After the fun visit to The Twilight Zone in Box of Dread‘s September boxes, we return in October with more mysteries. We can’t tell you yet what you’re getting in your Box of Dread mystery boxes, but we can show you what one item in the Seventh Box for Box of Dread October will be!
This giant Ghostbusters Stay Puft Marshmallow Man clocks in at 24 inches in height and comes from Diamond Select Toys! One lucky Box of Dread subscriber who is an active subscriber when our deadline ends at 12 midnight EST, October 9th, will receive this (and other yet to be announced items) in their mail box!
Don’t miss the deadline! It’s 12 midnight ET, October 9th!
You can also subscribe to any of the Box of Dread horror subscription box membership plans right below:
Have you seen all the unboxing videos from subscribers of Box of Dread horror subscription box service yet? Check them out right now!
Hurry, the deadline is Thursday, October 9th at 12 midnight Eastern Time.
If you don’t already know, Box of Dread is DreadCentral’s horror subscription box service where every month, our subscribers get a box filed with horror toys, collectibles and other horror goodies, some of which are one of a kind or signed by your favorite horror stars! That’s right, for around the cost of a t-shirt each month or a video game every quarter, you get all these and more.
We also have been running contests exclusively for our subscribers every month with even more unique giveaways! Did you miss out on our The Twilight Zone “selfie” contest on our Box of Dread Facebook Page?
All you have to do is sign up for Box of Dread and sit back as a mystery box with cool horror merch is mailed right to your doorstep each month.
Every month we randomly pick a winner of our “Special Edition Box of Dread” valued at up to $200 called the “Seventh Box”. The “Seventh Box” for each month will include new movies, games, signed merch, maybe even a screen used prop!
So, sign up for Box of Dread today and watch out for the mailman soon because he may soon be headed up your driveway with the next box in hand! Get started TODAY! Visit the official Box of Dread website for more information!
See what our Box of Dread subscribers received the last few months in our Facebook albums. Don’t you want to get these delivered to you every month?
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The post Win Ghostbusters Stay Puft Bank From Horror Subscription Box Of Dread In October appeared first on Dread Central.
Still happily riding the ghost- and demon-driven horror train? Well then, get ready because we have yet another supernatural affair to put on your radar… Speak No Evil!
The film is written and directed by Roze and stars Greg Bronson, Annalise Cavender, Elisabeth Cavender, Ian Cavender, Olivia Cavender, and Kameron Cochrane.
From the Press Release
The terrifying possession film Speak No Evil 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. Speak No Evil will be available on DVD for the suggested retail price of $26.98.
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.
We’re just a few days away from the Season 6 premiere of “The Vampire Diaries,” and all of the show’s stars have recorded quick video interviews in which they give us a few hints of what to expect. Check ‘em out, and get ready for “TVD’s” Thursday night return!
“The Vampire Diaries” Episode 6.01 – “I’ll Remember” (airs 10/2/14): After spending the past four months coping with the loss of Damon (Ian Somerhalder) in an unconventional and potentially dangerous way, Elena (Nina Dobrev) has returned to Whitmore College for the start of sophomore year.
Unable to move on, Caroline (Candice Accola) is desperate to find a way to reverse the anti-magic spell the Travelers have put over Mystic Falls and grows frustrated when her calls to Stefan (Paul Wesley) go unanswered.
Tyler (Michael Trevino), who is human once again, has a run-in at a football tailgate that tests his ability to control his anger, while Matt (Zach Roerig) worries that Jeremy (Steven R. McQueen) is dealing with the loss of Bonnie (Kat Graham) in a self-destructive way.
Alaric (Matt Davis), who is struggling to adjust to his new life as a vampire, finds himself in an awkward situation when he meets Jo (guest star Jodi Lyn O’Keefe), a beautiful doctor at the university hospital.
Lastly, while everyone believes Stefan is off tracking a lead to get Damon and Bonnie back, Elena is shocked when she learns the truth of what he has really been up to. Jeffrey Hunt directed the episode written by Caroline Dries.
The post The Vampire Diaries Cast Members Tease What’s Ahead in Season 6 appeared first on Dread Central.
Plants vs. Zombies Garden Warfare is set to receive free DLC on September 30th in the form of Legends of the Lawn. This update will give players the ability to play the Taco Bandits game mode, in which the plants attempt to defend three tacos from a horde of invading zombies.
Either defend the tacos as the plants or deliver them to them to nearby UFO’s as the zombies to win.
Legends of the Lawn will feature seven new character variants: Golf Star, Centurion, Paleontologist, Chomp Thing, Alien Flower, Jade Cactus, and Sanitation Expert. Each provides its own unique abilities such as sniping or quicker health regeneration.
The DLC will also offer depth to the game’s customization, boasting over 200 new options including a Mass Effect-inspired skin for the Plasma Peashooter.
The game’s last expansion, Suburbination, will be included on the PlayStation version of Legends of the Lawn, providing PlayStation fans a chance to play the DLC that skipped Sony consoles due to the later release date of Plants vs. Zombies Garden Warfare on that system.
Legends of the Lawn will be available for PlayStation 4, Xbox One, PC, PlayStation 3, and Xbox 360.
The fifth annual Telluride Horror Show is getting set to kick off in Telluride, Colorado, and right now we have the second batch of announced films for your perusal.
From the Press Release
The Telluride Horror Show is excited to announce its second batch of films for the 5th annual film festival, scheduled for October 10-12, 2014, in beautiful Telluride, Colorado. Spanning the globe, features include CREEP starring Mark Duplass, Canadian film THE EDITOR, ABCs of DEATH 2, and horror comedy GRAVY, which includes Sarah Silverman.
Here’s the complete rundown of the second wave of films, including shorts and features.
ABCs OF DEATH 2
Various Countries | 2014 | 125 min | Directors: Aharon Keshales & Navot Papushado, Alejandro Brugués, Bill Plympton, Chris Nash, Dennison Ramalho, Erik Matti, Evan Katz, Hajime Ohata, Jen & Sylvia Soska, Jerome Sable, Jim Hosking, Juan Martinez Moreno, Julian Barratt, Julian Gilbey, Julien Bustillo & Alexandre Maury, Kristina Buozyte & Bruno Samper, Lancelot Imasuen, Larry Fessenden, Marvin Kren, Robert Boocheck, Robert Morgan, Rodney Ascher, Soichi Umezawa, Steven Kostanski, Todd Rohal, Vincenzo Natali.
Fresh off of Fantastic Fest, ABCs OF DEATH 2 is the follow-up to the most ambitious anthology film ever conceived with productions spanning from Nigeria to UK to Brazil and everywhere in between. It features segments directed by over two dozen of the world’s leading talents in contemporary genre film. The film is comprised of twenty-six chapters, each helmed by a different director assigned a letter of the alphabet. The directors were then given free rein in choosing a word to create a story involving death.
AMONG THE LIVING
France | 2014 | 90 min | Directors: Alexandre Bustillo & Julien Maury
In its only screening since SXSW…
Victor, Dan, and Tom skip school to wander around an abandoned amusement park. They stumble upon a horrific vision: A woman in chains is dragged through the field by a man wearing a clown mask. The masked man catches a glimpse of the boys, who scramble to run away. But, before they can escape, they see something which has been hidden for years, something they were not meant to see. Terrified of having been seen by the masked man, the boys try to alert the police. Unfortunately, their past record of unruly behavior discredits them and the police do not follow up on their tipoff. That night someone breaks into their homes, seeking to eliminate them…one after another. They are going to meet Klarence…
USA | 2014 | 100 min | Directors: Anthony Stacchi & Graham Annable
The Boxtrolls, a stop-motion feature, is a comedic fable that unfolds in Cheesebridge, a posh Victorian- era town obsessed with wealth, class and the stinkiest of fine cheeses. Beneath its charming cobblestone streets dwell the Boxtrolls, foul monsters who crawl out of the sewers at night and steal what the townspeople hold most dear: their children and their cheeses. At least that’s the legend residents have always believed. In truth, the Boxtrolls are an underground cavern-dwelling community of quirky and lovable oddballs who wear recycled cardboard boxes the way turtles wear their shells. The Boxtrolls have raised an orphaned human boy since infancy as one of their dumpster-diving and mechanical junk-collecting own. When the Boxtrolls are targeted by a villainous pest exterminator who is bent on eradicating them as his ticket to Cheesebridge society, the kind-hearted band of tinkerers must turn to their adopted charge and an adventurous rich girl to bridge two worlds amidst the winds of change – and cheese. After this special screening of The Boxtrolls, LAIKA’s Mark Shapiro will take us behind-the-scenes with production puppets from the film and rarely seen images and time lapses.
USA | 2014 | 80 min | Director: Patrick Brice
Looking for work, Aaron (Patrick Brice) comes across a cryptic online ad: “$1,000 for the day. Filming service. Discretion is appreciated.” Low on cash and full of naiveté he drives to a cabin in a remote mountain town where he meets Josef (Mark Duplass), his cinematic subject for the day. Josef is sincere and the project seems heartfelt, so Aaron begins to film. But as the day goes on, it becomes clear that Josef may not be who he says.
Canada | 2014 | 99 min | Directors: Adam Brooks & Matthew Kennedy
Rey Ciso was once the greatest editor the world had ever seen. Since a horrific accident left him with four wooden fingers on his right hand, he’s had to resort to cutting pulp films and trash pictures. When the lead actors from the film he’s been editing turn up murdered at the studio, Rey is fingered as the number one suspect. The bodies continue to pile up in this absurdist giallo-thriller as Rey struggles to prove his innocence and learn the sinister truth lurking behind the scenes.
USA | 2014 | 93 min | Director: James Roday
It’s All Hallow’s Eve. A trio of costumed misfits with very special dietary requirements seizes a Mexican cantina and force the staff to engage in a late night of gaming, food and libations. The only caveat is what’s on the menu. GRAVY includes Sarah Silverman.
WORLD OF DEATH
Various Countries | 2014 | 55 min | Directors: Gus Krieger, Matt Cairnes & Brandon Pickering, Tony Wash, Félix Catala, Neil Mackay, Daniel Pizá Ruiz, Marc Schießer, Martin Vrede Nielsen, Paul Campion, Jordan Wippell, William Prince, MJ Blackman, Craig Stewart, Matthew Corbett, Dan Frantz.
This is an hour long “sampler” of the World of Death compilation. World of Death brings together the talent of over 200 filmmakers from more than 20 different countries in a compilation of short horror films that will terrorize, astonish, disturb, and excite genre fans across the globe.
France | 2013 | 10 min | Director: Didier Philippe
Claire lives alone in a large apartment. Her fear of the outside world stops her from going out and letting people in. One day, she discovers evidence revealing that a man lives in her home. The presence of that man becomes more and more threatening…
Norway | 2013 | 14 min | Director: Thomas Lunde
Arne loses an arm in an accident, but miraculously a new arm appears. This new arm’s got a will of its own and turns his life upside down. Void is replaced with joy, but miracles have a price.
Norway | 2014 | 17 min | Director: Fredrik S. Hana
Devastated by his wife’s death, a fisherman plans to put an end to his own life. His attempted suicide is interrupted by a mysterious sea creature that offers him a deal: Recover his lost love in exchange for carrying out a series of gruesome acts.
Ireland | 2013 | 15 min | Director: Michael Lathrop
Jerry is a strange and solitary boy who lives alone with his young neglectful mother in a run-down apartment. Behind the bedroom wall he discovers a seductive alien creature with which he has sex. After the creature becomes pregnant, Jerry is filled with panic and guilt and attempts to abort the alien creature, leading to a horrific outcome which neither himself nor his mother will ever forget.
Australia | 2013 | 7 min | Director: John Marsh
A desperate man, a derelict farmhouse, an ever-present menace: What happens when DARKNESS COMES?
USA | 2014 | 6 min | Director: K.W. Roach
Dead Fuck divulges to the audience an otherwise private and esoteric act. It agitates the notion of necrophilia by way of displacing that which is innately abject, the act of copulating with the dead, and forcing upon it the aesthetic treatment of the beautiful and living. The perversion can be viewed under a new pretense–untethered by the preconceptions of abjection. The image is conceived with the quiet contemplation of a nature morte, transcending the physical vility of necrophilia while arousing the parameters of beauty.
USA | 2014 | 4 min | Director: Rebekah McKendry
A mockumentary that reveals the modern day origins of found footage horror films.
THE GAS MAN
UK | 2014 | 14 min | Director: Matt Palmer
Sometimes, the gas man needs to read the meter. Sometimes, he has other things in mind.
UK | 2014 | 15 min | Directors: Adam & Joe Horton
After a viral pandemic takes its grip on the planet turning humans into flesh craving mutants, TV adventurer Hunter Smith fights back by presenting “Get Some”, a show in which he tracks and kills the infected for the entertainment of the surviving population.
USA | 2013 | 6 min | Director: Paul von Stoetzel
A short horror comedy film focusing on a filmmaker’s aggravation with film contests and their constraints to subject matter.
UK| 2014 | 15 min | Directors: Mark Vessey & Chelsey Burdon
A tragic couple are stuck in a loveless and silent relationship until an anniversary dinner when SHE plans a brutal act of revenge that will leave them both forever changed.
USA | 2014 | 14 min | Director: Rob Himebaugh
After acquiring a jar of rare silk from the vast desert expanse of Afghanistan, a CIA field operative is impregnated by the spider hiding inside.
THE SOUND OF TRAINS
USA | 2014 | 11 min | Directors: Travis Champagne & Jordan Bradley
Jacob, a middle-aged hermit, discovers an otherworldly goo that triggers an evening of disturbing events. These events lead to visitations by curious beings, causing Jacob to question his sanity and whether we really are alone in this universe.
UK | 2014 | 15 min | Directors: Alex Mathieson & Damon Rickard
Darkmoor Manor is England’s most haunted house, its doors closed to the public. It is now just part of a tour which helps attracts visitors to a struggling town. That is until the tour guide, trying to impress two attractive American tourists, promises to get them inside. But none of them could be prepared for what was waiting within the shadows of the house.
For more info visit the official Telluride Horror Show website, “like” Telluride Horror Show on Facebook and follow the Telluride Horror Show on Twitter (@telluridehorror).
The post Telluride Horror Show 2014 Reveals Second Wave of Films appeared first on Dread Central.
Directed by Zach Lipovsky
Distributed by Lionsgate
You would think with a name like Leprechaun Origins that you would see, somewhere during the course of the egregious 90-minute running time of this monstrosity, a full-shot of a leprechaun. Just once. Give us one good look, not just multiple blurry, quick looks at his head or hands or feet. Or not just a super close-up of his freakishly deformed face, but just a simple, full-on shot so we can see just what our antagonist looks like. Even Cloverfield did that.
Well, that doesn’t happen in Leprechaun Origins. All you get are quick, usually in and out of focus, shots of the creature without ever getting a head-to-toe look at the beast. And, if it’s an origin movie, wouldn’t you expect it to be the beginning of something? Most likely a prequel to a movie that we’ve already seen and are familiar with? Leprechaun Origins provides none of that either. In fact, judging by the end of the movie, you can pretty much say it’s not the origin of anything.
Simply put, Leprechaun Origins takes four beautiful people (I know one of the character’s names was David and one was Sophie, but I’m not totally sure on the others. Needless to say, character development was not of the utmost importance to the filmmakers behind this atrocity) and stick them out in a cabin in a desolate area in Ireland as quickly as possible. We know one of the girls is some type of history buff, but that’s all the character development you get. After that, it’s one random leprechaun attack after another resulting in zero tension, zero thrills and zero fun. So the story goes, beautiful people on a trip through Ireland meet stereotypical Irish locals who offer them a cabin. Beautiful people accept offer from stereotypical Irish characters. Attacks from goblin-like creature intended to be a leprechaun ensue. Roll credits.
Leprechaun Origins goes completely away from the fun horror-comedy that made up the original series. Sure, by the time he got to space and ‘da Hood”, the Leprechaun films became a bit tired and overdone. But they never made the cardinal sin of film…they were never boring. This movie commits that sin in spades. And even in the one or two interesting moments of the movie (as there are few notable F/X moments), the reaction of the characters are so out of the realm of reality that you can’t take it seriously for a moment. And that’s the problem here. Leprechaun Origins wants to be taken seriously and the entire basis of the film rails against that. And the production of the movie ensured it wouldn’t happen.
If there are those of you who get through the movie and are actually inclined to see some special features, there are two featurettes included in Leprechaun Origins. The first is entitled Leprechaun: An Icon Reborn. Now, once you get through the uncontrollable laughing fit this title will certainly bring down upon your unsuspecting person, you will find the answer to why this movie was entitled Leprechaun Origins (and no, the answer isn’t because Leprechaun Steaming Pile of Crap was already taken). The filmmakers explain that they were going for the origin of the actual leprechaun legend, which would also be the genesis of the beloved Leprechaun character. And with the mention of him, let me say Mr. Warwick Ashley Davis, you were sorely missed in this role. This featurette goes on to include interviews with director Zach Lipovsky and stars Dylan “Hornswoggle” Postl and Stephanie Bennett.
Additionally, for those who still decide to continue to plow ahead, there is a behind-the-scenes feature entitled Leprechaun: Behind the Blood which is actually a quite informative and interesting look into how some of the special F/X were created. Definitely the most compelling entry on the entire disk.
Overall, this thing is an epic fail. There was so much potential here. Postl has proven to be a very entertaining personality in his WWE career, and he could have used that to bring another snarky leprechaun to life who doles out one-liners as he’s terrorizing his victims. It would have certainly been an improvement over this. Aside from a couple moderately impressive F/X moments, there’s really nothing worth seeing here.
- Leprechaun: An Icon Reborn featurette
- Leprechaun: Behind the Blood Featurette
We’re just days away from the release of the Left Behind remake starring Nicolas Cage, potentially the Sharknado of modern Christian cinema. To help entice viewers into theaters, the film’s marketing campaign has begun quoting the Devil himself. No, seriously.
In this magical age where anyone with a blog can be a movie critic, real movie critics have devolved into quote whores, and tweets by ordinary people are regularly used in marketing campaigns, there’s something almost refreshing about PR people trying to persuade people into seeing their movie by quoting that silver-tongued devil, The Devil.
Easily the greatest quote of its kind since Swamp Thing opened his television show emphatically warning, “Do not bring your evil here!”
Obviously the distributors of Left Behind realize that there’s no chance in hell of this movie garnering genuine critical praise so they’ve resorted to gimmicky quotes from someone even more demonic than Rex Reed.
So, will this goofy attempt at reverse psychology/gimmick marketing/desperation succeed in luring in the unwashed masses only to see the light and be converted by the almighty power of Pope Nicolas the Great?
The post The Power of Satan Compels You to See the Left Behind Remake appeared first on Dread Central.
Directed by Adam Brooks and Matthew Kennedy
Growing accustomed to the all-inclusive Friedberg and Seltzer modern model of parody, Astron-6 (Manborg) has (thankfully) thrown its black-rimmed fedora into the ring with a meticulous mock breakdown of giallo crime fiction that doesn’t feel the need to go for easy laughs that only appeal to the lowest common denominator. With The Editor, Adam Brooks and Matthew Kennedy have delivered a love letter to giallo cinema so niche that it’s probably a good idea to revisit Argento’s “Animal Trilogy” or even go further back to films like Mario Bava’s Blood and Black Lace to fully appreciate the attention to detail on display.
The absurd story follows Rey Ciso (Adam Brooks), who loses his fingers in bloody fashion during a freak accident in the editing room. Now haunted by the ordeal, insecurity consumes him as Ciso fears he may not be as gifted at his profession as he once was. A blade-wielding killer steps on set and starts slicing and dicing, leaving the victims fingerless themselves. Naturally, as an investigation heats up, Ciso becomes the prime suspect – and maybe even the main target.
Knowing full well what has come before and whom fans of the genre hold in high regard, the production employs talent like Udo Kier (Suspiria) and composer Claudio Simonetti, whose contributions are too vast to list. Note perfect throughout, The Editor calls up all the right characteristics of giallo, including badly overdubbed ADR (Automated Dialogue Replacement), glowing Fulci-esque eyes staring back in the dark, and random acts of slap-happy violence where the man inflicting the damage inexplicably turns on a dime and agrees with the victimized woman mere moments later.
Shiny black gloves, gleaming scalpels, and even German Shepherds are referenced throughout the running time, which will undoubtedly cause even casual horror fans to seek out the sleek, horror noir that The Editor is having so much fun lampooning. The only thing that’s absent is copious amounts of slow motion, glass-breaking face smashing (and it’s a sorely missed opportunity).
That’s the magnificent trick that the film pulls off: It never bullies giallos indiscriminately, it just points out how gloriously ridiculous they often are. A dysfunctional marriage of sorts, the dream logic and surreal quality of giallo match up with the over-the-top, sometimes nonsensical aspects of parody and improv comedy, making the insanity of the genre even more outrageous. It’s finally okay to laugh at these movies instead of putting them up on a pedestal, sometimes unjustifiably.
At one point a character exclaims, “We’re all editors of our own realities.” That’s a good definition of giallos in general and how unaccountably surreal they can be. Interestingly, in making fun of giallo films, The Editor winds up paying tribute. Like a mother watching a child throwing a wild temper tantrum, Astron-6’s send-up doesn’t ever pretend to try to make sense out of giallo films, but it does try to understand them.
The cast for Caliber Media’s production of writer/director S. Craig Zahler’s brutally violent Western Bone Tomahawk has expanded once again, and now on board are Lili Simmons (“True Detective,” “Banshee”) as the female lead with David Arquette (the Scream franchise), Sid Haig (The Devil’s Rejects), Kathryn Morris (“Cold Case”), and Evan Jonigkeit (“Girls”) set to co-star.
Simmons (pictured) will play “Samantha O’Dwyer,” the de facto doctor of Bright Hope and dedicated wife of Patrick Wilson’s “Arthur O’Dwyer.”
Arquette and Haig play a couple of filthy brigands whose actions set off a string of violent repercussions, Morris will play the wife of Kurt Russell’s “Sheriff Hunt,” and Jonigkeit will play a young deputy sheriff.
Sean Young (Blade Runner), Geno Segers (“Banshee”), Fred Melamed (A Serious Man), James Tolkan (Top Gun), Raw Leiba (The Heat), Jamie Hector (“The Wire”), Jamison Newlander (The Lost Boys), Zahn McClarnon (“Longmire”), David Midthunder, Jay Tavare, Gray Wolf Herrara, Robert Mukes (House of 1000 Corpses), and Brandon Molale round out the cast.
These performers join the previously announced castings of Russell, Wilson, Matthew Fox, and Richard Jenkins.
Caliber Media partners Dallas Sonnier and Jack Heller will produce and arranged the majority of the financing through a deal with The Fyzz Facility’s Wayne Marc Godfrey, Robert Jones, and David Gilbery, who will serve as executive producers.
Four men attempt to rescue a group of captives from a band of cannibalistic troglodytes that live beyond the edge of civilization.
If there’s a single blight on Anchor Bay and Scream Factory’s release of the Halloween: The Complete Collection Blu-ray (review), it’s that there’s a 10-minute stretch during Halloween 4: The Return of Michael Myers in which the audio does not sync up properly.
The audio issue was present on Anchor Bay’s previous release of Halloween 4 on Blu-ray, and reports are that it’s even worse here. The problems start around the 45:30 mark, when Jamie is wandering the streets alone, having lost her group of trick-or-treaters, before bumping into Rachael. The characters’ lips are clearly not matching up with their words, some lines much more obviously than others. The issue persists for a good ten-minute chunk before correcting itself.
Related Story: Halloween News Archive
Anchor Bay and Scream Factory have issued the following official statement:
“Anchor Bay and Scream Factory are digging deeper into the audio sync issue of H4. Please stay tuned, and we’ll update you with any news as soon as we can…”
Yeah, I’m thinking a replacement disc will soon be on its way. Stay tuned.
The found footage fear-fest Delivery: The Beast Within (review) (or Delivery, as it was known in the UK) is getting set to haunt you on home video, and we have an exclusive clip to get you ready!
Delivery: The Beast Within terrifies on DVD and digital HD September 30 from Cinedigm and The Collective.
Blending found footage and reality show genres, the nightmarish feature that is “so intense, so frightening, and so real” (Ain’t It Cool News) marks the directorial debut of Brian Netto, who also co-wrote the film with producer Adam Schindler, and is “bolstered by outstanding performances by its two leads” (IndieWire), Laurel Vail and Danny Barclay.
Delivery: The Beast Within follows Kyle (Barclay) and Rachel Massy (Vail), a young couple who agree to document their first pregnancy for a new reality show. The family begins to unravel when the cameras capture a series of unexplained events, leading Rachel to believe that a malicious spirit has possessed their unborn child. After production is abandoned, a first-hand account of the tragic, and possibly supernatural, story is told through the show’s unaired footage and testimonials from friends, family, and crew members.
Delivery: The Beast Within tells the story of Kyle and Rachel Massy, a young couple who agree to document their first pregnancy for a popular reality show. During the production, following a series of disturbing paranormal events, Rachel begins to believe that a powerful force of evil has possessed their unborn child. Set against the backdrop of never-before-seen footage deemed too shocking for air, Rachel and Kyle’s family and friends recount the terrifying ordeal that’s remained a carefully guarded secret – until now.
- “The Birth of Delivery” – Nine-minute making-of featurette
- Audio Commentary with Actors Laurel Vail and Danny Barclay, Producer Adam Schindler, and Director Brian Netto
- Audio Commentary with Composer Daniel Cossu, Supervising Sound Editor Darin Heinis, Producer Adam Schindler, and Director Brian Netto
The post Exclusive Delivery: The Beast Within Clip Delivered! appeared first on Dread Central.
Directed by Marc Carrete
Distributed by IFC Midnight
I had almost given up hope on the interminable sinking ship of “possession and exorcism” films that have surrounded the horror aficionado as of the last few years and have begun to strangle us with their less-than-frightening depictions of Satanic overtakings (yawn). In my completely dysfunctional opinion, The Exorcist is and forever will be the benchmark for possession films, no argument about it, and any other movie that attempts to piggyback its creative refinement is sorely mistaken.
With that being said, let’s move on to a film that has (slightly) restored my faith in the demonic soul-stealing category of movie-making.
Director Marc Carrete, who before had only worked on short films, now takes the full-feature jump into the deep end with Asmodexia, a film about a man (Marco) named Eloy de Palma, who back in the day used to preside over an oddball sect-like group of holy worshipers and now travels around Barcelona, Spain, with his granddaughter, Alba (Pons), attempting to rid different helpless souls of the Satanic evil that has overcome them. He believes this to be the work of the Devil himself, and the afflicted are merely those who have not given their all to the man upstairs. While many of his works are successful to some degree, he relies heavily on the aid of his granddaughter, as she seems to have a special gift for dealing with these tormented individuals.
All of the previously mentioned instances are also set against the backdrop of the predicted (however failed) Mayan apocalypse of 2012, and it looks as if the possession problem has manifested into a sort of virus, literally affecting people down the line for miles and miles. The area, which normally has cooler than cool temps at the particular time of year (December), is heating up at a record pace, seemingly frying everyone in sight, whether it be on a street corner or in the bowels of a mental institution. As the end of days draws closer, the threat of a complete uprising of infernal entities is beginning to seem like a reality, and Eloy uses tactics that he’d thought he’d never have to employ in order to cease the sinister ushering in of a new day.
The film at times gets stuck in the mud, and its plot has the tendency to stray into uncharted (and confusing) territory, but it’s not long before we are dawn to a conclusion that will shock and surprise many of its watchers. It’s not an overly scary movie – there are some decent makeup jobs that warrant a little shake – but the premise will chill you to the bone. When all is said and done and the credits have rolled, Asmodexia completes its rather short 81-minute jaunt like a professional and delivers the goods for fans of apocalyptic-themed photoplay.
Have you got your tickets for the Titty Twister? Whaddya mean “no”?!? Well, you just might have some soon as to celebrate the release of From Dusk Till Dawn Season One, out on DVD across the UK on 22nd September 2014, we have a copy up for grabs!
From Dusk Till Dawn Season One has more excitement and a compelling back story as the show takes us up-close and personal with the vicious vampires from the 1996 film and ramps up the gore and tension whilst keeping the darkly comical tone set by the Rodriguez/Tarantino original.
Cult-classic From Dusk Till Dawn comes to the small screen with bigger action, more gore and an expanded look at the film’s characters as they embark on a frightening journey into the depths of the Titty Twister.
To be in with a chance of winning, just send us an email at email@example.com including your FULL NAME AND POSTAL ADDRESS. We’ll take care of the rest, so you can sit back and dream of all the different kinds of… well, y’know… that the Titty Twister has to offer!
Please note that this competition is open only to UK residents and will end at 12:01 AM PT, 8 October 2014.
From Dusk Till Dawn Season One is centered around bank robber, Seth Gecko (Cotrona) and his violent, unpredictable brother, Richard “Richie” Gecko (Holtz), who are wanted by the FBI and Texas Rangers Earl McGraw (Johnson) with his deputy Freddie Gonzalez (Garcia) after a bank heist leaves several people dead.
While on the run to Mexico, Seth and Richie encounter former pastor Jacob Fuller (Patrick) and his family, whom they take hostage. Using the family RV to cross the border, chaos ensues when the group detours to a strip club that is populated by vampires. They are forced to fight until dawn in order to get out alive.
The series deepens the tone and expands the storyline of the film, adds new characters and backstories, and explores the Mesoamerican mythology behind the creatures inside the club.
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Directed by Greg Nicotero, Guy Ferland, Dan Sackheim, Tricia Brock and others.
Distributed by Entertainment One
As the dust settles around what was formerly Season 3’s Woodbury, our gang of prison-dwelling protagonists begin the fourth season of AMC’s The Walking Dead working hard to keep their community ticking over as efficiently as possible. While Daryl (Reedus) leads the occasional runs into nearby zombie-infested towns in search of provisions, Carol (Melissa McBride) teaches the children the finer points of literature and, when the other adults’ backs are turned, how to correctly handle blades. Meanwhile, a mentally and emotionally shattered Rick tends to the livestock and vegetable patches – forgoing his previous imposed position as leader of the group in an attempt to lighten the load and preserve the man he once was. Also reduced to a shadow of his former self is David Morrissey’s Governor, now wandering the wastelands as a solo drifter, until a chance encounter with a family and their young daughter appears to offer him a link to his pre-despot former self.
As a series, The Walking Dead has long been accused by many of being overly ponderous, slow and unfulfilling. Those lodging complaints of such a fashion are unlikely to be particularly welcoming of season four’s beginning, which certainly takes it time to establish (or re-establish) characters who are almost constantly in a state of change. It’s fully necessary, though, in order to properly consider the inevitable impact of the consistent barrage of terrible moral decisions, outward (and inward) challenges and inescapable suffering foisted unto the living in a world now ruled by the dead. These changes must be slow, calculated and well measured if they’re to appear in any way realistic – and this is just one area in which The Walking Dead‘s writing excels, especially in this season.
Yes, it does drag its heels occasionally with some episodes becoming mired in reflective dialogue – but without heading into spoiler territory for those that haven’t been keeping up on television and wish to wait for a boxed-set feat, season four packs in some of the most devastating scenarios that Rick and his group have had to face thus far. This is a series – both in comic book and live-action form – known for its uncompromising treatment of those who live within it, and the world they inhabit has rarely been more brutal than what we see here. Those initial, quieter episodes do manage to pack in enough drama to satisfy but they’re building up to something big. Something huge, vicious and downright soul-destroying that occurs halfway through and sees the final half of the season deal with the fallout: quieter moments that move from the world of extreme violent action/reaction and into the realm of deeply personal devastation for the now-fractured group. Here is a season filled with hurtful revelations, forgiveness, rage, disconnection and the kind of needless death and destruction that arises from human nature – good intentions provoking tragedy, or ill ones provoking outright chaos. Carl is still an annoying little shit, though.
In terms of the cast, Andrew Lincoln takes it all out in this particular season – Rick is put through the wringer big time and by the time he comes out, all bets are off for this man. If there’s one thing you can be certain of when the final moments come to a close, it’s that nothing for Rick is ever going to be the same. One of the most intimately effective episodes, The Grove, sees a powerhouse turn for Melissa McBride alongside Chad L. Coleman as Tyreese – though the child actors accompanying them simply can’t hold their own against such an effective force. It would be somewhat excessive to go through and pick on every single cast member for their own standout moments, but let’s just say that nearly each and every one of the major players is swinging for the fences right here, from start to finish.
The Walking Dead remains a dependably ballsy show; one that constantly takes risks – whether that be in choices of narrative direction or simply the amount of explicit gore it can display on television – and for the most part gets away with them. It’s what makes it so irresistibly compelling, unpredictable and hard-hitting. No matter how far off the track it seems to be heading, it always manages to find its way back thanks to some excellent writing, top-notch direction and a cast willing to put everything and then some into what they’re doing. Is it a model of perfection? No – but it’ll have you up, down, left, right and then spun round and knocked flat on your ass just when it feels like it. And this season is a shining example of what it can do.
In terms of special features on Entertainment One’s UK DVD release, episodes 1, 5, 8, 12 and 14 all sport full-length commentaries with various cast members, writers, producers and directors. They’re all more than worth a listen due to offering up a wide variety of perspectives and opinions. Episode 12, entitled ‘Still’, actually has two available commentaries – the standout being one including actor Norman Reedus and writer Angela Kang, who share a fantastic chemistry throughout.
On the final disc, there’s a whole mess of extras including smaller parts such ‘Herschel’, which sees cast and crew delivering their own takes on Scott Wilson’s excellent portrayal of such a pivotal character, and ‘A Journey Back to Brutality’ in which Andrew Lincoln dissects Rick’s inevitable adaptation to this brutal new world despite his own emotional protestations. ‘Society, Science & Survival’ is probably the only real piece of fluff to be found, giving a brief look at a real-life University course that uses The Walking Dead to investigate various angles of scientific and social theory.
Everything here is pretty great, including a semi-roundtable chat with various folks at effects wizards KNB; a comparison of some elements of the show with their comic book counterpart, and a discussion regarding the character of The Governor. The standout pieces are ‘Inside the Walking Dead’, an 85-minute behind-the-scenes feature jam packed with cast interviews that covers the season arc from beginning to end, episode by episode. Backing that up is a 75-minute ‘Making of’, which covers more on-set action and, pleasingly, delves more heavily into the various visual effects on display. It balances the preceding feature out perfectly, making for almost 3 hours of consistently engaging content, before you even count the rest.
Now that’s a package to be proud of. Entertainment One: take a bow.
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If you asked me what my favorite horror movie of 2014 would be way back at the beginning of the year there is no way I could have predicted it would turn out to be The Babadook (review). What an incredibly spooky surprise!
IFC Midnight just dropped a new trailer for the flick that they will be releasing on November 28th. Look for it in limited theatres and on VOD. You don’t wanna miss this one.
Written and directed by Jennifer Kent, the film stars Essie Davis, Noah Wiseman, Daniel Henshall, Hayley McElhinney, Barbara West, and Ben Winspear.
Six years after the violent death of her husband, Amelia (Essie Davis) is at a loss. She struggles to discipline her ‘out of control’ 6-year-old, Samuel (Noah Wiseman), a son she finds impossible to love. Samuel’s dreams are plagued by a monster he believes is coming to kill them both. When a disturbing storybook called ‘The Babadook’ turns up at their house, Samuel is convinced that the Babadook is the creature he’s been dreaming about. His hallucinations spiral out of control; he becomes more unpredictable and violent. Amelia, genuinely frightened by her son’s behavior, is forced to medicate him. But when Amelia begins to see glimpses of a sinister presence all around her, it slowly dawns on her that the thing Samuel has been warning her about may be real.
Created explicitly for Film4 FrightFest the first of 4 variant posters for Adam Green’s latest directorial feature film, Digging Up the Marrow, was unveiled to a hungry audience which gobbled them up faster than Victor Crowley could nail you with a magic belt sander. At this past weekend’s MondoCon variant 2 was unveiled and we have a look right here for ya!
Like what you see? Of course you do. The mere fact that you’re reading this website proves beyond a shadow of a doubt that you have taste and moxie! Even better you can score this baby RIGHT NOW by heading over to the ArieScope website which also has a few of the original variant just waiting for you to dig into!
Tell ‘em Creepy sent ya and Green will personally make sure your poster is completely fucked up during shipping!
Green also stars in the documentary film, which he made with artist Alex Pardee along with Ray Wise, Tom Holland, Kane Hodder, Mick Garris, and a host of other familiar faces. In Digging Up the Marrow an exploration of genre-based monster art takes an odd turn when the filmmakers are contacted by a man who claims he can prove that monsters are indeed real.
The post Monstrous Look at New Digging Up the Marrow Variant Poster appeared first on Dread Central.
Known to horror fans for creating the graphic novel-turned-horror franchise 30 Days of Night, Steve Niles has also created a slew of other comic properties, one of which is the three-issue miniseries Breath of Bones. A while back Comic Book Resources nailed down a concept trailer for what a big screen adaptation would look like, and we figured it’d be cool to share now!
The story of a Jewish golem, the tale is soon making the jump to the big screen, and a director has just been announced. Read on!
Andrew Adamson (Shrek, The Chronicles of Narnia) is attached to helm the adaptation of the acclaimed Dark Horse Comics miniseries, written by Niles and Matt Santoro. Artist Dave Wachter received a 2012 Russ Manning Award nomination for his gorgeous work.
Breath of Bones is set during World War II and tells of a British plane that crashes into a Jewish village. The crash brings Nazi attention, forcing the villagers to defend themselves, with one rabbi and his grandson building a golem creature and bringing him to monstrous life.
Mike Richardson and Keith Goldberg of Dark Horse are producing the adaptation with Adamson and his producing partner at Strange Weather Aron Warner. Jeff Fierson from Strange Weather will executive produce.
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Some quick casting news has come in for the upcoming flick Patient Zero as Deadline is reporting that “Game of Thrones” star Natalie Dormer has been set to appear in the Screen Gems action thriller that Stefan Ruzowitzky will direct from a script written by Mike Le.
Patient Zero focuses on an unprecedented global pandemic that causes the evolution of a new species. An aggressive form of rabies turns the infected into predators, addicted to violence. An inexplicably gifted human survivor with the ability to speak the new mutant language leads a hunt for Patient Zero and hope for a cure.
More on this one soon!
Geoff Shaw drew the cover plus the interior art for Judd Winick’s story, described as an “action-packed modern day myth.”
On the surface it seems like your average all-American tourist trap, but this snow-covered town hides a burning secret.
After centuries of lying buried within the depths of an icy mountain, the world’s last dragon egg finally hatches – endangering modern life as we know it. Now an unlikely group of dangerously unqualified, ordinary citizens must band together, battling the elements – and each other – to slay this menacing creature.
Issue #2 (of 5) releases in October.
The post Get a Peek Inside Judd Winick’s A Town Called Dragon Issue #1 appeared first on Dread Central.
Directed by Juanfer Andrés and Esteban Roel
Álex de la Iglesia (The Last Circus, Witching and Bitching) presents this neurotic tale about a shy dressmaker and the younger sister that loves to hate her, but first-time directors Juanfer Andrés and Esteban Roel steer away from the infectious mania seen in Iglesia’s work to offer up a much quieter, more gradual descent into the macabre. Buttressed by a great central performance and flourishes of dark humor, one of the latest offerings from Spain’s growing horror collective, Shrew’s Nest, is a clear standout at Fantastic Fest this year.
As the film opens, Montse (Macarena Gómez) – a demure amateur seamstress – seems quite harmless as she fits wealthy benefactress Doña Puri. Poor Montse suffers from fits of anxiety, but she assures Donã Puri that the “medicine” she’s been supplying has been helping to take the edge off. Seemingly cursed with a debilitating affliction and afraid to step out and start a clothing business of her own, Montse passes on that fear to her little sister (Nadia de Santiago), who, strangely, is only referred to as “la nina” throughout the story. (You’ll have to watch to learn if she ever reveals her true name).
Early on, it’s revealed that Montse suffers from an acute form of agoraphobia that prohibits her from stepping foot outside of their sheltered, 1950’s apartment until her disease (and her faith) are tested when an upstairs neighbor – a dashing Spaniard named Carlos (Hugo Silva) – takes a spill down the stairs, severely injuring his leg. He cries out, and Montse reluctantly unbolts the door and drags him into the spare bedroom where Carlos is about to endure an unexpectedly long stay. As the days go by, Montse turns into a kind of mad nurse, imprisoning Carlos (much like Annie Wilkes did to author Paul Sheldon), mixing water with her “medicine” to keep Carlos in a dazed combination of pain and appreciation. Alarmed at the events unfolding, Montse’s little sister sneaks in to warn Carlos that he’s actually being drugged with morphine and that their caretaker doesn’t intend to be rid of his company any time soon.
Haunted by the memory of her father (Luis Tosar from Sleep Tight), who chastises her character even in death, Macareno Gómez’s depiction of Montse carefully constructs a tragic emotional core, building on top of a cracked foundation destined to crumble and eventually collapse under the weight of her dark family past and her growing desperation in the present. Gómez’s performance nicely complements a well-paced story and honors a script that recognizes that its lead must be likable before the audience can both root for others to escape and secretly wish for Montse to prevail.
With a successful background in comedy, Gómez uses the decisive shift into a horror thriller during the climax of Shrew’s Nest to inject some amusement through quirks of personality that reflect Montse’s own disbelief at just how far events have escalated by final day’s end. It’s been “hectic,” Montse says, but effects veteran Pepe Quetglas (Pan’s Labyrinth) makes sure that the insanity bubbling up within Montse is equaled by his team’s twisted sensibility and his own gore-filled imagination. The explosiveness of the violence – in its setup, delivery, and reveal – transforms the uninspired interior of the lifeless flat into a funhouse of death that may prove too dangerous for anyone to ever escape.
The shrew, or shrew-rat as its described, has a tendency to burrow and, if cornered, prove venomous. The story that’s unveiled in Shrew’s Nest follows that kind of behavior in following a likable, delicate, frightened woman who is driven to commit acts of terror, only to wind up having to face her own personal horrors in the process. Driven by Goméz’s electric portrayal, Shrew’s Nest reveals how trauma turns to compulsion and how desperation can cause someone to resort to violence rather than hide in absolute darkness.