If there were a contest to see who could come up with simultaneously the silliest but most aptly descriptive title, Space Beast Terror Fright would be on the winners’ podium alongside Sharknado and Texas Chainsaw Massacre. Ever since Aliens and Starship Troopers gave us the space-bug squashing itch, gamers have longed for a proper backscratcher.
Back in 1999, Rebellion delivered the excellent Alien vs. Predator video game for the PC, which was followed up by the equally excellent Alien vs. Predator 2 in 2001. The recent track record has been a letdown, with the 2010 Alien vs. Predator failing to deliver. I’m sure it would have been better received if we knew what awaited us with Aliens: Colonial Marines in 2013. Alien: Isolation was a great game but featured too little alien squashing to be considered for this category.
Thankfully, the good folks at Nornware have noticed this discrepancy and are here to fix it with Space Beast Terror Fright. Taking place on a derelict ship in space, the players must navigate a series of corridors and collect datacores while holding off terror beasts: what a fright! At this point, spaceship means a series of randomly generated corridors, which makes it feel more like one of those old school maze games for Windows 95. That isn’t to say it looks bad, as the integrated UI does a great job of making you feel like a space marine, but it can be a bit jarring at first.
To assist the player, datacores each give an upgrade and provide ammo and battery restock. Upgrades include scaling levels of auto-aim, ammo capacity, thermal vision, ammo types, and more. Players always die in one hit, so tension is high, but can be temporarily alleviated with turrets that will hold a choke point until their ammo runs out. Be careful, since standing in the way of these turrets can be just as deadly to you as to the aliens.
As of now, the game is still in early alpha, so features are light. As of writing this review, they have just added easy mode. The gameplay is so far solid, without a lot of the bugs that one would expect so early into a project. There is a long way to go in fleshing out the menus, gameplay, and world generation, but there is a lot of promise here. I don’t really dig how the camera starts to strobe when aliens get nearby, as it feels like a cheap way to cause tension, and there is no way to disable this feature. The game also features a relatively pointless split-screen multiplayer option, which is universally silly for a PC title.
At the asking price of $15, it is only going to net you maybe a couple of hours of entertainment at this point, but fits into a satisfying niche. What you are buying at this point is a chance to see the potential, and experience the development process. It is rare that a game is actually presented in such a raw state, and even rarer that it functions as intended. You might want to wait for it to go on sale, but if you are jonesing for a fast paced alien shooter, you can do a lot worse than Space Beast Terror Fright.
The actor who’ll be playing the role that Tim Curry made famous, Pennywise the Clown from the television adaptation of Stephen King’s It, is a pretty surprising choice. Variety reports that Will Poulter (We’re the Millers, Maze Runner) will be the one filling the over-sized shoes.
Now, before anyone starts screaming, “What?!? The nerd from Meet the Millers?!? Are they crazy?,” keep in mind that “True Detective’s” Cary Fukunaga is at the directorial helm of this film that is set to go places that the 1990 TV mini-series simply was not able to. Sources say in the end, Fukunaga could not say no after being blown away by Poulter’s audition for the part and felt he was the right choice for the role.
This second adaptation of the classic novel will be split into two (or maybe three) parts, chronicling the childhood and then adult life of the main characters. At this time Fukunaga is only attached to direct the first part. Seth Grahame-Smith, David Kajganich, and Chase Palmer penned the new feature for Warner Bros.
More as we get it!
The post Stephen King’s It – Will Poulter Cast as Pennywise appeared first on Dread Central.
More casting news has arrived for Roland Emmerich’s Independence Day sequel as according to Deadline Sela Ward (“CSI: NY”) has been elected President of the United States in the film, which is just revving up production in New Mexico.
She joins the previously announced Jeff Goldblum, Bill Pullman, Brent Spiner, Vivica Fox, Judd Hirsch, Jessie Usher, Liam Hemsworth, Charlotte Gainsbourg, Joey King, and Maika Monroe in the film.
Director Roland Emmerich will return to helm the film. Independence Day 2 is set for release on June 24, 2016 — almost exactly 20 years from when the first film hit theaters on July 3, 1996. Dean Devlin, Emmerich and Harald Kloser are producing. James A. Woods and Nicolas Wright wrote the most recent draft.
Starring Siegfried Peters, Steven Yvette, Yatoya Toy, Age Wilson
Directed by Rodney Ascher
Full disclosure: I walked out of Rodney Ascher’s Room 237, an exploration into the many conspiracy theories surround The Shining and the people that believe them. Its legitimately interesting – if exceptionally bizarre – material was mired in a profoundly misguided approach that makes it feel more like a long YouTube video than an actual documentary. Despite this, I was interested in his follow-up, The Nightmare, an exploration of the phenomenon known as sleep paralysis told through the eyes of eight people who have experienced it. Unlike Room 237, I didn’t walk out The Nightmare, though I did find the experiences related by the film’s subjects to be far more tolerable than this pseudo-doc that elicits more unintentional laughter than legitimate scares.
This is troubling because sleep paralysis is truly one of the most terrifying things anyone can experience in their lifetime. I’ve fallen victim to the “old hag” once, though my episode was relatively tame when compared to those told in the film, as a little bit of buzzing and the inability to move for about fifteen seconds was all my brain could muster. Through a mix of face-to-face interviews and reenactments, we’re taken through a jumbled journey of discovery as the eight subjects recount how they first experienced the phenomenon, its development and impact on their lives, and what they believe is causing it. Their situations are varied yet similar; Ascher’s goal is, in part, to highlight how real people experience and rationalize what is little more than a sleeping disorder, albeit one that isn’t fully understood.
In this he succeeds, with the film forgoing almost any mention of the science behind sleep paralysis in favor of personal stories that suggests the similarities might not be all that coincidental. The subjects take us through a typical episode, the sounds, images, and feelings recounted in terrifying detail, with Ascher occasionally popping in to ask them questions. One man, whose first episode allegedly occurred when he was barely two years old, relates how every night he would be visited by alien-like creatures with glowing skin reminiscent of television static; another tells of how she once fell victim to two giant black blobs that floated toward her while she lay in her bed, unable to move. For them, certainly a frightening ordeal, but the film interprets them in such a way that its players become unintentional comedic fodder rather than unfortunate victims.
It’s in these recreations where Ascher seeks to blend the elements of a horror film with that of a traditional documentary. Featuring cheesy animated sequences and laughable voiceovers, these reenactments highlight the images and situations with so little care and respect that it makes you think the whole thing is an elaborate joke designed to poke fun at the subjects. They’re all punctuated by infrequent jump scares and audio stings that are, perhaps a little too ironically, scarier than the stuff that’s actually supposed to be scary. But it’s not just the lack of frights that drags the film down; it still could have been an interesting documentary without being a scary one. Instead, by allowing the reenactments to dominate the already too similar ordeals, it just becomes repetitive.
Notably absent from the film are experiences from anyone beyond the Americas and the UK. Given how pervasive sleep paralysis is among dozens of cultures around the world, each with their own fascinating mythology and spiritual or philosophical explanations for why it occurs, it’s a wonder why he didn’t choose from a more diverse sample of sufferers to explore this. Rather than accept the science associated with sleep paralysis, most of the film’s subjects come to a conclusion that is deeply rooted in religion or philosophy. Imagine how powerful – and educational – this would be if Ascher explored the phenomenon as experienced by those from other cultures! Instead we get the same thing told ad nauseam, their experiences blending into a mess of ineffectual imagery. Every culture has its own idea of what causes sleep paralysis, and by utilizing eight incredibly similar people from mostly similar backgrounds, The Nightmare misses out on the chance to dig deeper into how this phenomenon transcends cultures and religions into a seemingly shared experience.
As such, The Nightmare represents an incredibly myopic viewpoint of a truly global phenomenon. Sleep paralysis has a rich and diverse mythology, its effects plaguing people and cultures all around the world, but beyond a few brief mentions, the film barely scratches the surface. Instead we’re treated to the bare minimum: a stripped down and anemic vision of something that is anything but. Those who regularly experience sleep paralysis might better relate to the material and thus appreciate the slipshod visual representations of these episodes, but I don’t, and I didn’t. It’s not scary, it’s not informative, and worst of all, reverence for the subject matter and its sufferers is almost non-existent.
The indie horror juggernaut known as It Follows (review) has gotten ANOTHER Funny or Die video, this one starring the film’s Maika Monroe, Keir Gilchrist, Daniel Zovatto, and more. Check it out along with the original gag video right here.
One of the best-reviewed films of the year (95% on Rotten Tomatoes) has also been bolstered by strong word of mouth with audiences hitting the multiplex in droves during its theatrical rollout.
It Follows was written and directed by David Robert Mitchell and features an up-and-coming ensemble cast that includes Maika Monroe (The Guest, The Fifth Wave) in the lead role.Just Calling To Say ‘It Follows’ with Maika Monroe from Funny Or Die What Follows After Watching ‘It Follows’ – watch more funny videos
Monroe plays 19-year-old Jay, who, after a seemingly innocent sexual encounter, suddenly finds herself plagued by nightmarish visions. She can’t shake the sensation that someone, or something, is following her. As the threat closes in, Jay and her friends must somehow escape the horrors that are only a few steps behind.
We’ve lost count which number TV spot this is for the remake of Tobe Hooper’s 1983 classic Poltergeist, but does it matter? They’re almost here! The haunting begins on May 22, 2015.
In Poltergeist, which is to be released in 3D, Jared Harris plays Carrigan, a larger than life TV personality who left the world of academia behind to become the star host of basic cable TV show “Haunted House Cleaners.” Sam Rockwell, Rosemarie DeWitt, Saxon Sharbino, and Jane Adams also star. Gil Kenan directs.
Legendary filmmaker Sam Raimi (producer) reimagines and contemporizes the classic tale about a family whose suburban home is invaded by angry spirits. When the terrifying apparitions escalate their attacks and take the youngest daughter, the family must come together to rescue her.
Trailer numero tres for Dwayne “The Rock” Johnson’s massive earthquake flick, San Andreas, has cracked open the Interwebs, and we have it for you right here, right on the fault line.
Brad Peyton directed the action thriller for New Line Cinema and Village Roadshow Pictures. The screenplay is by Carlton Cuse, story by Andre Fabrizio & Jeremy Passmore.
The film also stars Carla Gugino (Night at the Museum, “Entourage”), Alexandra Daddario (Percy Jackson: Sea of Monsters, “True Detective”), Ioan Gruffudd (Fantastic Four: Rise of the Silver Surfer), Archie Panjabi (“The Good Wife”), Hugo Johnstone-Burt (“Home and Away”), Art Parkinson (“Game of Thrones”), and Oscar nominee Paul Giamatti (Cinderella Man).
Look for San Andreas in both 3D and 2D formats on Friday, May 29, 2015.
To learn more, visit the official San Andreas website.
After the infamous San Andreas Fault finally gives, triggering a magnitude 9 earthquake in California, a search and rescue helicopter pilot (Dwayne Johnson) and his estranged wife make their way together from Los Angeles to San Francisco to save their only daughter. But their treacherous journey north is only the beginning. And when they think the worst may be over… it’s just getting started.
The Scream Factory (how we love them!) has just released the first details regarding the upcoming Blu-ray double feature of GhostHouse and Witchery. Read on for artwork and details.
From the Press Release:
Clown dolls. Witches. Hasselhoff. What more could you want? Prepare yourself for one of the most bizarre double bills imaginable with GhostHouse and Witchery! Released in Italy as part of the infamous La Casa series, these two highly unusual horror films come to Blu-ray on June 30, 2015, from Scream Factory.
Your tour of terror begins with GhostHouse, in which a group of visitors to a seemingly deserted home find themselves tormented by demonic spirits – including one particularly freaky little girl and her creepy clown companion. Soon our hapless heroes find themselves powerless to conquer the evil of the GhostHouse – where death holds the mortgage, and if you move in… there’ll be Hell to pay!
Then, a new address brings new frights as the immortal David Hasselhoff and The Exorcist’s Linda Blair turn up the terror in Witchery. When a terrible storm leaves a motley assortment of people stranded on an island resort, they soon find they have more to worry about than not packing rain gear! A horrible witch unleashes her wrath on the unwanted visitors – and no one is safe from her unquenchable thirst for death!
GhostHouse. Witchery. A duplex of doom, brought to you on Blu-ray from Shout! Factory.
- Theatrical trailers
The post The Scream Factory Details Ghosthouse / Witchery Blu-ray appeared first on Dread Central.
Adam Egypt Mortimer’s Some Kind of Hate is fresh off a debut at this past weekend’s Stanley Film Festival, and we’ve already gotten word that it’s been acquired for North American distribution. So read on for all the details!
From the Press Release:
Image Entertainment, an RLJE Entertainment (NASDAQ: RLJE) brand, has acquired all North American rights to the Caliber Media-produced horror film SOME KIND OF HATE. The buzz-worthy film made its world debut at the Stanley Film Festival on May 2.
Directed by Adam Egypt Mortimer from a script by Mortimer and novelist Brian DeLeeuw (The Dismantling), SOME KIND OF HATE stars Ronen Rubenstein (It Felt Like Love), Sierra McCormick (Disney’s “Ant Farm”), Grace Phipps (Fright Night, Disney’s Teen Beach Movie), Spencer Breslin (The Happening, The Kid), Lexi Atkins (The Boy Next Door, Zombeavers), Noah Segan (Looper), and Michael Polish (The Astronaut Farmer, Twin Falls Idaho). Mark Ward, RLJ Entertainment’s Chief Acquisitions Officer for the Image brands, made the announcement today.
“SOME KIND OF HATE has an amazing story that takes audiences for a ride,” said Ward. “We’re thrilled to bring this film to audiences at large after its incredible debut at the Stanley Film Festival.”
SOME KIND OF HATE tells the story of a troubled teen who’s subjected to severe bullying. He accidentally conjures Moira Karp, a teenage girl pushed to commit suicide by bullies years ago. Moira is now a vengeful and unstoppable force on a mission of gruesome retribution. But when she goes too far, Lincoln must prevent her from spiraling out of control in this passionate and vividly violent take on the supernatural slasher.
Produced by Dallas Sonnier, Jack Heller, Amanda Mortimer, and Gabriella Revilla Lugo, the deal was negotiated by Caliber’s Sonnier and Heller on behalf of the filmmakers and Ward on behalf of RLJE/Image Entertainment.
Sun Choke, which just premiered at this past weekend’s Stanley Film Festival, has a trio of strong female leads; and this new set of characters posters from the film introduces you to all three of them.
Ben Cresciman’s Sun Choke follows Janie’s quest to recover from a psychological break under the intense care of her lifelong nanny. After developing an obsession with another young woman, Janie strays off the path to recovery, forcing all three women into a struggle for control.
Playing Janie is Sarah Hagan, best known for supporting roles on “Freaks and Geeks” and “Buffy the Vampire Slayer.” Barbara Crampton — a horror veteran with credits from Re-Animator and From Beyond to the recent You’re Next and Rob Zombie’s The Lords of Salem — portrays the caretaker (Irma), while the upcoming Kickboxer remake’s Sara Malakul Lane plays Janie’s friend, Savannah.
The ladies’ co-stars include William Nicol, Evan Jones, Joe Nieves, and Jim Boeven. Producers are Georg Kallert, Peter J. Nieves, and Rob Schroeder.
Janie’s just trying to get well. As she recovers from a violent psychotic break, she’s subjected each day to a bizarre holistic health and wellness regimen designed, and enforced, by her lifelong nanny and caretaker. She begins to veer off the road to recovery when she develops an obsession with a young woman to whom she feels an inexplicable yet profound connection. The obsession turns increasingly invasive and wedges all three women into an ever-tightening – and progressively terrifying – struggle for control. Will Janie pull herself back from the precipice of insanity? Or go over head-first, taking anyone nearby down with her?
The post Sun Choke Character Posters Introduce Us to Irma, Janie, and Savannah appeared first on Dread Central.
Another sliver of indie goodness is on its way courtesy of Sean King entitled Death House, and we have the trailer and more for you right here. Dig it!
Jon Cioffi, Angelica Boccella, and Tim O’Hearn star.
A mentally ill man becomes obsessive about torturing his victims and killing them. He lives in an abandoned house by a dirt road. As a child, he was teased for being ugly. Now he has no self-control of what he will do to you if you come to his house…
Starring Stephen Lang, Kelly Blatz, Brittany Curran, Brett Dier, Michael Ormsby
Directed by Marcus Nispel
Distributed by Studiocanal
Assisting the local clergy, led by Father Conway (Lang), small town teen Patrick (Blatz) is helping clean up the old, abandoned Exeter asylum and crematorium. A foreboding place with a chequered past filled with rumours of abuse and supernatural happenings, the asylum met its functional end after being gutted by a massive fire.
When his friends decide to use his access to launch a huge, off-the-hook party, Patrick and a core group of friends stay behind once the booze-laden festivities have ended and most of the revellers taken off. Enjoying their own personal after-party alongside a girl called Reign (Curran), with whom Patrick has become smitten after meeting her the night before, the gang get to talking about the horrific past of Exeter and the whispers of satanic practices.
This leads the group to try out the old ‘light as a feather, stiff as a board’ party trick on Patrick’s younger brother, Rory (Ormsby), which seems to be enough to get him full-on possessed by an evil spirit.
Things go from bad to worse as the search for help for Rory is made much more pressing when the building locks itself down and the evil spirit sets about body-hopping, leading to a series of gory deaths, bodily mutilations and much running and screaming.
On first examination, The Asylum feels like a complete mess. Tonally, it’s all over the place – smatterings of comedy feeling completely mismatched to Nispel’s signature dark and gritty visual style. One moment, you’re in a particularly brutal and seriously-presented horror sequence, and the next you have comedy that feels very much out of place cutting into the proceedings. That’s not to say that the comedy is overt – there’s no slapstick, for example – yet it seems curiously ‘off’.
The original title of the film, Backmask, makes reference to the alleged practice of recording satanic messages on records that could only be heard when played backwards, and the opening scene appears to indicate that this will be a central mechanism in the story – a tortured soul trapped in, and released from, a reversed record, perhaps – yet it’s actually an entirely incidental element, mentioned only in passing.
Given the name change, first to Exeter and now The Asylum, that shouldn’t objectively be an issue – but it’s indicative of what many are going to find when they step into Nispel’s first attempt at an original horror flick: it isn’t at all what you’re expecting.
There’s a deeper mystery at the heart of The Asylum, pulling a number of threads as the film moves towards a finale which, while it does manage to just about explain itself, feels miserably cack-handed and open to more questioning than it would apparently like to be. But the awkwardness of the finale casts the mind back to how well presented the preceding scenes, especially the graphic mayhem and some great gore gags, actually were… and all of a sudden something about it sparks a greater curiosity.
And it’s then that you’re able to become far more forgiving of the film when you approach it for a second play – it’s a strange one, but once you know what to expect, picking up on the dark comedy aspects becomes much easier, alongside spotting the visual clues as to where it’s all going, which very capably escape attention on the initial run.
While elements such as a character loudly crying about somehow being stabbed with a spoon, or pulling up a DIY Exorcism app on his smart phone – which the gang decide to go ahead with trying out, unsure if the app is serious or fake – tend to feel off the mark to the uninitiated, when you approach The Asylum from the right angle it actually does work. It just feels odd when paired with the aforementioned crumbling, oppressive visuals and the completely earnest performances from the cast.
Speaking of the cast, everyone does a bang-up job here – especially leading man Kelly Blatz as the likeable Patrick (though honestly, very few of these teens approach likeable status easily), Michael Ormsby as Rory (looking to all the world like a miniature Jason Mewes) and Brett Dier as Brad, whose sudden turn of faith during one scene is a really great visual gag.
In essence, if you expect a hardcore horror flick then you’re going to be very disappointed in The Asylum. It isn’t scary, but it is funny and endearingly cynical, intentionally revelling in the absurdity of it all. Despite the presentation, Nispel hasn’t made a straight-up horror film, here. He’s made a party movie – loud, gory, and for the most part nicely paced – and you’ll need to have at it from a beer ‘n’ pizza position for it to click in any way. If you can do that, you’re going to have some fun.
The film loses points for feeling confused in itself – something which is no doubt ably reflected in the multiple title changes and sense of uncertainty in its marketing. It’s a sure thing that many are going to pick this one up with the expectation of a straight-up demonic possession horror flick and walk away bemused and dissatisfied. The Asylum is a peculiar experience; a definite oddity that seems only ever a moment away from completely falling apart. But it isn’t actually a bad one.
Studiocanal brings The Asylum to UK DVD in a bare-bones package. Not even a trailer to be had.
As a kid, I used to create little stories in my head when I was bored. I had a wandering mind, so I’d frequently create elaborate plans on how to escape from a horde of ninjas given my surroundings, or picture how all the players on the football field would fare against a dragon. Many a grown-up event was sat through by imagining two armies battling it out in the middle of the room. It never really left me, which is probably explains a lot about me. The downside is that I frequently became convinced that the place I inhabited was haunted. I was usually fine for a few days in a new place, but as soon as my mind got used to it, I became convinced that there were monsters and ghosts around every corner. Fun Fact: I still sleep with my sheets over my head as a kind of habit. Also, it keeps the Yeerks out of my ears.
Well good news, because the good people at Novum Analytics are turning my childhood trauma into a video game! My therapist will be thrilled.
Using advanced algorithm space magic that might as well be witchcraft, the developers aim to turn your house into a more haunted version of your house. Check out their Indiegogo page here for more info on their tech and design philosophy. There’s a lot of info here, and if I had the technical know-how to decipher it all for you guys, I wouldn’t be making dick jokes on the internet for a living.
It all sounds a bit too good to be true, and I’ve been burned before from the sweet promises of crowdfunded sirens, but the tech demos are pretty impressive. As of writing, it has already gotten $1,335 of its $70,000 goal in just 10 hours, so with 40 days to go it will probably make it. As the lead developer says early in his pitch video, “why doesn’t a true augmented reality horror game exist yet?” The answer to this question has always been a lack of technology, but the team looks like they might actually go the distance with this one.
Now getting into my wheelhouse of the scary bits, the game does have a great practical effects design. To be blunt, this is a game that will likely utilize a lot of jump scares, so it is nice to know that the creepy things lunging at me will look good and not like bad .JPEGs. So far, the scares look impressive, so I am eager to see how it will actually pan out as a final product.
Another cool factor is the game’s use of the properties of the phone to deliver scares. Using the microphone to track ambient sound in the room, the output from the headphones will sound like it is coming from a direction that the visual mapping indicates is a place sound could actually be coming from. Walking by a hallway might prompt a growl from your right, which when turning reveals a spooky skeleton. Think that kind of thing, and never sleep again.
What got me the most excited was the creative yet basic use of lighting. The game has to be played in the dark, using the phone’s LED as the sole light source. This allows the game to tweak the brightness as it needs to scare you, which I hope means more than just turning off and on again with Kayako all up in my grill. It’s a simple concept, but one that could have easily been overlooked.
So if this sounds like your kind of thing, which it probably does because you are reading an article on DreadCentral, then go check out their Indigogo page and toss them a few bucks. For just 5 bucks you get the full game on release, so what’s the harm? Lets make this Night Terror dream a reality!
The post Night Terrors Turns Your House Into a Spooky House appeared first on Dread Central.
There are a lot of questions regarding Jurassic World and how it relates to the other films in the dino-sized franchise. Recently director Colin Trevorrow pulled back the curtain a bit.
“Of course, Jurassic World isn’t a mere re-creation of Jurassic Park; it’s a direct sequel to the original, set some 20 years after the events of Spielberg’s film. (According to Trevorrow, the previous sequels aren’t being written out of continuity so much as placed to the side, as they both unfolded on a different island.) In that time, a functioning theme park has been constructed on Isla Nubar, overseen by operations manager Claire Dearing (Bryce Dallas Howard) and employing hundreds of staffers, including velociraptor trainer Owen Grady (Chris Pratt).”
Via Slashfilm pertaining to the T-Rex from the first film being back:
She is 22 years older. But she’s not limping around. It’s going to move a little bit differently, but it’ll move differently because it’s older. And we’re giving her some scars and we’re tightening her skin. So, she has that feeling of, like, an older Burt Lancaster. And this movie is her Unforgiven.
Chris Pratt, Bryce Dallas Howard, Ty Simpkins, Nick Robinson, Irrfan Khan, Vincent D’Onofrio, Jake Johnson, Omar Sy, BD Wong, and Judy Greer star in the film, which will be released June 12th in 3D by Universal Pictures.
Colin Trevorrow (Safety Not Guaranteed) penned the script with Derek Connolly and directs. Steven Spielberg and Thomas Tull executive produce, and Frank Marshall and Pat Crowley produce Jurassic World.
This is a new sci-fi terror adventure set 22 years after the horrific events of the original Jurassic Park.
We see a group of youngsters camping and boozing it up as “iZombie” Episode 1.07, “Maternity Liv,” opens. It’s a cool little gathering until a strange young lady comes wandering into their site looking rather unhealthy. She collapses and dies shortly thereafter. The woman was pregnant, and although she herself bit the big one, we quickly learn that the baby survived.
Shortly thereafter we eye the woman’s parents in the morgue, identifying their deceased daughter. While there, Clive asks if they’ve got any idea who would want to do such a thing, and the father immediately pegs Dillon Munson, the woman’s ex-boyfriend, as the SOB responsible.
The brain eating gets under way, Liv gearing up to dive into the woman’s life as she once knew it. She immediately begins feeling the effects, maternal instincts she’s never experienced coursing through her. She’s immediately sensitive to just about everything around her. And while juggling those emotions, she receives her first vision, a look at the woman’s parents roughing her up, apparently attempting to keep her from her boyfriend – who takes a punch to the face from her father in the same vision.
Liv stops by to see Clive and declares her belief that the dead woman’s own parents locked her away for months, subsequently leading to her death (declared a result of extreme shock). Dillon is brought in for questioning. He’s a known figure to the police force, but he doesn’t seem as guilty as anyone expects, despite his grating arrogance. In fact, he provides a clue: Dillon saw his girl picked up by someone in a dark pickup truck and noted the out of the ordinary barking from dogs. It could mean nothing, but it could be a pivotal clue.
Meanwhile Major continues his own investigation of “The Candy Man,” bringing a local reporter into the fold, while Liv meets up with Lowell briefly. The affection they felt just a week ago seems to have fizzled quite a bit. Liv’s a little confused by the discomfort Lowell is giving off, but Ravi is anxious to just get back to looking into work. While these two juggle interesting conversation, Babineaux shows up to express his disdain for Major, as he’s had his new reporter buddy take the current string of missing cases to the papers, where it is noted that local police haven’t done a damn thing to resolve the problem.
We cut away to a scene in which Liv pays her mother a visit at work. Her brother is also there, bumming money. Both women bombard the youngster with a nice healthy lecture. What’s really relevant about the scene, however, is the fact that Liv’s mother hands the kid a few job applications, one of which is for Blaine’s butcher shop. The CW is lining up a deeper conflict with Blaine, and the promise is rather significant. If Liv’s brother gets a job with Blaine, his safety will be immediately put in jeopardy, and the growing rivalry between Liv and Blaine will reach profoundly dangerous levels.
Clive continues digging on the current case, and a paper trail again hints that the grieving parents may not be in as much anguish as they’ve been letting on. Clive and Liv head over to what is apparently the couple’s cabin, and after hearing some disruptions inside, they make entrance, where they find a hand-carved crib in the basement. It looks like it’s been there for some time, but that certainly doesn’t prove the parents’ guilt. The suspicion, however, lingers, even more pronounced now.
A brief commercial break, and we return to find Liv experiencing another one of her visions. At some point there was definitely some fishy business happening, and it initially looks as though it could have happened in the basement. A girl (presumably the deceased) can be heard crying while a stranger is seen sucking away on a cancer stick outside her window. Who the man is remains unknown for the time being. While Clive and Liv are in the basement, the parents arrive, and we segue into a revealing discussion between them and Clive. They’re quite forthcoming, and they’re beginning to look not as guilty as home viewers have been led to believe.
Liv clears up her vision, stating her belief that the stranger she saw was an animal control worker. That would help to explain the vehicle Dillon described; it also helps to make a little sense of the strange barking dog claim. What follows is a look into local animal control. In the investigation room an employee brings pictures of all animal control officers, but the man in Liv’s vision is nowhere to be seen. And then they learn that one Gerald Denny was recently fired for peeping in windows. But a look into Gerald’s recent whereabouts quickly eliminates him as a suspect, as he’s been behind bars for months.
Liv and Lowell later reunite, and Liv finds a little clarity in their current conundrum. As it turns out, Lowell recently feasted on the brains of a homosexual man. That explains the man’s lack of interest in her. There’s still hope for Liv and a romantic future. Yes, you can all breathe a sigh of relief… our zombie heroine isn’t doomed to loneliness forever.
It’s back to reality for Liv, who has yet another vision. This time we look through the eyes of our victim, Emily Sparrow, as she hangs from a window. Two women are staring at her, warning her that she’ll be caught if she continues her attempt to flee. And then she falls from the window, and Liv’s special insight fades away. She takes the 411 to Clive, who also has a few theories working for him, like the belief that the girl may have been trying to get back to her family’s cottage before collapsing and dying. Clive’s intuition leads them to a new suspect, who just so happens to be married to the same woman from animal control who was in the investigation room just minutes ago.
Before we wrap our current mystery, we spot Major trailing the man who beat the hell out of him just an episode or so ago, the man he believes to be “The Candy Man.” After the man stops and exits his vehicle, Major takes it upon himself to break into his car, where he learns the man’s name (Julien Dupont) and uncovers a brain in a plastic food carrier. Just as he makes this gruesome discovery, police arrive on the scene and slap a pair of cuffs on him. Meanwhile, Julien explains to the police that he works for Blaine and that he’s making a delivery of “gourmet” animal brains. As expected, our big bad villain walks away while Major is carted off to the station.
As Major is making a case to be branded a convict, Liv and Clive have moved in on their suspects. They approach the couple’s residence with a little watching on their minds, but our now obviously guilty party opens fire on their vehicle from within the house. The cavalry is quickly called in, and moments after they descend on the house, two more bodies pile up as the captain, who takes a bullet in the raid, snaps and goes full-on zombie mode, gunning down the man and woman. While the shootout ensues, Liv finds the other girls that she saw in her vision and brings them to rescue. There’s an ugly bit of business at the end of the episode involving the mice Ravi is experimenting on, and we’re sure to see more about that in the coming weeks.
We’re seven episodes into the inaugural season of “iZombie,” and the machine is running smoothly. The wit is still alive and loudly projected. Rose McIver is proving that she was born to take on this role, and for the most part the conflicts that our protagonists face on a weekly basis haven’t disappointed. There’s just enough depth and variety from episode to episode to hold viewers, and if all goes well, we’ll be gifted more than a single season of this fun alternative to some of the darker zombie fare out there.
“iZombie” Episode 1.08 – “Dead Air” (airs 5/5/15)
LIV HAS A VISION THAT MIGHT BE A GAME CHANGER — Liv (Rose McIver) and Clive (Malcolm Goodwin) work together to solve the murder of a morning radio talk show host who specialized in relationship straight talk. Liv becomes filled to the brim with insight after consuming the brains, making Clive extremely uncomfortable when Liv starts getting personal.
Meanwhile, Peyton (guest star Ali Michalka) steps in to help Major (Robert Buckley), and Blaine (David Anders) issues a warning.
Lastly, Ravi’s (Rahul Kohli) unexpected romantic connection has the potential to make things awkward for Liv. Zetna Fuentes directed the episode written by Aiyana White.
The post iZombie: Recap of Episode 1.07 – Maternity Liv; First Look at Episode 1.08 – Dead Air appeared first on Dread Central.
Mary Sibley finally comes face-to-face with Countess Marburg in Sunday night’s Episode 2.05 of “Salem,” entitled “The Wine Dark Sea” (directed by Peter Weller of RoboCop fame); and we have a few stills from the ep to share. What we really want to know, however, is when Mary’s going to meet up with John Alden again… that should certainly generate some fireworks!
“Salem” Episode 2.05 – “The Wine Dark Sea” (air date 5/3/15)
Mary (Janet Montgomery) learns the explosive truth about her mysterious tormentor as Countess Marburg (guest star Lucy Lawless) sets sail toward Salem. Hathorne’s (guest star Jeremy Crutchley) unsavory political machinations take a turn for the worse, leading the witches to take new measures to respond to the threat.
Meanwhile, Mercy’s (Elise Eberle) grisly preparations to enact her revenge reach new heights, drawing two reluctant participants closer in the process, while John Alden’s (Shane West) search for answers yields a valuable return. Mary takes the fight directly to her newest foes… and a terrifying surprise awaits her. Written by Al Septien and Turi Meyer; directed by Peter Weller. Guest stars include Michael Mulheren as George Sibley, Sammi Hanratty as Dollie, and Thomas Francis Murphy as Rev. Lewis.
The post We Swam The Wine Dark Sea for These Images from Salem Episode 2.05 appeared first on Dread Central.
The TV series based upon The Omen and the exploits of everyone’s favorite Antichrist, “Damien,” is having a shift in venue. Deadline is reporting that Lifetime’s straight-to-series drama follow-up to the horror classic, originally set up at Lifetime, will air on sibling A&E.
As part of the move, the order for the show, from Glen Mazzara and Fox 21 TV Studios, has been upped from 6 to 10 episodes. This marks the first major synergetic play since Lifetime programming chief Rob Sharenow also took over A&E two months ago as EVP and general manager A&E and Lifetime.
In his TV directing debut, Shekhar Kapur (Elizabeth) will helm and executive produce the first episode. “Merlin” star Bradley James (pictured) has landed the title role.
Produced by Fox TV Studios, the ten-episode “Damien” follows the adult life of Damien Thorn (James), the mysterious child from the 1976 film who has grown up, seemingly unaware of the satanic forces around him. Haunted by his past, Damien must now come to terms with his true destiny — that he is the Antichrist, the most feared man throughout the ages.
“Damien,” slated to premiere in 2015, is written and executive produced by Glen Mazzara via his 44 Strong Productions.
A Girl Walks Home Alone at Night (review) arrives in UK theatres on May 22nd, and to celebrate, a new trailer for the world’s first Iranian vampire western has arrived.
Strange things are afoot in Bad City. The Iranian ghost town, home to prostitutes, junkies, pimps, and other sordid souls, is a place that reeks of death and hopelessness, where a lonely vampire is stalking the towns most unsavory inhabitants. But when boy meets girl, an unusual love story begins to blossom… blood red.
Ana Lily Amirpour’s debut feature, A Girl Walks Home Alone at Night basks in the sheer pleasure of pulp. A joyful mash-up of genre, archetype, and iconography, its prolific influences span spaghetti westerns, graphic novels, horror films, and the Iranian New Wave. Amped by a mix of Iranian rock, techno, and Morricone-inspired riffs, its airy, anamorphic, black-and-white aesthetic and artfully drawn-out scenes combine the simmering tension of Sergio Leone with the surrealism of David Lynch.
The post A Girl Walks Home Alone at Night and Finds a New UK Trailer appeared first on Dread Central.
If you haven’t yet taken advantage of the early release of the “Wayward Pines” pilot on FOX NOW, FOX On Demand, Hulu, and other select platforms, you only have a few days left to check it out. Right now we have for you series star Matt Dillon teasing the mystery and thrills that lie ahead.
About “Wayward Pines”:
Fox Broadcasting Company (FOX) and Fox International Channels present the 10-episode, intense psychological thriller “WAYWARD PINES.” The highly anticipated event series, based on a best-selling novel and brought to life by suspenseful storyteller M. Night Shyamalan (The Sixth Sense, Signs) and executive-produced by Shyamalan, Donald De Line, Chad Hodge, and Ashwin Rajan, will premiere Thursday, May 14 (9:00-10:00 PM ET/PT), on FOX, while also debuting simultaneously in more than 125 countries across Asia, Africa, Australia, Europe, and Latin America. The global “WAYWARD PINES” debut will be the world’s largest day-and-date launch for a scripted series ever.
The series stars Academy Award nominee Matt Dillon (Crash) as a Secret Service agent on a mission to find two missing federal agents in the bucolic town of Wayward Pines, ID. In addition to Dillon, the stellar cast includes Academy and Emmy Award winner Melissa Leo (The Fighter), Academy Award nominee Terrence Howard (Crash, Hustle & Flow), Carla Gugino (“Entourage”), Shannyn Sossamon (“How to Make It in America”), Toby Jones (Infamous, Tinker Tailor Soldier Spy), Reed Diamond (“24,” Much Ado About Nothing), Tim Griffin (“Prime Suspect”), Charlie Tahan (Charlie St. Cloud), and Academy Award and Emmy Award nominee Juliette Lewis (Cape Fear).
“WAYWARD PINES” is a production of FX Productions. The series was developed for television by Hodge (“The Playboy Club,” “Runaway”) and executive-produced by De Line (Green Lantern, The Italian Job), Rajan (Devil), Hodge, and Shyamalan. Hodge wrote and Shyamalan directed the premiere episode. “Like” “WAYWARD PINES” on Facebook at facebook.com/WaywardPines. Follow the series on Twitter at @WaywardPinesFOX and join the discussion using #waywardpines. See photos and videos on Instagram by following @Wayward Pines.
The post Matt Dillon Answers the Question: What Is Wayward Pines? appeared first on Dread Central.
Archstone Distribution has announced that the horror/dark comedy feature L.A. Slasher, directed by Martin Owen and produced by Jeffrey Wright and Daniel Sollinger, will receive a North American theatrical release starting June 12th in select AMC theaters.
“We are very excited to take L.A. Slasher to the silver screen,” Archstone Distribution’s President & CEO Brady Bowen stated. “It is a highly entertaining film with a unique voice that we know audiences are going to love!”
L.A. Slasher producer Daniel Sollinger remarked, “My team and I are thrilled to be working with Archstone as they have a steady track record for bringing high quality films to audiences worldwide. We are very proud to be on their roster.”
With an all-star cast that includes Mischa Barton, Dave Bautista, Danny Trejo, Drake Bell, Eric Roberts, Brooke Hogan, Abigail Wright, Elizabeth Morris, and Andy Dick (in his comeback vehicle), L.A. Slasher is a social satire about reality TV and the glorification of people who are famous for simply being famous.
Exploring why it has become acceptable to become an influential star based on no merit or talent, the story follows the titular Slasher character as he systematically abducts these “stars,” much to the joy of the online public, who view his exploits via social media and who subsequently and enthusiastically support his mantra of “Death to Reality TV.”