‘Annabelle’ a Demon’s Evil Conduit (Clip)

bloody disgusting - Mon, 09/29/2014 - 14:40

New Line Cinema released a new clip from Annabelle, their quasi-The Conjuring prequel haunting theaters October 3.

In it we learn why the doll is seemingly possessed- because demons use objects as conduits.

John Form thinks he’s found the perfect gift for his expectant wife, Mia—a beautiful, rare vintage doll in a pure white wedding dress. But Mia’s delight with Annabelle doesn’t last long.

On one horrific night, their home is invaded by members of a satanic cult, who violently attack the couple. Spilled blood and terror are not all they leave behind. The cultists have conjured an entity so malevolent that nothing they did will compare to the sinister conduit to the damned that is now…Annabelle.

Annabelle reunites the filmmakers behind 2013’s hugely successful supernatural thriller The Conjuring. James Wan, director of the global hit, is producing Annabelle with Peter Safran. John R. Leonetti, who served as cinematographer on The Conjuring, is directing.

Annabelle Wallis (X-Men: First Class) and Ward Horton (The Wolf of Wall Street) star as the Forms. Oscar nominee Alfre Woodard (Cross Creek, Twelve Years a Slave) stars as Evelyn, a neighbor who owns a bookstore and is familiar with the occult. Rounding out the cast are Kerry O’Malley (TV’s “Those Who Kill) and Brian Howe (Devil’s Knot) as neighbors Sharon and Pete Higgins; Tony Amendola (TV’s “Once Upon A Time) as Father Perez; and Eric Ladin (TV’s “Boardwalk Empire,) as Detective Clarkin.

Categories: Horror News

“iZOMBIE” Pilot Details How Liv Turns Undead…

bloody disgusting - Mon, 09/29/2014 - 14:34

“iZOMBIE” is a new one-hour drama co-created and executive produced by Rob Thomas and Diane Ruggiero-Wright (“Veronica Mars”), along with executive producers Danielle Stokdyk and Dan Etheridge (also of “Veronica Mars”).

In it, Rose McIver (“Masters of Sex,” “Once Upon a Time”) stars as Olivia “Liv” Moore, a 25-year-old medical resident on the fast track to a perfect life … until she’s turned into a zombie.

Now stuck somewhere between half-alive and undead, Liv loses all traces of her former drive and ambition. She breaks off her engagement with charming soulmate Major, fearful of infecting him with her condition. She withdraws from her best friend and partner in overachievement, Peyton. And, perhaps most worrisome to her caring but overbearing mom, Eva, Liv transfers her medical residency to the city morgue in order to reluctantly access the only real form of sustenance left available to her — and the only thing that allows her to maintain her humanity — human brains.

But there are side effects to Liv’s new diet: With each brain Liv consumes, she experiences “visions” — flashes of the corpse’s memories — including, in some cases, clues as to how they were killed. Her boss, the brilliant but eccentric conspiracy theorist Dr. Ravi Chakrabarti, encourages her to embrace this gift and to work with an eager, unproven homicide detective, Clive Babineaux, to help solve these murders. In doing so, Liv finds a measure of peace, and a new sense of purpose in what her “life” has now become.

“iZOMBIE” is based upon characters created by Chris Roberson and Michael Allred, published by DC Entertainment’s Vertigo imprint.

Categories: Horror News

Brand New ‘Saw’ Poster Bleeds Red!

bloody disgusting - Mon, 09/29/2014 - 14:30

If it’s Halloween it must be Saw.

We announced last month that Saw would be getting a limited theatrical re-release for this coming Halloween. Now, a blood-red one-sheet has premiered to commemorate the film’s 10th anniversary!

The film will open on Friday, October 31st, with select screenings beginning Thursday night, October 30th. The seven Saw films grossed $874 million at the box office worldwide and were hailed by the Guinness Book of World Records as the “Most Successful Horror Franchise” of all time.

Saw was the first collaboration for co-creators James Wan, who directed the film, and Leigh Whannell, who wrote the screenplay. Together, they also created the successful Insidious franchise, and Wan has gone on to direct such high-profile films as The Conjuring.

Directed by Wan from a script penned by Whannell, Saw is a psychological thriller focusing on two men who wake up in a secure lair of a serial killer, with a dead body lying between them. The killer, nicknamed “Jigsaw,” leaves them tape recorded messages with details of how to make it out alive. The only way for one man to make it out alive is to do the unthinkable. The two men desperately try to find a way out, while also trying to figure out who’s behind their kidnapping.

The film, which was released over Halloween weekend on October 29, 2004, was produced by Gregg Hoffman, Oren Koules, and Mark Burg.

Categories: Horror News

Unboxing the ‘Nightbreed: The Director’s Cut’!

bloody disgusting - Mon, 09/29/2014 - 14:23

On October 28, the horror home entertainment brand Scream Factory, in collaboration with Morgan Creek Productions and Clive Barker’s Seraphim, Inc., will finally unleash the highly sought-after Director’s Cut of Clive Barker’s classic tale of terror, Nightbreed, which now has an unboxing video available. Go check out what the “Director’s Cut” looks like…

Boone (Craig Sheffer) may be a troubled young man, but his troubles are just beginning. Set up as the fall guy in a string of slasher murders, he decides he’ll hide by crossing the threshold that separates “us” from “them” and sneak into the forbidden subterranean realm of Midian. Boone will live among the monsters. Hellraiser creator Clive Barker writes (adapting his novel Cabal) and directs this vivid leap into horror that asks: in the battle of man vs. monster, who’s really the monster? The answer supplies flesh-crawling suspense, sudden fear, a colorful Danny Elfman score and a creepy array of shape-shifting beings. They are the Nightbreed, denizens of a world beyond death, beyond the imagination, perhaps beyond anything you’ve seen.

Written and directed by visionary filmmaker Clive Barker (creator of Hellraiser) and based on his popular novel “Cabal,” the cult-classic film, Nightbreed, stars Craig Sheffer (Hellraiser: Inferno), Anne Bobby (Born on the Fourth of July), David Cronenberg (Director, Eastern Promises) Charles Haid (Hill Street Blues) and features a soundtrack by award-winning composer Danny Elfman.

Final details on the two retail sets are as follows:

DVD & BLU-RAY COMBO SPECIAL EDITION SET
-New “Director’s Cut” presentation of the film which contains over 40 minutes of new and altered footage
-Introduction by writer/director Clive Barker and restoration producer Mark Alan Miller
-Audio Commentary by writer/director Clive Barker and restoration producer Mark Alan Miller
-Tribes of the Moon: The Making of Nightbreed featuring interviews with Craig Sheffer, Anne Bobby, Doug Bradley and more… (72 minutes)
-Making Monsters – interviews with makeup effects artists Bob Keen, Martin Mercer and Paul Jones (42 minutes)
-Fire! Fights! Stunts! 2nd Unit Shooting – an interview with Andy Armstrong (20 minutes)
-Original Theatrical Trailer

(1:78 Widescreen/DTS-HD Master Audio 5.1/Dolby Digital 5.1/English Subtitles)

LIMITED EDITION 3-DISC BLU-RAY SET (10,000 Numbered Pieces)

DISC 1: THE DIRECTOR’S CUT
-New “Director’s Cut” presentation of the film which contains over 40 minutes of new and altered footage
-Introduction by writer/director Clive Barker and restoration producer Mark Alan Miller
-Audio Commentary by writer/director Clive Barker and restoration producer Mark Alan Miller
-Tribes of the Moon: The Making of Nightbreed featuring interviews with Craig Sheffer, Anne Bobby, Doug Bradley and more… (72 minutes)
-Making Monsters – interviews with makeup effects artists Bob Keen, Martin Mercer and Paul Jones (42 minutes)
-Fire! Fights! Stunts! 2nd Unit Shooting – an interview with Andy Armstrong (20 minutes)
-Original Theatrical Trailer

(1:78 Widescreen/DTS-HD Master Audio 5.1/Dolby Digital 5.1)

DISC 2: BONUS DISC
-Deleted and Alternate Scenes (approx. 20 minutes)
-Monster Prosthetics Master Class
-Cutting Compromise – an interview with editor Mark Goldblatt
-The Painted Landscape: The Concept Art of Ralph McQuarrie
-Matte Painting Tests
-Makeup Tests
-Stop Motion Lost Footage
-Extended Torture Scene
-Rehearsal of Boone’s dream
-Extensive Still Galleries – Early Sketches, Deleted Scene, Posters and Pre-Production art, On the Set, The Cast and Crew

DISC 3: THE THEATRICAL CUT
-New transfer from the inter-positive

(1:78 Widescreen/DTS-HD Master Audio 5.1/English Subtitles)

Categories: Horror News

Lionsgate Will ‘Speak No Evil’ This December

bloody disgusting - Mon, 09/29/2014 - 14:18

The latest possession film, Speak No Evil (read our review) arrives on DVD (plus Digital), Digital HD and On Demand December 2 from Lionsgate Home Entertainment.

After all of the children in a town become possessed by a demon, one woman will do whatever it takes to save her daughter.

When Anna’s daughter Joey goes missing, it’s assumed to be the result of bad parenting – but dark forces are suspected when every child in town also disappears. The children return but show signs of demonic possession, and proceed to attack the town. Forced to wage a violent campaign against the children, the townspeople go on a bloody rampage, but Anna refuses to believe her daughter is lost to the devil and will do whatever it takes to save her from the demon inside.

Categories: Horror News

“The Strain” Season Finale Looks to Drain a Lot of Blood (Trailer)

bloody disgusting - Mon, 09/29/2014 - 14:14

From Guillermo del Toro and Chuck Hogan, FX’s first season of “The Strain” is set to conclude next Sunday night. We have your first look at the season finale, in which Eph and Fet recon for an all-out assault that Setrakian assures them will finally kill the Master. Gus aligns himself with a strange new force, one that may swing the fight in an unforeseen direction.

I’ve enjoyed this inaugural season for the most part, although I way prefer the World War II arc as opposed to Corey Stoll running around New York with that silly wig. It’s also a bit Blade 2-sih, which I always found a bit odd. Anyways, the season finale looks to finally bring everything together, which always piques my interest in what’s to follow. Where do the writers take Season 2?

‘The Strain’ is a high-concept thriller that tells the story of Dr. Ephraim Goodweather (Stoll), the head of the Center for Disease Control Canary Team in New York City. He and his team are called upon to investigate a mysterious viral outbreak with hallmarks of an ancient and evil strain of vampirism. As the strain spreads, Eph, his team, and an assembly of everyday New Yorkers wage war for the fate of humanity itself.

“The Strain” stars Corey Stoll, Mia Maestro, Sean Astin, Roger Cross, Leslie Hope, Regina King, Robert Maillet, Lauren Lee Smith, Miguel Gomez, Kevin Durand, David Bradley, and Richard Sammel.

Categories: Horror News

[Exclusive Preview] “The Names” #2

bloody disgusting - Mon, 09/29/2014 - 13:59

“The Names” has been described as Kill Bill meets Wall Street and I honestly can’t think of a better way to describe it. It’s an action packed mystery that will leave you with so many questions you’ll feel compelled to press on. Peter Milligan made a staggeringly strong introduction last month with issue #1. He’s built an a scary world, where money rules everything, and Leandro Fernandez has created an imposing set of villains that are sure to get under your skin just as much as the mystery.

THE NAMES #2

Searching for the truth behind the mysterious death of her husband, Katya Walker is drawn into the dangerous, nightmarish world of the Names. Meanwhile, the psychopathic killer known as the Surgeon makes a new move, and we learn more about the bizarre creatures know as the Dark Loops.

Art by: Leandro Fernandez
Cover by: Celia Calle
Written by: Peter Milligan

 

Categories: Horror News

[Review] ‘Mockingbird’ is Incredibly Effective and Almost Unbearably Suspenseful

bloody disgusting - Mon, 09/29/2014 - 13:20

Disclosure:  I know a few people involved with this film and viewed it several months ago for reaction purposes. The review below, written at that time, remains my honest assessment of the piece. 

I recently had the opportunity to see Mockingbird, the upcoming Bryan Bertino film from Blumhouse and Universal. You’ll remember that Bertino wrote and directed The Strangers, one of the few mainstream horror successes of the past decade capable of instilling a gut-wrenching, prolonged sense of dread in its audience. Since then he’s been busy with writing and producing gigs, but I’ve been looking forward to his directorial followup for some time.

For a while I had been a little concerned that something had gone wrong. Mockingbird was shot in 2012 and I hadn’t heard much about it since then. Was it some kind of disaster? My fears were eased a little bit when I interviewed producer Jason Blum at SXSW, where he assured me that everyone was happy with the film and that it was more or less a matter of finding the right release date (Note: this date has been revealed as of publication). Still… sometimes it’s hard to stop worrying.

But now? All concern has been mitigated. Not only is Mockingbird not a disaster, it’s pretty much a f*cking knockout when it comes to suspense. While it’s most certainly a filmmaking exercise rather than a straightforward narrative, and lacks some of the studio polish of The Strangers, it actually feels bigger than that film in some regards. At times you’re aware of the experiment at hand, interweaving narrative threads à la Magnolia and Nashville within a found footage context, but it’s almost relentlessly gripping in a refreshingly cinematic manner. Despite even the found footage sub-genre.

In fact, the sub-genre is the only real stumbling block here in the sense that I feel like audiences would have been more primed for this film a year or two ago before the marketplace was glutted with inferior takes on the conceit. I know I’m generally sick of found footage features and you’re probably more than a little tired of them yourself. But my fatigue lasted all of 30 seconds into Mockingbird’s runtime, as the opening of the film more than gets your attention (and raises your blood pressure). After that there’s only a bare minimum of found footage tropes (and even those are healthily justified by the mid-90’s setting). Bertino understands that we don’t need to see every BBQ his characters ever attended to generate empathy for them. He just needs to put capable performers in unbearable situations and let us sweat things out by their side.

One of the things that makes the film work so well is the tone, and the tightrope act it pulls off in achieving it. Two of the three story threads are played out with unrelenting tension, while the third almost serves as comic relief… until you realize where things are heading. While Mockingbird doesn’t necessarily telegraph its ending, you get the feeling that things won’t be ending well and the result is like watching a car crash in slow motion. You can’t look away. So that third thread with a bit of comedy, a thread that would tonally derail most horror films, actually works as an asset towards the escalating sense of dread. And that dread is palpable. I’m mostly desensitized to the genre, but I could actually physically feel the toll of the prolonged suspense here.

Mockingbird’s ending doesn’t fully pay off that suspense. It works in a narrative sense, and it’s not bad by any means. It’s just a bit abrupt and is just “pretty good” while the rest of the film is “really great.” If the entirety of the piece is as intimate and prolonged as a stabbing, the resolution is as brisk as a gunshot. Still, there’s a nice button after you think everything’s been wrapped up that reminds you of the piece’s singularity and reclaims its bleak tone. Make some time for this film when it hits later this year and put aside your found footage fatigue for just one more night. You’ll be glad you did.

This film will be released on Digital HD on October 7th and will be available on DVD exclusively from Wal-Mart starting on October 21st. 

Categories: Horror News

Reflecting on 50 Years of “CREEPY” with Richard Corben

bloody disgusting - Mon, 09/29/2014 - 12:47

Richard Corben and horror comics are synonymous with one another. This is something Dark Horse Comics knows all too well. So in celebrating 50 Years of “Creepy” next week with Creepy #18 they’ve tapped Corben to write an incredible retrospective on the series for the back matter of the issue. Luckily you won’t have to wait that long to dig into the incredible essay because we’ve teamed with Dark Horse to offer it to you here exclusively a week ahead of the release.

This retrospective is layered with insane quotes from some of the most prolific names in comics and horror, Guillermo Del Toro, Mike Mignola, and Tony Moore, just to name a few. So let’s get on with it.

RICHARD CORBEN ON HIS FAVORITE CREEPY STORIES

My favorites among the Creepy stories I’ve done include those that have a special meaning for me. They all come from a time when I was young and had more energy than I knew what to do with.

“The Slipped Mickey Click Flip,” written by Doug Moench for Creepy #54, was a takeoff on all the old horror comics and their often-silly horror hosts. The story didn’t make much sense in a normal, linear way; it was surreal because it kept jumping from the internal story to the external story of the insane host and his psychotic assistant. I joined in the madness, adding many bizarre details. It was a lot of fun.

“As a loooong-time fan of Richard’s, I remember reading this story back in the seventies. Reading it thirty-odd years later, I recall having a glassy-eyed, ‘Whoa, what was that?’ kind of response, and reading it again—but that was par for the course with any work that had Richard Corben’s name on it. I pored over his pages; it was (and is) like nothing else in comics. The last page still amazes me.”—Brian Azzarello

“Lycanklutz,” written by me for Creepy #56, was the first color story I did for James Warren, and I wanted to prove my skills and inventiveness by creating work that was at least as good as that done by his Spanish technicians. Looking back, the story was kind of childish and silly. But overall I wanted to achieve a bright comic-book version of a Hammer horror movie.

 “Even though Corben had done some bold black-and-white work for Warren before, it is with ‘Lycanklutz’ that he blooms in all his glory for the first time. Most of his stories can be classified in three categories—funny (slapstick), erotic, or hardcore genre (science fiction or horror)—but this is the rare early example in which he unleashes all three. You find in ‘Lycanklutz’ a veritable Corben primer: his proprietary color palette, his bold, audacious compositions and layout, his memorable characters, and his twisted ingenuity. It evokes at once the lost lands of Clark Ashton Smith, the twist endings of EC comics, and the Technicolor nightmares of Mario Bava and Hammer films. 

“But there is much more than that: Corben’s sensuality comes not only from the story lines and themes but from the eminently tactile, almost vinyl-toy smoothness of his characters’ skin, or the taut sensuality of sinew and muscle bulging within. And his humor derives as much from his extreme lensing and the virtuosic execution of his contrasting, psychedelic colors as it does from his O. Henry-esque puns and absurdist scenes and plot.

“His color work—and the insanely complex method he used to achieve it—allowed him to reign, uncontested, over the Warren color universe—he even colored the most astounding Spirit cover, thus relaunching Eisner for a new generation of readers! Corben lives and breathes what he does. He is the sum of his influences, and they pour naturally from within. The man and his art are one. He has been an enormous influence on all of my work. He is the mainstay in my collection of original art and one of the most precise and admirable storytellers in the medium.”—Guillermo del Toro

“The Hero Within,” written by Steve Skeates for Creepy #60, was a story I had a lot of sympathy with. It concerns a young, mistreated child who retreats into a fantasy world where he is a muscular hero saving a beautiful woman from a fantastic dinosaur monster. This was a theme I would return to in some of my own writing. I think the story was written to fit a preexisting Sanjulián cover.

“ ‘The Hero Within’ is a fine example of Corben’s mastery of the form. His art, still containing hints of his underground past, is vibrant and moody, the characters expressive. The writing is literate and works on two levels, telling of the heroic fantasies that live just under the surface in all of us—fantasies that wilt in the harsh light of reality.”—Mike Richardson

“The Raven,” adapted by Rich Margopoulos for Creepy #67, was the first Poe adaptation I did for Warren, and probably the best. In reviewing it now, I especially remember this was when I started using live models to draw from. In this case, another comic book artist and my good friend, Herb Arnold, and his wife portrayed the mournful Poe characters.

“Maybe the straightest Poe adaptation I can remember Richard doing and, really, just about perfect—super respectful of the poem and at the same time it’s pure Corben. Who else would even attempt (let alone pull off) that lit-window/shadow-on-the-snow effect on the bottom of page 4? And the amount of character he gives to that bird just by moving its head around . . . I love that shot of Lenore with that red sky behind her across the top of page 6. Really powerful. The fact that he comes back to that shot at the end, replacing her with her tombstone—as I said, it’s just pretty much perfect.”—Mike Mignola

“In Deep” was a project promoted and written by Bruce Jones for Creepy #83. The color inserts were eight pages long, and Bruce had an idea to do a black-and-white lead-in and finish to a color story so it could be a longer story. He also posed in reference photographs for the lead character of the story. Furthermore, he introduced me to the startlingly statuesque Karen G., who portrayed his luckless girlfriend. Some sharp-eyed readers will recognize her, as this was the beginning of my association with Karen on many later projects.

“Corben was an especially big influence on me. As a kid, I was digging around at my grandparents’ house. Tucked neatly away in the back of a closet were a couple of old brown-paper grocery bags stacked heavy as cinder blocks with a treasure trove of old horror and fantasy comics. This is where I met Richard Corben for the first time. His stark lighting and labored, realistic textures fleshing out expressive cartooning and masterful storytelling, not to mention bold color work with subtle interplay—it was all produced with a level of complexity that is still unmatched today, even by the best in this digital age. The power. The sensuality. The gripping, visceral horror that could stand silent on the page. The first time I saw his work, it was unlike anything I had ever seen in a comic book. I was absolutely blown away and knew instantly what I wanted to see in my own work, which is an artistic pipe dream on my part. But hey, a boy can dream.

“I love that this story is full, lush color in the flashback, bookended by that great stark black and white. As readers, we’re immersed in the flashback, and then we get that final twist of the proverbial knife in that great EC/Twilight Zone fashion that Warren expanded on so well. The story itself is such an intimate experience, and you can become invested in the characters’ plight so quickly, that a few haymaker shots of that great standout gore hit you hard enough to take your breath away. When he looks up from his buoy, and we get the intercut zooms on the wife’s missing eye and the gull who took it, you can practically hear the screeching soundtrack swelling with anxiety, as this is just the preamble to the horror to come. That small stretch of panels is a clinic on storytelling that really gets under your skin and ratchets up the intensity as a good horror hook should. Then immediately after a punch to the gut like that, we’re dropped into a frenzy that leaves us frantically flipping pages until the end, when we’re shocked to the point of sweaty exhaustion. This is the stuff I love. I wish every comic could put me through the emotional paces like this. I guess if I dialed back my reading to only Richard Corben comics, I could get that wish granted.

“As a young comics professional, I had the pleasure to meet the man in the flesh at a small convention in Kansas City, many years ago. It was like spotting a unicorn in the wild. He wasn’t the mass of rippling meat and road-map sinew I kind of expected from the decades of looking at his work, but rather a friendly and quiet older gentleman. I paced, mealy mouthed and sweaty, till the convention was nearly over before finally walking over to introduce myself and shake his hand. He graciously accepted the copies of my own books, which I gave him as a token of my appreciation for his work, when I had nothing else to give. He was kind to me in that fleeting interaction, and I hope when he saw my work, he didn’t take my declaration of his influence as some sort of insult or personal indictment. As an artist, I owe a great deal of thanks to Corben’s pioneering approach to production and profoundly moving storytelling. Newton said, ‘If I have seen a little further, it is by standing on the shoulders of giants,’ and the comics industry, especially where horror stands, owes an unfathomable debt of gratitude to this giant in particular.”—Tony Moore

The cover of Eerie #77, with the girl in the tree portrayed again by Karen G., was my attempt to evoke some of the mood of the jungles in the original King Kong. These stories, including “Within You . . . Without You,” represent my comic work at a time when I was young and determined to prove myself.

“Corben was a heavy influence on me when I was teaching myself to paint. His work vividly stood out amongst everything else I was being exposed to. His striking and bold use of color, the extremes of his exaggerated anatomy, and his unparalleled use of shadow and texture make his work totally unique. It’s his ability to convey texture that really blows me away. When you look at a gnarled tree trunk in a Corben painting, you can almost feel its rough surface and smell the musty odor of the rotting vegetation. Corben is one of those truly great illustrators that not only deliver an artistic technical satisfaction, but also smack you in the face with the visceral power of the image and the world they create.”—Eric Powell

 

There you have it, an incredible retrospective filled with art that was made years ago and still looks gorgeously unlike anything else in comics right now. Truly a master, be sure to check out our Visions of Horror with Richard Corben for more.

Categories: Horror News

What Happens Next? ‘Inner Demons’ Clip Goes Full Demon (Exclusive)

bloody disgusting - Mon, 09/29/2014 - 12:27

Seth Grossman will take an intervention to another level.

Starring Lara Vosburgh, Morgan McClellan, and Colleen McGrann, IFC Midnight sneaks in some footage from Inner Demons, out in theaters and VOD October 3.

When the teenage daughter of a religious family transforms from A-student into heroin addict, her parents agree to allow a reality TV crew to stage an intervention and tape her recovery. What they don’t know is that she has been taking drugs to deal with the unnatural, evil feelings growing inside her. When she agrees to rehab, with no drugs to suppress what’s inside, the demon emerges.

A suspenseful and clever reinvention of both the found-footage and possession genres, Inner Demons expertly plays on our culture’s love of reality television. Director Seth Grossman, who worked as a producer on “Intervention,” deftly guides the audience down a path where addiction is just a temporary cure for something much more evil.

Categories: Horror News

[Comic Book Review] “Thor” #1 Proves Worthy!

bloody disgusting - Mon, 09/29/2014 - 12:26

The impossible has become possible; the Hero of Midgard and god of Thunder, Thor, has become too unworthy to wield Mjolnir. With the Earth on the brink of a massive war one of their most powerful allies may prove to be too powerless to help. Beautifully written and illustrated “Thor” #1 is changing the game for Marvel Comic’s universe with the introduction of a goddess of thunder, but will she be too late to take up the mantel?

WRITTEN BY: Jason Aaron
ART BY: Russell Dauterman
PUBLISHER: Marvel Comics
RELEASE DATE: October 1st 
PRICE: 3.99

Reviewed By Green Bastard

Using wisdom gained from The Watcher, a mere whisper from Nick Fury has left the most powerful god in Asgardia a shade of his former self. Starving, dirty and looking rather homeless, Thor is in the grips of despair as he continuously tries to lift his beloved Mjolnir from the moon’s surface. As his fellow gods circle Thor to view his humiliation his enemies begin to circle him as well. Without his powers Thor strikes out to fight once again, but the task may prove too great for the former thunder god. There must always be a Thor and so there shall be…

In one of a few diversity project Marvel has going, the new Thor is trying to put fresh life into their universe by introducing a female into the role of the Mjolnir wielding god (goddess) of thunder. Will it necessarily work? I’m no psychic but after reading this book I certainly have a lot of optimism surrounding this ongoing.

The intensity of the story is one of the biggest surprises this debut issue had for me, from the opening panels until the brilliantly displayed closing page the pace is break neck and filled with drama. Jason Aaron has been consistently delivering quality Thor books for a while and I have no doubt in my mind that this arc has the potential rival its predecessors.

The quality of the writing aside the other chief factor that this book is such a pleasure to read is the artistic teamwork of illustrator Russell Dauterman and colourist Matthew Wilson. There are many individual panels that stand out in my mind, too many to name in this review, from the opening pages of the frost giants to the final image of the new thunder goddess and everything in between. The images are crisp and vibrant with a realistic style has been always been a preferred one of mine and has been constant throughout the Thor ongoing which is why I keep coming back for more.

Whether or not you agree with the line of thinking that has lead Marvel to switching Thor’s gender, the book is high quality and will leave you salivating for the next issue. There can only be one goddess of thunder and she looks like someone you don’t want to mess with.

Categories: Horror News

THE BOY FROM SPACE (1980)

nothingbutthenight - Mon, 09/01/2014 - 14:36
The Boy from Space was a science fiction drama serial made in 1971, originally directed and shot on film by the enticingly named ex-BBC Radiophonic Workshop musician Maddalena Fagandini, and specifically intended to be watched by children between the ages of seven and nine upwards. Unlike most fondly remembered children’s series that have eventually found their way onto DVD in subsequent Black Gloveshttp://www.blogger.com/profile/01771303462033735870noreply@blogger.com1
Categories: Horror News