampires vs. zombies in all-out, blood-sucking, brain-eating, vamp-staking mortal combat – and all of them are on the run from the aliens. It is up to three teenagers – one human, one vampire, and one zombie – to team up, figure out how to get rid of the interplanetary visitors, and try to restore order to this “normal” little town.
A detective on the trail of a terrorist finds himself in a supernaturally charged trap where all the rules of police work go out the window in director Drew Hall’s Convergence.
The film arrives in select theaters on February 5, 2016 and on Digital Download, Blu-ray & DVD on February 9, 2016.
Check out this exclusive clip in which Ethan Embry’s character, “The Hand of God,” administers some really effed up lessons in faith.
“Detective Ben Walls (Clayne Crawford, Rectify, A Walk to Remember) lives a quiet life with his wife and newborn daughter. But he’s called into action after an explosion at a local women’s health clinic – and explosion that may be the work of a terrorist bomber Ben has been tracking. While investigating the scene, another shocking event lands Ben himself in the hospital. When he awakens he is surprisingly uninjured and ready to go back into the field. But at the behest of his captain (Mykelti Williamson, Forrest Gump, Con Air) and the hospital’s few but eerily incongruous patients and staff, Ben is forced to remain inside the building.
As Ben navigates the hospital’s alarmingly empty hallways, he soon finds himself hunted by a self-proclaimed avenging angel (Ethan Embry, Eagle Eye, Vacancy), who may be the terrorist he has been looking for, and haunted by apparitions whose deadly motives remain a mystery. As Ben’s sense of reality begins to spiral out of control and the demons that surround him close in, he must find a way to both stop the supernatural forces that want him dead and catch the bomber before he strikes again.“
A modern-day myth about redemption that’s equal parts crime thriller, supernatural horror and action spectacle, Convergence is said to keep you guessing at every turn of its twisting plot right up until the last shocking frame.
Also starring in this gripping and unsettling film are Chelsea Bruland (Left Behind), Gary Grubbs (JFK), Laura Cayouette (Django Unchained) and Catalina Soto-Aguilar (Sons of Liberty).
William Friedkin’s 1973 film The Exorcist is considered by many to be the ultimate horror film. It has topped “Best Horror Films of All Time” lists for years now and it has been entered into the National Film Registry in 2010 after being selected by the Library of Congress.
The film not only ushered in a new wave of horror, one that was more extreme and visceral than anything that had been seen before, it also had a big impact on music. The usage of Mike Oldfield’s “Tubular Bells” sent that track into the stratosphere in terms of popularity. Furthermore, it utilized many modern composers and their unsettling, uneasy pieces to create an aura of dread and terror.
But what many don’t know is that the film was meant to have an original score by renowned composer Lalo Schifrin (“Mission Impossible”, Bullitt). Well, that is until Friedkin had a temper tantrum and quite literally threw the original audio reels out of the studio window.
Let’s talk a bit about the series of events that led to such an extreme reaction.
While the film was being worked on, Friedkin hired Schifrin to compose a score for the movie, including a trailer that was shown to advance audiences to gauge their reaction (see below). Apparently they reacted so strongly that some people were allegedly running to the bathrooms to vomit. Others had strong physical reactions to the strong flashing images, resulting in possible seizures. This led the studio to demand a new score, one that was softer and more relaxed.
Several years ago, Schifrin spoke to Score Magazine and explained how the full experience was less than cordial, to put it mildly:
The truth is that it was one of the most unpleasant experiences of my life, but I have recently read that in order to triumph in your life, you may previously have some fails.
What happened is that the director, William Friedkin, hired me to write the music for the trailer, six minutes were recorded for the Warner’s edition of the trailer. The people who saw the trailer reacted against the film, because the scenes were heavy and frightening, so most of them went to the toilet to vomit. The trailer was terrific, but the mix of those frightening scenes and my music, which was also a very difficult and heavy score, scared the audiences away.
So, the Warner Brothers executives said Friedkin to tell me that I must write less dramatic and softer score. I could easily and perfectly do what they wanted because it was way too simple in relevance to what I have previously written, but Friedkin didn’t tell me what they said. I´m sure he did it deliberately. In the past we had an incident, caused by other reasons, and I think he wanted vengeance. This is my theory.
This is the first time I speak of this matter, my attorney recommended me not to talk about it, but I think this is a good time to reveal the truth.
Finally, I wrote the music for the film in the same vein as that of the trailer. In fact, when I wrote the trailer I was in the studio with Friendkin and he congratulated me for it. So, I thought I was in the right way… but the truth was very different.
Apparently that differing truth was that Friedkin was so displeased with the score that he decided defenestration was the only viable option, tossing the material right out the window. His loss, as I feel that the music Schifrin composed is nothing short of terrifying, leaving me unsettled even as I write this in the middle of the day.
While listening to the opening piece of the score, I can see how it inspired other composers, such as Roque Baños’ for 2013’s Evil Dead as well as Joseph Bishara’s Insidious.
If you get a chance to listen to the above rejected score, make sure to tell us your thoughts in the comments. Would it have made a substantial difference had they used Schifrin’s score instead of the array of composers we’re so used to hearing?
[H/T Dangerous Minds]
Dark Sky Films has announced Emelie (review), directed by Michael Thelin and written by Richard Raymond Harry Herbeck, for release in theaters and on VOD platforms March 4th.
Here’s the previously released trailer that introduce us to the babysitter, which looks like a parent’s nightmare.
“After their regular babysitter Maggie can’t make it, the Thompson family turns to her friend Anna to supervise their children while the parents go out to celebrate their anniversary. At first Anna seems like a dream come true to the kids, allowing them to eat extra cookies and play with things that are usually off-limits, but as her behavior becomes increasingly odd, the kids soon find out that her intentions are dark and twisted, and she is not who she seems to be.“
Some tragic news as Daniel Gerson, who co-wrote Monsters Inc., Monsters University, and Big Hero 6, has passed away after a battle with brain cancer, according to his family. He was 49 years old.
We don’t talk too much about horror movies for kids here on BD, probably for a good reason. We’re mainly a site that covers films that adults absorb. That’s just what we do.
But there’s something magical about introducing your children to the world that you love, even if it’s not in the style that you yourself enjoy. After all, who thinks it’s a good idea to show a wee little one Cannibal Holocaust? Hopefully none of you.
Instead, we show movies like Monsters Inc., which shows that the bad guys aren’t exactly who we always think. We show them Gremlins so that they know evil can come from good, which is why we have to keep ourselves in check. We show them Monster Squad to prove that you can be brave and victorious, no matter your age.
Gerson helped write movies that may very well have paved the path for a whole new generation of horror fans with movies that appealed to an audience far wider than our genre could ever hope to accomplish. And for that I give him thanks.
Rest in peace, Mr. Gerson. Our deepest condolences to your family and friends.