Welcome to the fifth chapter of our October Madness feature! Here are five more titles I highly recommend visiting on your October movie nights.
Stay tuned next week for more, and be sure to share your choices with us in the comments section.
These days Peter Jackson he has spent so much time in Middle Earth, it seems ages ago that we’ve seen the spirit of the New Zealand renegade filmmaker that created Bad Taste, Meet the Feebles and this work of splatter genius that gave us a Sumatran rat-monkey infected geriatric zombie, fun creative dismemberment by lawnmower, hilarious impalement by light bulb and best of all, a kung fu priest kicking ass for the lord. Several impressive recent genre offerings like Housebound and Deathgasm are clearly inspired by Jackson’s early balls-to-the-wall approach to cinema, and this wickedly entertaining gem is a reminder that we’re still waiting for the king of splatter to come back and reclaim his throne!
Tombs of the Blind Dead
This 1971 Spanish horror film written and directed by Amando de Ossorio was the first in a series of films that follows a legion of knights who have become blind reanimated corpses of evil wreaking havoc in the 13th century on those unfortunate enough to have their blood drained and bodies sacrificed to their unholy allegiance.
Atmospheric and chilling, Tombs of the Blind Dead is good exploitation fun. There’s an alternate ending included on the DVD from Blue Underground that was alternately used to cash in on the Planet of the Apes franchise that’s worth checking out as well.
At Midnight I’ll Take Your Soul
In 1964 a Brazilian filmmaker named José Mojica Marins introduced horror movie fans to fiendish gravedigger Zé do Caixão, known infamously as Coffin Joe. Coffin Joe is searching for a female companion to give ritual birth to his damned offspring, only his mischievous deeds have a price, and his destiny may beckon an inevitable journey to the depths of hell. At Midnight I’ll Take Your Soul is the first in a trilogy of films featuring Marins’ Coffin Joe character that includes This Night I’ll Possess Your Corpse and Embodiment of Evil, and to say that these films are sheer insanity is putting it lightly. The director ended up playing the main role when the original actor quit, and there was a rumor that things got so crazy while filming that the director forced his crew to shoot a scene by pointing a gun at the cameraman. Coffin Joe is one of the most demented characters ever committed to celluloid, and this is where it all began.
The Devil’s Backbone
A deep labor of love for director Guillermo del Toro, The Devil’s Backbone was strongly influenced by his relationship with his uncle, who del Toro claimed has visited him in spiritual form. Set in 1939 during the ghastly civil war in Spain, del Toro created beautiful and haunting visual poetry that pulls at the heartstrings as much as it sends chills down the spine. The pale ghost in this feature has Japanese horror aesthetic inspiration that works wonderfully with this film’s Gothic tone. This film is a perfect companion to Pan’s Labyrinth, a pure and euphoric cinematic experience.
Martin is a personal favorite of Romero and his first collaboration with special effects wizard Tom Savini, a truly overlooked masterpiece. Like Dawn of the Dead, there is an Italian cut with a kick-ass Goblin score that’s worth seeking out once you’ve seen the original cut. Romero originally had a cut that ran 165 minutes that will never see the light of day, and his original vision was for this intimate film to be in black and white, which didn’t seem like a good idea to the studio. I personally have no problem whatsoever with this version and find it to be Romero’s finest work. There’s also voice-over narration that was cut out and can be heard in the theatrical trailer; however, there was a novelization containing the missing narration if you feel like you’re missing out and want to track it down. Either way, when it comes to unique vampire lore in the movies, it doesn’t get much better than this.
Elder Scrolls Online is getting a new expansion, and it’s set in the orc homeland land of Orsinium. I won’t even make a joke about what that sounds like.
Far from the bloodthirsty, savage brutes of Tolkien’s orcs, or the thuggish, foul-mouthed, cockney accented ones from Warhammer, the orcs of Elder Scrolls have evolved into a fairly civilised race. Fairly. You can judge for yourself when you get to know them in their homeland.
In true Elder Scrolls style, there’ll be a huge area to explore, along with tons of new quests and secrets to uncover. You would expect nothing less from what is arguably the most popular western fantasy RPG series of all time (suck it Dragon Age).
Orsinium, the once-great capital city of the Orcs, has long lain abandoned and in ruin. King Kurog, reigning monarch of the Orcs, has sent invitations far and wide to enterprising adventurers. Join him in rebuilding the city and returning it to its former glory. Your efforts and actions while in Orsinium and the mountains of Wrothgar have a direct impact on the reconstruction effort—the city will visibly transform.
The largest ESOTU DLC game pack to date, Orsinium takes you to the mountains of Wrothgar, and to the Orc capital itself, to unravel plots and counter-plots, and encounter all-new enemies and allies. Whether you choose to strike out and explore this vast new zone on your own, play through the quests, face the challenges of the Maelstrom Arena, or team up with friends to take on the new public dungeons and world bosses, there’s something here for everyone.
Bethesda have clarified that there won’t be any new Elder Scrolls game for a while, so we’ll just have to make do with the expansions from now on. Elder Scrolls Online: Orsinium will be summoned on November 2nd.
The post Elder Scrolls Online: Orsinium Expansion Will Feature The Orc Homeland appeared first on Dread Central.
Starring Lauren Ashley Carter, Brian Morvant, Sean Young
Directed by Mickey Keating
Although it was just seven months ago that director Mickey Keating unleashed his “X-Files”-tinged horror romp Pod to much buzz at South by Southwest, it seems the young director is having a hard time staying away from the city of Austin, Texas. Darling, Keating’s latest headtrip of a flick, recently saw its own premiere at this fall’s Fantastic Fest. Just days following the premiere, worldwide rights to the film were acquired by Screen Media Films for a targeted 2016 release. If this sounds promising enough, we can indeed confirm that Keating’s latest effort most definitely serves to establish him as a daring auteur to watch.
In a striking tonal shift from the sci-fi paranoia of Pod and the minimalist satanic terror of 2013’s Ritual, Darling is, in a nutshell, a gripping slow-burn of a film about a girl who slowly loses her sanity. Lauren Ashley Carter (Pod, The Woman, Jug Face) tackles the titular role of a beautifully mysterious girl hired by Madame, an eerie and well-placed Sean Young, to care for a historic New York home. Before leaving Darling to the home, however, Madame makes it a point to reveal that the previous caretaker tragically committed suicide. Oh, and also that there is a locked room at the end of a long hallway on the top floor that should never be entered. Naturally, Darling spends much of the film exploring the massively creepy home and slowly peeling away its layers with each discovery. Although the setup is a familiar one, what follows is a uniquely mesmerizing journey that leans heavily on tension, paranoia and an uncertainty that eats away at you from the peripheries until you are trapped right there with Darling in the thick of insanity.
Darling is a shorter feature – sitting at a runtime of 78 minutes – but it is also a substantial one, with a pacing that lays the dread on thick with each passing minute as our leading lady’s mental stability starts to come into question. Keating owes a debt to early Polanski here (Repulsion’s touch is heavy), among other atmospheric genre classics, but Darling never feels cheap in its homage. On the contrary, the film’s approach is actually quite refreshing in the current horror climate, and Keating’s aesthetic acumen is never indulgent, even when the score creeps up on you and punches you in the gut. Shot entirely in black and white (a polarizing move in itself), the time period in which the film is set is difficult to place. This decision serves an effective purpose in creating a hazy environment where much of who and what we encounter feels just a little off. Additionally, the creeping cinematography manages to make an unnerving environment of an otherwise stunning residential interior and a looming, alien threat of the bright Manhattan skyline.
Beyond its foremost appeal as art house eye-candy, Darling’s perfectly cast players notably elevate the story to something we can really care about. No talent is wasted here: In addition to Young’s brief, but memorable appearance as Madame, Brian Morvant conveys the questionable, handsome stranger on the street to charming effect, and busiest man alive Larry Fessenden makes another enjoyably humorous cameo for Keating in the film’s third act as a police officer (he has appeared in both Pod and Ritual). With each supporting character Darling encounters, it becomes clear that Keating wants you to be wary of just about everyone, casting shadows in just the right way through the perspective of his doe-eyed protagonist. In a brilliant exchange between Carter and Morvant on the street, it’s hard not to question if he is indeed a potential threat, or if our beloved Darling is losing her grip faster than expected. What makes the film even better is that Keating keeps you questioning this, even after the crazy really starts to go down and you are convinced you have a handle on who is really to fear here.
The major revelation in the film comes in its star Lauren Ashley Carter, who previously co-starred in Pod as well. A burgeoning genre staple over the last few years, Carter rises to new heights of performance here, carrying the story with a confidence and depth that captivates for the entire 78 minutes. Darling is the perfect enigma: beautiful, but clearly scarred by an occurrence in her past, details of which are only hinted at throughout the film. Although Carter is surely a sweet gal in real life, there is something in her enthralling performance as Darling nears her breaking point that provokes genuine terror as much as it does pity. She channels Darling’s frightening fragility in the most delicate of ways, masterfully toeing the line of eliciting both genuine fear for this woman and genuine fear of this woman from her audience.
The film is most certainly “art house horror” to a T, which will undoubtedly frustrate many people early on. It is not a film for everyone, or even for someone in its target audience who perhaps cannot approach it with the utmost in focus. At points, the crawling pace does inspire a sigh or two, although more often than not these moments serve to prolong tension. For viewers who stick with it for the answers, it is also worth noting that while revelations do ultimately occur (so to speak), they may not be explicitly satisfying enough for all.
What ultimately elevates Darling beyond a level of pretension that tends to hamper other films of this nature, however, is the careful scripting and cinematic intelligence of wunderkind Mickey Keating. Every cinematic decision – from a fit of quick cuts, to jarring moments in the sound design, to very pointedly ambiguous costuming – is in direct service to the tone and the aesthetic vision of Darling as a creeping hallucinatory nightmare of a story. There is no arbitrary nature to Keating’s approach here, and the fact that the film was shot in just 12 days and stands in such stark stylistic antithesis to his previous films is a testament to his current standing as an influenced, but fresh-eyed talent with impressive range. The man knows film and filmmaking, and it is exciting to see a film like this come from a director so early in his career.
I say keep them coming.
We recently had the opportunity of snagging a few minutes with Andre Tricoteux, the latest name to jump into the “iZombie” fray, and aside from his sturdy list of stunt work, he’ll also be starring in the upcoming Warcraft and Deadpool films. He was gracious enough to disclose as much as he was able to regarding his roles, and future plans, so settle in and enjoy!
DC: You recently signed on for a recurring role on “iZombie” – what, if anything can you tell us about the character you’ll be playing?
AT: (laughs) I’m not really allowed to say much, but I can say that I’ll be working closely with the character Blaine, and I really think that people are going to be happy with some of the stuff that I do.
DC: Had you seen the series before, or did you find yourself watching it to try and catch up?
AT: I have watched it – I try to pay attention to all of the shows that are filmed here in Vancouver.
DC: If you can tell us – is this going to be a physical role for you?
AT: Yeah, I can say that there are some physical parts in it, for sure. It certainly was a very challenging role – my character is a big onion, and people are going to see a different layer peeled back in each episode that I’m in. There’s some unique things about this guy that are challenging about the way he communicates and the way he carries himself – I had a lot of fun playing him, and I hope that the “iZombie” audience really embraces him.
DC: You’re also set to play in the upcoming Warcraft film – what can you tell us about that?
AT: Well, Warcraft was something we finished filming back in the Spring of 2014, and I haven’t seen the final cut of it yet, but I will say that a lot of effort was put into it to make it really true to the game. The developers wanted to make sure that the core audience would really be happy with it, and I think they’ll be thrilled – the CGI is next-level – it’s going to make Avatar look like a cartoon – people are going to be blown away by it. There’s a lot of great battle scenes, and I’ll be playing an orc – we kick a lot of ass!
DC: Lastly, aside from the projects we’ve talked about, what else is coming up for you?
AT: I’ve got a couple of irons in the fire, but they’re not closed just yet, so we’ll see if they pan out, and I’ve also got Deadpool coming out in February, and we’ll see what else the future brings for me.
Reason #87 to stay out of the friggin’ woods is here in the form of Backwater, a new tale of terror about life… and death… in the great outdoors.
Neck hairs will rise when writer-director Christopher Schrack’s Backwater arrives on DVD and Digital this November from Osiris Entertainment.
Boasting an award-winning screenplay, the chiller chronicles the frightening journey of couple who can’t shake the feeling that they’re not alone on their camping trip.
Justin Tully (Sorority Row) and Liana Werner-Gray (The Man in the Maze) star in what critics are calling a “treat for horror fans” (Horroracle).
Backwater will be released on November 10.
Cass and Mark are a couple on a camping trip to the distant countryside. When their seemingly secluded getaway is interrupted by an ominous scream, they start to think someone might be stalking them and encounter two strangers who are also in the woods near them. Despite everything appearing to be harmless, they can’t shake the feeling that something is wrong. The truth, however, is far more disturbing than meets the eye.
Usually, when a movie based on real-life is released, those of whom it is based on may not like how they are being depicted, and sometimes may even go as far as to threaten legal action. In Midnight Show, a serial killer decides to go a step further, and slaughters everyone in a theatre screening a movie based on his crimes. Guess he must not have liked how he was portrayed. But hey, we can’t all get Daniel Day-Lewis or Meryl Streep. I hope that all the celebrities who keep suing over uses of their likeness don’t get any ideas from this.
Director Ginanti Rona Tembang Sari worked as an assistant director on The Raid, and this marks his first feature directing gig.
Midnight Show will be released in Indonesia later this year.
Independent filmmakers Michael and Shawn Rasmussen, screenwriters of John Carpenter’s The Ward, along with their producing partner, international bestselling author Glenn Cooper, launched an Indiegogo campaign to help raise funds to make their supernatural horror thriller, The Inhabitants. It was a success, and now everyone can see the film on VOD October 13, 2015.
We chatted with the pair recently, and they provided us with a few new stills from the film, including one exclusive to DC.
The Inhabitants revolves around a young couple who get more than they bargained for when they purchase and renovate an old bed and breakfast in New England. A series of troubling events leads the husband to suspect that something terrible is hiding within the walls of this house, and whatever it is… has set its sights on his wife.
Dread Central: What inspired you to make this particular story, and how are the protagonists different from most horror film characters?
Michael Rasmussen: Our inspiration for this film initially came from the Noyes-Parris house. It’s one of the oldest houses in New England, and it just so happens to have been owned by the Reverend Samuel Parris, whose daughter and niece made the initial accusations that led to the Salem Witch Trials. It has such a rich history, and we wanted to integrate that into some sort of ghost story.
Shawn Rasmussen: We had been looking to write a project along the lines of The Changeling, The Haunting of Julia, and Don’t Look Now for a while. These were films that we watched as kids that really stuck with us. I think that’s because at the heart of these spooky tales were the characters. Those films were as much melodramas as they were ghost stories.
MR: We really liked the idea of this old house, and its inhabitants, coming between our couple both literally and metaphorically. We also wanted to switch up the gender roles. Dan is sort of our Final Girl while Jess, who would normally be the woman in peril, is the aggressor. I think that’s certainly one way that our characters are different from the typical horror film roles.
SR: There’s definitely a strong feminist subtext to our story as well. It was really present in our script, and I hope it comes across in the finished film. Our midwife, Lydia, was a strong woman, and the men in the colony ultimately felt threatened by this.
DC: This may seem to be coming out of left field, but I was really impressed by your sound design on the film. As somebody who watches tons of low budget horror movies, I really appreciate the attention to detail you paid here – from the turning of the pages in the book to the footsteps on the creaking floorboards. Was that something you set out to do?
MR: We’re actually glad you noticed. It’s something we worked very hard on. We’ve always felt that the success of a horror film weighs heavily on its sound design almost as much as its visuals. So when we were in post, we made a concerted effort to include each and every creak, groan, and thump. That meant layering in a lot of different tracks, which made things a little confusing for our mixer.
SR: At one point the sound design was so exaggerated that it actually sounded ridiculous, but then during the mix we were able to roll it back slightly and use the 5.1 surround to place the different elements in the space. We used two very talented sound designers – Andrew Willis (who also helped with the score) and Kenny Kusiak.
DC: How’d you find your main cast?
MR: With our previous film, Dark Feed, we held a lot of auditions to find our cast, and we ultimately found that process very depersonalizing. So when it came time to cast this film (which we intended to shoot in a very intimate way), we wanted to use people we knew. Fortunately on Dark Feed we worked with some very talented people, and two of them were Michael Reed and Elise Couture Stone (you might recognize some other cast members as well). It really helped knowing the two actors that were going to play the leads as we fleshed out the script. We were able to play to their strengths and write with the actors in mind.
Michael Reed’s Dan is the polar opposite of the Jack character he played in Dark Feed. Here he plays a supportive husband who notices something is wrong with his wife but doesn’t know how to deal with it. Elise Couture Stone plays Jess, his loving wife, who is undergoing a troubling transformation. We tried to shoot the film in order as much as possible, and it was amazing to watch Elise grow darker and darker each day we shot.
SR: We also had some great supporting actors. India Pearl, who plays our witch, was recommended to us by a friend and always brought so much enthusiasm to the set. And Judith Chaffee, who teaches theater at Boston University, really did an amazing job conveying a much older and feeble Rose Stanton.
DC: How’d you get hold of that great historic house to film in, and what was it like? Any anecdotes about the house or filming in it, you can share?
MR: Fortunately for us, the house is currently owned by one of the producers on our very first project, Long Distance. His name is Glenn Cooper. During the shooting of that film, he off-handedly remarked that he owned a house that was haunted. He told us there was a woman in black who walked the halls. At first we skeptically shrugged it off. But then over the years, we had a chance to visit the place, and the seeds for our story were planted.
SR: Shooting in the house was great, but it was also a little cramped, even with our minimal crew which often consisted of just four to five people, including us. And from a sound perspective all the creaking floorboards were a nightmare in terms of recording dialogue. But you can’t argue with the fact that this house really lent a level of authenticity to our story. We weren’t on a sound stage somewhere.
MR: Besides being owned by Samuel Parris, the house was later used by abolitionists as a stop on the Underground Railroad to hide runaway slaves. So it has all these hidden passageways that we were able to utilize. It was really amazing. There aren’t a lot of New England ghost stories that are actually being shot here in New England, and that’s too bad because the setting is completely unique.
DC: Did the fact you worked with John Carpenter in the past inform you for making your own feature film?
MR: Working with John Carpenter was a dream come true. We grew up watching his films. And The Thing is one of my all-time favorites. So the whole experience was completely surreal.
SR: John is an amazing collaborator. Maybe it’s because he’s also a writer, but he has a very subtle way of giving notes so that you don’t even realize he’s doing it.
MR: He also completely changed the way we write screenplays. Before The Ward we never really wrote with the director in mind. Now we’re constantly asking ourselves: How is this going to be shot? Is it something that a director can accomplish?
SR: Making micro-budget films requires a leap of faith, and working with John definitely gave us the confidence to just go out and make our last two films.
DC: What’s coming up next for you guys?
MR: We have a project that was part of the Frontieres Film Market in 2013 called Subculture that we’re trying to get off the ground. It’s a subterranean creature siege film set in the tunnels under New York.
SR: We’re also doing a final polish on a Lovecraftian tale inspired by “The Shadow over Innsmouth” called Black Autumn. And we’re tackling a couple of writing assignments as well including a potential remake of a Spanish road thriller with a director and producing team that we’re very excited to be working with.
In closing, Michael said, “Dread Central has always been so supportive of us as filmmakers and what we do. Even before The Ward. So we just want to say thanks. We really do appreciate it.”
Thank YOU, Michael and Shawn, for making a classic-feeling, spooky ghost story with such craft and care.
For more info “like” The Inhabitants on Facebook.
The post Exclusive: Michael and Shawn Rasmussen Talk The Inhabitants appeared first on Dread Central.
If you need an indie killing spree in your life, then look no further than the just released Chill: The Killing Games.
Directed by Noelle Bye and Meredith Holland, Chill: The Killing Games stars Roger Conners (director and star of Night of the Living Dead: Rebirth), Kelly Rogers, Brad Arner and DJ Remark.
November 17, 1988, is a day of mourning for some…and for others, a lucrative opportunity.
On that date, eight university students were found murdered in the old arts building at the college. An anonymous source told police the 20-somethings were in the midst of a local role-playing game, called Chill.
The name of the game is to stay alive. But for the players that November evening, few would be getting up for another round.
But when a scheming student decides to profit from the tragedy and revive the whodunit game as a web series, the new players soon discover, for some, this game is still all too real…
A sequel titled Chill: 2 the Bone is also in development.
The post College Horror Flick Chill: The Killing Games Available Now appeared first on Dread Central.
Calendula is a video game. Calendula is a meta game. Calendula is a minimalist game. Calendula is a horror game. Calendula is an atmospheric game. Calendula is a mystery. Calendula is an experience. Calendula is a glass full of blood. Calendula is evil. Calendula is a flower. Calendula is pain. Calendula is your deepest secret.
How to play… a game that does not want to be played? What if it is not a game? What if YOU were the game? Let the darkness play with you. And please, remember, it is not your fault…
Um, yeah. I don’t know what to make of that. Calendula is weird. Calendula is really weird. Calendula is really, really weird.
Looking at the screenshots, I believe them when they say that Calendula does not want to be played. Those menus look evil!
Calendula is currently without a release date. Calendula is going to be released at a later time. Calendula is probably going to be fucking awesome.
Calendula flowers are also known as Pot Marigold, but you already knew that, didn’t you?
Starring Peter Cushing, Christopher Lee, Patrick Wymark, Jill Bennett
Directed by Freddie Francis
Distributed by Eureka! Entertainment
The second horror film – following Dr. Terror’s House of Horrors — to come from the stables of Hammer’s greatest rival, Amicus Productions, Freddie Francis’ The Skull stars Peter Cushing as wealthy curio collector and author Christopher Maitland.
Approached by a shady dealer, Maitland is offered a pair of esoteric antiques – one, a book detailing the life of the infamous Marquis de Sade (and bound in human flesh, no less) and the other… the skull of the Marquis himself.
Maitland is warned off of purchasing the grim ornament by his friend, and fellow collector, Matthew Phillips (Lee) – who reveals that it was, in fact, recently stolen from him… and he would rather not have it back. See, the skull remains the vessel for a demonic spirit that once possessed the Marquis, and will call out to its owner, leading them down an irresistible path of madness and murder.
Of course, Maitland has already found himself rather taken with the piece, and despite all warnings continues to pursue it. Soon, the malevolent power of the skull is in full swing, and poor Maitland will realise that he has bitten off far more than he can chew.
Adapted from the 1945 short story The Skull of the Marquis de Sade by Robert Bloch, The Skull is quite an effective chiller in the classical vein, but marred by a lack of momentum. Screenwriter Milton Subotsky, in sticking as closely to the source material as possible, ran into a major problem – one that was passed on to director Francis – when the completed script for his film was barely feature length.
This led to Francis being forced to dream up additional scenes and drag current ones out when shooting. The result is a number of extended sequences in which very little happens, or the events portrayed play out in drawn-out style. In testament to the skills of legendary actor Peter Cushing, however, it actually manages to work – the man proving as captivating as ever no matter what he’s doing. Cushing adds a gravitas to his slower scenes, especially given the almost dialogue-free final act, serving to increase the skin-crawling threat that pervades much of The Skull’s later runtime.
On the whole, Francis’ direction is slick – though there are moments of off-putting editing during conversations – and the lo-fi special effects employed to create the finale’s malevolent floating skull don’t actually come across as entirely ridiculous given the film’s success in generating a solid atmosphere of doom.
The Skull would perhaps have been better served by inclusion in one of Amicus’ anthologies rather than being forcibly stretched to feature length, but it still manages to succeed in its aims. With Cushing and Lee on top form and enough mystery and suspense to go around, The Skull makes for a great pick for a rainy evening in the company of a good old-fashioned spook show.
Eureka! Entertainment bring The Skull to UK homes in a double-disc set featuring both DVD and Blu-ray versions of the film. Only the DVD was supplied for the purposes of review, and it’s suitably well presented, exhibiting only very minor instances of picture instability – excusable given the source material.
Extras on the disc include two on-camera discussions of the film, one with film historian Jonathan Rigby and the other with critic and author Kim Newman. Both are entertaining and informative, though it’s natural that some duplicate information about the film, and the history of Amicus, is espoused. Physically, there’s a reversible sleeve so you can choose exactly what goes on your shelf, and a collector’s booklet featuring a very well written short essay by film historian Vic Pratt and a wide selection of historic promotional materials from The Skull’s release.
Robert Allaire is a unique musical talent. His work can be heard on several episodes of “American Horror Story,” and he now brings his interesting skills to the new movie Some Kind of Hate. Allaire recently talked with Dread Central about his work on the film.
Allaire began by discussing how he became involved with Some Kind of Hate (review). “I got a call from my agent about the film and had a meeting with the director, Adam Egypt Mortimer, where he made some good coffee and showed me parts of the film,” Allaire said. “We really connected over our love for experimental music and ideas about film, so working together was a natural fit.”
To get unique sounds for the music he composed, Allaire incorporated some unorthodox techniques, including using razor blades to play some instruments. “Razor blades are an important motif for the villain, Moira, and that led me to try using them on various instruments,” Allaire said. “So there are a lot of scrapes and scratches you hear from razor blades on guitar and other string instruments. Even if the audience doesn’t connect where the sound came from, the texture itself is pretty interesting and was ultimately inspired by taking that hard look at the characters to find ideas that can manifest themselves in the sound of the score.”
The score for Some Kind of Hate has a very heavy metal vibe and is quite gritty. Allaire discussed his inspiration for the music. “Lincoln, the main protagonist of the film, is a huge metal fan as is the director, Adam,” Allaire said. “There’s actually a scene where Lincoln talks about how important that style of music is to him. So again, it’s an example of finding inspiration from the characters and in this case transforming the main character’s love of a certain music into a theme in the score.”
Allaire talked about working with director Adam Egypt Mortimer. “Adam is great to work with,” Allaire said. “He has very clear ideas in terms of style and starting point, but he also allowed me a lot of room to explore my own ideas. I found that the stranger I made something sound, the more he liked it, which is always great.”
Detailing the making of the music, Allaire discussed how he built the sound. “If there was any unifying idea behind the orchestration, it was to never play an instrument as intended,” Allaire said. “So guitars were detuned and often recorded with contact mics. Cellos were played scratchy and distorted to the point of being unrecognizable. One of my percussion instruments is actually a heavily detuned bass being smacked on the strings with a nail file. I called a guitarist friend of mine, Matthew Setzer, to record some guitar drones; and at one point we threw a pound of wood screws into a broken guitar amp to get extra nastiness and grit out of the sound. That was fun.”
We asked Allaire to speak about what he felt was the key to creating a great horror movie score. He let us in on his ideas. “I think it’s important to know when to hold back and allow the natural atmosphere of a scene to be scary,” Allaire said. “Silence can often create more tension than anything, and a scare will always be more effective when you allow that tension to ratchet up as much as possible before breaking. Then you can go all out.”
And finally, we asked Allaire about some of his favorite horror titles. He had an amusing response. “Alien, 28 Days Later, Under the Skin… and whatever movie they end up making about Donald Trump’s presidential run.”
Below are two of the tracks featured in Some Kind of Hate, “Rage Within” and “Wolves from the Door.” For more visit the official Robert Allaire website and follow him on Twitter @RobertAllaire. You can also lick this link for the official Some Kind of Hate website.
Some Kind of Hate Synopsis:
Relentless bullying has turned Lincoln’s life into a nightmare. But he soon learns the true meaning of terror when he is sent to a remote school for troubled teens and the harassment starts all over again. Only this time, someone is watching–a teenage girl named Moira who was driven to suicide by vicious bullying years ago. When Lincoln accidentally summons Moira from the grave, he unleashes a vengeful and unstoppable force on a mission of blood-soaked revenge. Hell on Earth has a new meaning in this gruesome shocker.
Yeah… you remember her. As Sheriff Rick Grimes’ cheatin’ old lady from “The Walking Dead,” Sarah Wayne Callies definitely carved a name out for herself after a successful run on the hit AMC show, and she is now currently co-starring alongside Nicolas Cage in the supernatural-abduction film Pay The Ghost (review). She was nice enough to take time away from filming to speak with us for a few regarding the role, as well as what she’s got coming up for future projects, so settle in and enjoy!
DC: Can you give us a brief description of the film as well as your character, Kristen?
SC: Well, the film is the most terrifying thing in the world because it’s about parents who lose their son. The two parents have different relationships – the mother is trying to find a coherent life without him and trying to move through that grief; whereas, the father can’t let it go, and I think in a way that these characters have experienced a kind of insanity. During the course of the movie they’ve got to accept and believe in certain things that before they would have thought were complete preposterous bullshit. These are two very rational people – she’s a designer, he’s a professor, and they have to wrap their heads around the possibility that their son is no longer among the mortal world, and that’s one of the biggest hurdles for them.
DC: You had some very emotional scenes in the film – where do you have to go in your mind in order to be able to dig up such raw emotion for a role like this?
SC: I think that a lot of it has to be the circumstances in life – I’m a mom, and also working with an actor of Nic’s caliber. Everyone in life gets broken by grief and loss at some point – loss of a person, or a hometown, and as an actor, you’ve got to pick the right scab (laughs)!
DC: So, what was it like working with Nicolas Cage?
SC: He’s just extraordinary. I mean, I’ve always been aware of his work, and I’ve learned a lot from it, which is a huge part of why I took the job. I showed up one day for a table read of the script, and he’s someone who has a lot of humility and the collaborative spirit, and the professionalism of someone who’s ever worked before – he’s just happy to be there, and on everyone’s team – the first on set. There’s absolutely no thinking, “I’m one of the biggest stars in the world” with that guy, which is extraordinarily rare. I absolutely loved working with him, and we’re both quirky and weird, and the best thing is that Nic doesn’t give a flying fuck about what anyone thinks about him. When we’d gotten together to film Pay the Ghost, he’d had another film that had just come out, and it got absolutely panned, and he was so easy with it, and that in and of itself starts to create the basis for a great actor because he’s going to 100 percent follow his intuition and instinct and do a fantastic job.
DC: Lastly, what’s coming up for you – anything in the works?
SC: I’m in production right now on a new show called “Colony” – it’s Josh Holloway and myself – it’s science-fiction, and I’m so much in love with this story. I’m so proud of what we’re doing, and it’ll be coming out in January.
The post Sarah Wayne Callies Gives Us the Lowdown on Pay the Ghost appeared first on Dread Central.
In “Hellevator” a team of three friends rides a haunted elevator into various levels of an abandoned slaughterhouse. One player must get out on each floor and conquer a frightening challenge in order to earn money for the team. If they don’t make it back in time, the elevator moves on without them. Participants can earn up to $50,000 by properly completing their challenges, including the final challenge – The Labyrinth – where the surviving contestants work together to face their most difficult and terrifying challenge in a mad-dash race to accumulate more money.
Horror film icons Jen and Sylvia Soska, aka the “Twisted Twins,” serve as masterminds behind the scenes, pulling the strings throughout the game, taking delight in the horror and leaving contestants struggling to remember: “It’s just a game.”
We caught up with the Soskas in Downtown Los Angeles at Willow Studios – which actually was once the site of a slaughter house – where they were filming an episode entitled “The Butcher, The Baker, and The Candlestick Maker.”
Dread Central: We know that you two have been in talks with Jason Blum in the past about making films together, but as it turns out, you’re collaborating on a TV series first. How’d that all come about?
Sylvia Soska: We have been after Jason Blum and Blumhouse forever because we’re fans.
Jen Soska: I’m going to add a little context to that because it sounded like you wanted to kidnap Jason Blum and throw him in a trunk. There isn’t a studio in the world that doesn’t want to be with Blumhouse and Jason Blum right now, and as soon as we knew we were working with Blumhouse, they were like, “So, how does Jason do it?” and I’m just like, “He’s got an eye for talent and weird stuff.” It’s always low budget, high concept and each pays off because it’s stuff that horror fans really want to see and there has been an absence of that in the industry for a really long time so that’s why he’s on top, I think.
SS: And the cool thing about how he made it is the contestants actually felt they were in an active Blumhouse horror movie. Well, I find towards the end of the show they don’t feel that they wanted it as much as they felt before the film actually started!
JS: Everyone, and I’m guilty of this too, watches horror films and is like, “Oh, I would like to be there” or “I wouldn’t go in there,” and it’s not so tough. Well, now you could put your money where your mouth is and guys who talk big don’t usually make it very far. Surprisingly, a lot of big guys being big and strong and dapper and handsome does not help you there.
SS: I don’t mind if they’re handsome.
JS: No, it doesn’t hurt.
DC: Did you ever think in your careers as directors you’d end up being TV personalities and game show hosts too?
SS: No, I never did. Because we’re not film actresses — but not because we’re not talented, just because the Olsen twins are popular and so [we never got hired].
JS: It’s definitely a dream job but I never thought we’d go into game shows per se but I’m a huge fan of Cassandra Peterson / Elvira and I do feel that we’re next in line of the proud evolution from Morticia Addams and Vampira, and now you get to this. Yeah, two is better than one.
SS: This is very much like Elvira because we do give a current commentary from our lair about exactly what we think the contestants are doing.
JS: The contestants wouldn’t hug us so much after knowing all the things we were saying about them, especially the gentlemen, but if you prove yourselves, we would give you props. We’d be like, “Gosh, she came in crying, and she left as the final girl!” But if a guy is like, “I hate them” (in his voice), we would be like, “You missed, sweetie; I heard that and you’ll pay for it.”
DC: Looking at the scene you guys just shot, with the creepy clown walking by, not to mention some strange toys on the shelves….. What’s it like to be here every day and see what they have in store for these guys?
SS: It is like some weird nightmare. You get your script and you look at everything and it’s amazing because everyone’s pushing themselves, and when you have that and everybody is on the same page, and the final product you want to deliver, it’s a really exciting opportunity because you get to make something; you actually do. There’s nothing that you’re fighting and everybody is like, “All systems go ahead!”
JS: It’s like Christmas morning everyday, then Halloween morning, then Halloween night, which is better than Christmas morning.
DC: Did you design these sexy costumes for yourselves?
SS: We had a lot of input with our costumes, but you know us; I like to wear something clingy and low cut once in a while. Every day.
JS: Sometimes I wear something low cut and sexy; that’s another thing I’m hacking from her.
DC: Did you grow up scaring each other? Or tricking other people as twins?
JS: We never messed with each other at a young age. Twins grow up in a weird social setting; it’s like that movie The Invention of Lying – we had to realize normal civilians lie to each other for manipulative reasons because I was like, “Why would I lie to my sister? I love my sister; she’s my best friend ever,” which is true. But other people, yeah, of course. My fear is the fear of being a single twin and having her die.
SS: That’s a bummer….
JS: I know.
SS: Nobody wants to hear something that’s depressing right now; you have to be up! You have to snap up, sweetie.
JS: But what I like to do is, I like to casually ask someone, “Oh, I have a snake; how do you feel about that? Oh, you don’t like snakes? What about spiders in the dark?” and then making a [note] in my head. So don’t tell horror directors what you’re afraid of, that’s just bad.
DC: How does this TV hosting schedule work out with your directing schedule?
SS: I’m in pre-production on our feature film Puppet Killer right now, so we go and terrify somebody and then I approve the cast list and then I set up interviews for the weekend. It’s interesting because I’m so used to being behind the scenes, but every time I oversee a production, I get overbearing and like, “I want to be in production,” but we have a wonderful director on this, and he heads the whole show so he doesn’t need me for that.
JS: You can never tell when opportunities are going to work out so you have to seize them. I think we started going after the whole thing in February and then we came down in March to shoot the pilot and everyone had such a fantastic time; it was a great team and everyone was so happy that we pretended it never happened because how many pilots are picked up, especially it’s our first time and it’s such a counter point to any game show or anything that’s ever done before so, we were like, “I’m never going to end up doing this,” and then when we started going into Puppet Killer and that day when we were meeting with actors, we got a call from one of the producers on “Hellevator” and [it all came together].
DC: How fun is it to watch everyone being afraid and watching the scenarios play out?
SS: I cannot tell you the child-like feeling that we get every time that one of our monsters hits something right on the head — and it’s usually a victim — it just makes us so happy.
JS: I’d like to speak more highly of our contestants, but when you’re afraid, it makes it easy to manipulate human beings so we will help terrify them and push them in the direction that we want to; maybe drop blood on them, maybe drop cow eyes on them, maybe throw a bucket of confetti and then a bucket of blood on them because when they say, “Ah, it’s just confetti,” no… the second one was blood.
SS: As a lab rat they have the opportunity to win $50,000, but it’s not easy to get. We have to see what people are willing to do for money and then it’s interesting like a social experiment, really. I’m like, “Oh my God, I can’t believe you did that.” If I’d win the money, I’d jump in there too.
JS: In order to defeat “Hellevator” or at least get through it properly, you have to face your fears. A lot of people think that’s it’s just a cash cow where you can do the challenges and succeed, but that’s not the way that it works. I’ve seen a lot of people lose their shit on the lab run and just like try and get through it, but it’s a lab that we set up. Sometimes, they’re just crying little bitches.
DC: Do you want to try any of the challenges yourselves?
SS: On the pilot, I tried one of the challenges and I felt like, “God, what have I gotten into?” I went through a jig-saw puzzle; you get through it and then… when I finished the challenge I felt like, “Oh, I can do anything” and it’s like, “No” because it starts easy and then gets harder and harder; it’s setting yourself up for a big fail.
JS: I love our featured co-stars, like the scorpions and snakes and tarantulas and the rats and the maggots and the cockroaches and the leeches…
SS: Continue, girl!
JS: Anytime I get extra snakes, I’m like, “Yes!”
SS: I’m also not afraid of them, so I’m able to get into the set, and I’m like, “Can I keep this scorpion?”
DC: Do you have any dream contestants that you really want to come on the show?
SS: So, we worked with Danielle Harris on See No Evil 2, where I found out one of her phobias is the elevators. Right after we had the first elevator scene, she just forgot to tell that and I was like laughing. And she was, “No, seriously. I’m terrified in there.” But the thing is, she’s become like an Amazon because she’s been trapped in an elevator so much that she knows how to kick out the top and get out. [She kicks ass] because Michael Myers has been chasing her. I would like to have real “final girls” episode.
JS: I absolutely agree. I would love to do a “final girls” edition. And villains, because they have phobias, and a lot of them are weird ones. They say, “I don’t like birds,” and I’m like, “You’re six-foot; what’s it going to do to you?” It would be really cool, and also we could adjust the challenges because it’s physically very dominated so we could have them having to pass through walls and go through walls again. How many walls can you pass through when such and such is chasing you?
DC: Did you like game shows, growing up? Or do you watch reality TV now?
SS: I always really liked “Family Feud,” but I was always afraid because I know my family is Eastern European so I feared we would look like we’re always arguing and swearing [if we got on that show].
JS: I like “Deal or No Deal” because I think I’m psychic; I think I’m good although I’m not. I like watching “Jeopardy,” but I like saying the answer after a smart person gets it right because I have no idea.
SS: It wasn’t a traditional straight game show, but I never missed an episode of “Fear Factor.”
JS: Evidently fear is not a factor for you.
SS: I wanted to do “Fear Factor” and win so if I had an online dating profile, it would be like, “I won ‘Fear Factor’!” and that would be it.
GSN, the leader in game shows and competitive entertainment, will premiere the horror-themed game show “HELLEVATOR” on Wednesday, October 21st, at 8 PM ET/PT.
The terrifying eight-episode genre-bending series from Blumhouse, the team that brought the world the Paranormal Activity, Insidious, Ouija, and The Purge franchises, dares contestants to survive a series of challenges from the depths of an abandoned slaughterhouse.
“HELLEVATOR” is produced by Matador and Blumhouse Productions in association with Lionsgate Television. Executive producers are Jason Blum, Jay Peterson and Todd Lubin of Matador (“Lip Sync Battle”), and Shye Sutherland (“Wipeout,” “Bullseye”).
The post Hellevator – Dread Central Visits the Set of Horror’s New Game Show appeared first on Dread Central.
We recently had the opportunity of speaking with actress Jill Marie Jones, whose latest role has her leaping directly into the world of the Evil Dead with Bruce Campbell on the Starz channel’s original series “Ash vs. Evil Dead” when it hits the airwaves on October 31st (appropriately so). She was kind enough to give us a few minutes to discuss the role and what it was like to work with Mr. Campbell, so ease back and enjoy the read!
DC: Jill, can you set the show up for us, as well as a description of your character, Amanda?
JJ: I don’t want to say that the show is a continuation, but the amazing Bruce Campbell is reprising his role of Ash, which is so freakin’ hilarious. I knew how great he was at playing the character, but I never knew just how funny he was in real life because I’d met him for the first time in this process. The show picks up where he is in his life, and you’ve got these new characters, and my character, Amanda Fisher – she’s a Michigan State Trooper, and she went to a normal routine stop with a partner, and there’s some crazy stuff that goes on at this stop, and only in Evil Dead-world. There’s some blood goin’ on, and with everything that happens in this town, Ash’s name keeps coming up. My character feels like he’s involved, so her journey now is to hunt down Ash. She’s a total badass, shooting guns and knocking people out – I’ve never done physical work like this before and really didn’t know how much I would love it, and I do love it very much.
DC: Just how physical has the filming been?
JJ: It’s been very physical, and we have an amazing stunt department with a gym that’s set up on set – you can go in and hit a heavy bag or get some work in on firearms for preparation in Evil Dead land, and it’s something that I found within myself that I didn’t even know I loved!
DC: Were you already familiar with the Evil Dead films, or did you find yourself watching all of them in preparation for the role?
JJ: I was familiar with Evil Dead, but I’d never seen the movie before; as part of my process I watched them in a binge. Sam Raimi? Come on, man – we are so blessed to have that man be our leader – he is so incredible, and it’s great to meet people that you admire that have a heart of gold. He’s so calm and respectful, not only to the cast and crew, but everyone – he’s got a very nice touch, and it’s been a pleasure working with him.
DC: Can you give us a little insight about the sheer lunacy that’s involved with working alongside Bruce Campbell?
JJ: Bruce is our leader, and we just follow his lead, and it’s been amazing. I’d never met him before, and he does the character brilliantly – he’s incredibly funny on set as well. He welcomed us all with open arms and said that we’re all going to start our own journey, and I thank him for that.
DC: Jill, what do you have coming up in the future?
JJ: I have a lot of entrepreneurial things that I do as well – I’m a business lady outside of acting, but I’m up for two things right now that I really can’t go into much detail about, but one project is something that takes me back to my own history (wink, wink). I also write and have a show that’s being shot, so that’s it – I’m just an artist! (laughs)
The post Jill Marie Jones Talks About Her Role on Ash vs. Evil Dead appeared first on Dread Central.
The supernatural scamp known as June is getting ready to haunt your DVD collection next week, and right now we have a chance for you to score a copy on us!
To enter for your chance to win, just send an email to email@example.com including your FULL NAME AND MAILING ADDRESS. We’ll take care of the rest.
This contest will end at 12:01 AM PT on October 6, 2015.
The film stars Casper Van Dien, Kennedy Brice, and Victoria Pratt and is directed by L. Gustavo Cooper. Look for it on DVD on October 6th.
Nine-year-old June (Kennedy Brice, “The Walking Dead”) has been shuffled in and out of foster homes for years. And though she tries to be good, no matter where she goes, a trail of chaos and terror seems to follow. It’s only when June is sent to live with a new couple, Lily and Dave (Casper Van Dien, Starship Troopers), that it looks as if things might finally work out – except this innocent child with the face of an angel is possessed by an ancient, malevolent entity that has hijacked her soul. Unless June can defeat the demon within, her new family – and mankind itself – are destined for destruction.
Even though the Hell and Back movie may not have been to my taste, I did appreciate the artistry of the stop-motion animation; and I loved catching up with the writer-directors, Tom Gianas and Ross Shuman, to ask them about the making of the film. They’re really fun fellas with an excellent sense of what their movie is (not too serious) and who’s going to like it (horror fans into irreverent comedy).
I caught up with them at the press junket in L.A. to ask them not only about the star voice talent (Bob Odenkirk, Mila Kunis), but some off the wall questions as well – they were game! Read on to see what the guys had to say.
Dread Central: How did you guys come up with this zany idea?
Ross Shuman: Originally it was the idea that one of the producers had and we were brought on to flesh out the ideas and figure out a visual language; we wanted to make Hell not the typical Hell with fire and brimstone. The idea was, if this places exists, maybe the portal going down to Hell is a mystical kind of portal brought on by the Beelzebub kind of spell, but the idea was really flushed out over probably 6-8 months of a lot of people just trying to work it from every angle. Even our production designer had influence on ways we would do things and set up themes. It was really an establishment of so many artists. So this movie was, more than most, a giant collaboration.
DC: How did you guys chose Bob Odenkirk as the Devil; I think he’s perfect. I know you do too, but what was it specifically about him that sent him over the edge for your choice?
TG: He’s probably the funniest guy I know and he’s got that going for him. Bob and I worked together for like 20 years, 25 years actually; we are coming out of Chicago together. I directed him in Second City. So, it was really that I asked him, “Hey, can you be in our movie?” and he was cool enough to do it and be the great Devil. I’ve known before he played Saul on “Breaking Bad” and “Better Call Saul,” you know? So it’s weird everyone recognizes him now, but he’s just Bob to me.
DC: I love the way he plays the Devil; he has two looks in the film, and he changes his voice with those visuals. Can you talk a little bit about that, and how that decision to make two version of the Devil was arrived at?
TG: Ross is going to talk about the looks, but in terms of the character, he’s just a bad CEO but he’s the boss. The demons are like the guys who work in his office and they’re like, “Oh, we can do the job better than the boss does,” but the boss is the boss; you have to defer to him even though it’s maddening. So I think there’s a duality to this dynamic where you’re working your ass off at the job; whether it’s digging ditches or you’re in the office, whatever it is and the boss is just… That’s Bob. Bob puts on his coat to impress the guy, but he’s really a dandy in his private moments.
RS: Yeah, but the thing about his character is, he would prefer to be the smaller version, the more artistic version, the more thoughtful version, but in Hell with a bunch of demons that are really just about sacrifices — he would get no respect whatsoever, so he grows (big) and he even says, “Do you love this shit?” It keeps the demons in line. It’s his giant facade power suit, and then he goes home and he’s sad like normal kids, and he’s a sweetheart.
DC: Exactly. I thought your film was so well made and beautifully done visually, but it is in stop-motion and it is a cartoon that’s incredibly dirty and irreverent and definitely not for children so, who would you say your target audience is for Hell and Back?
TG: I think that’s pretty easy, I feel like it’s 18 to… any age. My father saw some clips and was laughing, and he’s in his 70s so, I feel like the target audience is probably 18 to 35 or 18 to even higher. The real thing here is that there are a lot of stop-motion movies that come out and even animated movies, and you can’t really pinpoint who they’re for because it’s cartoon and it’s like the movie should be for kids but at the same time, sometimes it’s not really for kids. It’s scary or it’s kind of a bizarre story and so, is it for adults? While adults are saying, “Well, this is not for me either” and it hits that netherland. So, this movie… what I like about it is we just say, “Okay, there are people that love mature content and love animation so let’s give those people what they want,” which is what I want. I would go see this movie in a heartbeat.
RS: I think these types of characters, the way they move, the way they look, harkens back to those holiday specials, Rudolph and Frosty, that everyone grew up on. Now, to add those kinds of characters we normally see in family [shows] to be acting out and saying the things they are in this movie is a really fun comedic juxtaposition. It turns everything on it head.
TG: Also, when we are working through all this, the idea was like somewhere in that animated movies when somebody got hit or they land in a situation that’s not very good, chances are if we’re being real, we want to go all “shit!” so what if we took that kind of Looney Tunes feel and mashed that up? Then we have something that’s really kind of edgy.
RS: Like the Road Runner in the Wile E. Coyote cartoons, if he could really articulate what he’s feeling, that is what would happen.
DC: We are a horror site, so of course we want to know what you did to make this film look creepy and give it that nightmare landscape?
TG: There are a lot of things in the shadows and in the darkness that you ultimately don’t know what they are so… I don’t want to spoil the movie or anything, but there are creatures that you would never imagine would come alive. And personally I feel that they terrifying.
RS: And probably the creepiest character in our movie is the Mila Kunis character; she’s half-human, half-demon. She gets things done, she throws one of the demons off the boat. But I think in terms of the horror aspect of it, she’s scary; yet, they are going to view her as this sweet young woman underneath, much like the Devil (has his other guise). And then she also has the coolest ship in Hell. It’s kind of like if the Millennium Falcon were a ship in Hell, what would it be?
TG: And also, the fact that you’re going into a Hell-themed ride at the amusement park and it actually took you into Hell, that would just make you [scared to death].
DC: I’ve often thought if I am ever sent to Hell, I would spend eternity peeling those little sticky, scored price tags off of merchandise for ever and ever. So, I”s love to know from each of you: What would your idea of Hell be in the afterlife?
RS: Mine would definitely ordering pizza and not being able to get the toppings I want [like in the movie].
TG: My torture is being in a parking garage behind someone who doesn’t know the dimensions of their car. I have to be patient, watch them back out real slow, readjust, back up, move forward, readjust… and you sit there all day. That drives me nuts.
Produced by ShadowMachine’s Corey Campodonico, Alexander Bulkley, and Eric Blyler, the film is being released today (October 2, 2015) by Freestyle Releasing.
Jason Trost’s How to Save Us, his fourth and most daring project to date, is arriving on DVD courtesy of Parade Deck Films on October 27th, and we have a whopping seven (7) copies to give away! Read on for the details.
Trost wrote and directed the film and co-stars with Coy Jandreau and Tallay Wickham. Trost (The FP, All Superheroes Must Die) brought How to Save Us (review) to life with a bone-chilling and brilliant score from acclaimed composer Tori Letzler (“American Horror Story,” Thor: Dark World) and Phil Miller’s astonishing cinematography.
To enter for your chance to win, just send an email to firstname.lastname@example.org including your FULL NAME AND MAILING ADDRESS. We’ll take care of the rest.
This contest will end at 12:01 AM PT on October 10, 2015.
When Brian Everett’s younger brother, Sam, goes missing on the island of Tasmania during the middle of a mysterious quarantine, Brian (Trost) is forced to traverse across enemy lines to save his brother from an army of ghosts by following Sam’s rules of survival. But will this buy enough time for Brian to find his brother, or will they both be stuck in a hellish realm of the dead forever?
Starring Michael McCarthy, Kane Hodder, Jordan Elizabeth, Wade Gallagher
Directed by Kevin McCarthy
Distributed by Monster Pictures UK
In Kevin McCarthy’s comic book-styled Fury: The Tales of Ronan Pierce, eponymous rogue cop Ronan takes the law into his own hands in the wake of his family’s targeting by the brutal and sadistic criminal overlords that rule his city from the shadows.
Cue lots of low budget violence, brutality, torture, popular comic pastiche and some of the most horrendously obnoxious ADR you’ll ever bear witness to.
Now, with that out of the way — and so that spending these precious few minutes of your life reading this isn’t a complete waste of time — here are 5 Amazing Facts That You Probably Didn’t Know (Number 3 Will Blow Your Mind).
Feel free to take these with you so that you can astound your friends/colleagues/postman/pets with your scholarly insight into totally random popular misconceptions at your next meeting/cocktail party/housewarming/orgy or whatever. You’re welcome.
FACT 1: The fear of the number 666 is called Hexakosioihexekontahexaphobia.
FACT 2: Human beings actually have at least 9 separate, scientifically agreed senses. Alongside the primary pentad of Sight, Hearing, Taste, Touch and Smell, it is now commonly agreed that Thermoception (the sense of heat on our skin), Equilibrioception (our sense of balance), Nociception (perception of pain) and Proprioception (the unconscious sense of where our body parts are in relation to the rest of us at any one time, even when they’re out of sight) are standard senses that are at the core of our biology. Eat that, M. Night Shyamalan.
FACT 3: In ancient Rome, when the Emperor desired the death of a defeated gladiatorial combatant… he gave their opponent the thumb up. The signal for fighters to be spared was, in fact, the thumb tucked into a closed fist. The thumb down was never a gesture in these times. Eat that, Ridley Scott.
FACT 4: Contrary to popular belief, chameleons do not intentionally change colours in order to blend in as camouflage. They merely change colour in response to emotional state — for example fear, excitement or sexual stimulation. The actual colour produced is decided by skin pigments reflecting different spectrums of light, and is ostensibly random. They’re also deaf.
FACT 5: The guillotine was not, in fact, invented by Dr. Joseph Ignace Guillotin. He suggested the initial idea of such a standardised and efficient method of execution in 1789, but was shot down by the French National Assembly. Regardless, Dr. Antoine Louis took the idea and ran with it, eventually producing what was known in its early days as the Louison or Louisette in 1792. Still, Guillon’s name became attached to the device despite him being a rather humane and pacifistic fellow — and there it remains despite the protestations of his family.
Many thanks to the QI Book of General Ignorance for these, and many, many other enlightening anecdotes.
Alright… I guess I owe a few more words on Fury. Listen — I don’t like to be the bad guy. I don’t get off on being an asshole, and I don’t like to pick on the little guy in any situation.
But I also don’t like to have my time so completely, inexorably pissed away by shoddy, talentless product like Fury: The Tales of Ronan Pierce.
The Sin City-on-a-shoestring vibe doesn’t work at all. The acting is atrocious, except, perhaps, for Brad Potts and Harry Aspinwall as a couple of decent villans. Kane Hodder does his best but just looks lost for the whole couple of minutes that he’s involved. Editing and direction are simultaneously all over the place — including a fast-mo club sequence that suddenly made both the “eject” button and the copy of Punisher: War Zone on my shelf look very, very inviting indeed — and the eye-pummeling visuals, which somehow manage to be both garish and indecipherably murky at the same time, make it seem as though the production team have figured out the first technological step toward capturing moving images using only a carrot… but have just reached the prototype stage at this point in time.
No more. That’s it. Hey, go ahead and watch it — you might love the hell out of it, and can tell me I’m being unfair. I don’t even know at this point. All I know is that, for the first time in what has been an incredibly long time, I was genuinely, deeply angry that I had to continue to bear witness to a film.
Monster Pictures bring Fury: The Tales of Ronan Pierce to UK DVD looking like it was shot, edited, mastered and transferred to disc through the magic of CarrotVision(tm). No special features worth mentioning, thank fuck.
On October 19, director William Brent Bell’s brutal and bloody take on the werewolf genre, Wer, gets loose on UK DVD. To celebrate, we’ve got an exclusive clip that sees the film’s flood of mayhem kick off in grand style. Beware the moon!
Wer stars A.J. Cook (“Criminal Minds”), Brian Scott O’Connor (Epic Movie), Simon Quarterman (The Devil Inside), Vic Sahay (“Chuck”), and Sebastian Roché (“The Originals”).
When something slaughters a family camping in the French countryside, the freakishly large and powerful Talan Gwynek (Brian Scott O’Connor) is arrested for the crime.
While his public defender, Kate (A.J. Cook), argues his case, she begins to suspect he’s suffering from a rare medical condition that causes physical abnormalities. But as they begin the tests, Kate discovers Talan’s truth is far more monstrous than she ever imagined…
As we enter the spookiest month of the year, and subsequently look forward to the October 5 UK DVD release of The Houses of Halloween, we’ve gotten our hands on an interactive map that lets you uncover some of the UK’s most terrifying and extreme horror attractions.
So… no matter where you are, now you can plan exactly where you’ll be headed to get the shit scared out of you this Halloween! Enjoy!
The Houses of Halloween, aka The Houses October Built (review), stars Brandy Schaefer, Mikey Roe, Zack Andrews, and Jeff Larson and is directed by co-star Bobby Roe.
The Houses of Halloween Synopsis:
Beneath the fake blood and cheap masks of countless haunted house attractions across the country, there are whispers of truly terrifying alternatives. Looking to find an authentic, blood-curdling good fright for Halloween, five friends set off on a road trip in an RV to track down these underground haunts. Just when their search seems to reach a dead end, strange and disturbing things start happening, and it becomes clear that the haunt has come to them…
The post Exclusive: October Beckons! Check Out this Interactive Map of the UK’s Scariest Attractions appeared first on Dread Central.