Directed by Nacho Vigalondo
Distributed by Icon Home Entertainment
The morning after a barely-remembered one night stand is rendered infinitely more uncomfortable for Julio (Villagrán) and Julia (Jenner) by the discovery that as they slept, giant alien ships have appeared on Earth, hovering over major cities. The majority of the population of their particular town have been evacuated to an unknown location, but a few stragglers still remain. Among these is Julia’s nerdy neighbour Ángel (Areces), who is quite obviously (but secretly) smitten with her and, more challengingly for the pair, Julia’s boyfriend, Carlos (Cimas).
As the group come together in Julia’s apartment to try and figure out just what is going on with their ominous interstellar visitors, director Vigalondo starts us off on a light-hearted Woody Allen-esque comedy of errors. Through their own graphic design, group discussion and snippets of information gleaned from a still-transmitting local TV station, Julio and Co. busy themselves with trying to come up with a plan. There’s a rotten core to the whole affair, however, and soon the lies spun by Julio and Julia in an attempt to hide their previous night-time activities from Carlos lead to yet more lies, attention-diverting victimisation and the unintentional fostering of extreme paranoia.
Extraterrestrial is a funny movie, no doubt – but only sporadically. As a light romp, it rarely finds itself particularly bogged down or losing pace but at the same time it lacks sufficient substance. Vigalondo makes the bold move of having none of his story’s protagonists be particularly endearing individuals – all of them more concerned with their own individual obsessions and desires to the point that the dissolution of the group is inevitable. As Ángel, Carlos Areces delivers most of the laughs, his character outshining the rest by a wide margin. In fact, quite possibly the most memorable part of the film involves little more than him, a tennis ball shooting machine, a flag and a megaphone. That this one short sequence manages to eclipse almost the entirety of the film surrounding it is rather damning – it acts as a reminder of the energy that the rest of Extraterrestrial is sorely lacking.
So little is presented of actual value regarding the alien visitors that they might as well not even be there. It’s a perplexing move considering they seem to be central enough to the story to name the film itself in reference to them – hell, for all of the effect this decision actually has it could have been inexplicably giant monkey heads floating across the city, or simply an effects-budget-saving news report detailing a chemical spill/terrorist attack that has necessitated the evacuation. With a few extra tweaks, the story could be played out almost entirely the same way with little narrative or thematic impact. On one hand, it’s another admirably bold approach by Vigalondo but on the other, it’s a consistent source of frustration and disappointment throughout. Waiting for the film to actually go anywhere interesting is a futile exercise as it treads water with the odd dash of pleasingly black humour, only to draw to a close with little in the way of any kind of payoff. The persistent quirkiness of its characters’ behaviour lends a certain charm, but the material isn’t strong enough to keep itself going on that alone.
Just like the giant ships that hover overhead, Extraterrestrial will hold your attention without much effort – but a refusal to switch on the engines means it’s never more than just… ‘there’.
Icon Home Entertainment’s UK DVD release of Extraterrestrial is well presented in terms of audio and video, but it comes bereft of special features.
Get ready, kids! It doesn’t get any cooler (or more expensive than this)! 9.5 inches tall. 7.5 inches wide. Nearly 14 inches long. 33 pounds of SOLID GOLD! Wait until you see this!
In celebration of Godzilla‘s 60th anniversary, Japanese jewelry maker Ginza Tanaka was commissioned to create a 24-karat gold Godzilla collectible to die for. This bad boy is displayed on a matching black marble base and is available at all Ginza Tanaka stores in Japan.
So how much, you ask? Why it’s just 150,000,000 Yen. That’s nearly $1.5 million USD. I know what I want for Christmas! Um… Debi? Light of my life?
The post The Most Expensive Godzilla Collectible Ever Made! appeared first on Dread Central.
Director Colin Trevorrow just tweeted out a new image from the set of Jurassic World, and this one is definitely for the eagle-eyed fans of the original Spielberg masterpiece!
The image features a pretty worn out and knocked over sign which points towards the East Dock that Dennis Nedry (Wayne Knight) knocked over while trying to escape in the first flick! Check it out!
— Colin Trevorrow (@colintrevorrow) September 22, 2014
Vincent D’Onofrio, Chris Pratt, Bryce Dallas Howard, Ty Simpkins, BD Wong, Andy Buckley, Idris Elba, Jake Johnson, Omar Sy, and Nick Robinson star.
Colin Trevorrow (Safety Not Guaranteed) penned the script with Derek Connolly and directs. Steven Spielberg, Frank Marshall, and Pat Crowley produce Jurassic World. In theaters June 12, 2015, this is a new sci-fi terror adventure set 22 years after the horrific events of the original Jurassic Park.
More as it comes.
The post Jurassic World – Colin Trevorrow Follows the Signs appeared first on Dread Central.
We’ve been talking about Adam Robitel’s The Taking of Deborah Logan for a few weeks here on DC, but now finally we have some release news for you! Read on for details.
From the Press Release
Millennium Entertainment is proud to announce the home entertainment release of the genre-bending THE TAKING OF DEBORAH LOGAN. Just in time for Halloween, the found-footage thriller will be available on Early EST (electronic sell-through) October 21, 2014 before heading to VOD and DVD on November 4, 2014.
Directed by Adam Robitel, the spine-chiller stars Jill Larson (ABC’s “All My Children,” Shutter Island), Anne Ramsay (Planet of the Apes, A League of Their Own, NBC’s “Mad About You,” ABC Family’s “The Secret Life of the American Teenager”), Michelle Ang (My Wedding and Other Secrets, Big Mommas: Like Father, Like Son), and Ryan Cutrona (Fox’s “24,” AMC’s “Mad Men”).
Mia Medina (Ang) has finally found the perfect subject for her PhD thesis film on Alzheimer’s Disease. For the next several months, cameras will record the everyday life of mother Deborah Logan (Larson) and her daughter, Sarah (Ramsay). But as the days progress, strange things begin to happen around Deborah that are not consistent with any findings about Alzheimer’s. It becomes apparent that there’s something besides Alzheimer’s that has taken control of Deborah’s life. It’s an evil that is far worse than the debilitating disease with which she was first diagnosed.
THE TAKING OF DEBORAH LOGAN has a running time of 90 minutes and is rated R for disturbing violent content, language, and brief nudity. The film is co-executive produced by Adam Robitel, Gavin Heffernan, Kurt Fethke, and Scott Adler. Rene Besson, Christa Campbell, Alex Cutler, Luke Daniels, Lati Grubman, Dana Guerin, Jonathan Stein, and Jason Taylor serve as executive producers with Bryan Singer and Jeff Rice as producers.
Exclusive bonus features include “The Making of The Taking of Deborah Logan Soundbites” with Jill Larson, Michelle Ang, Anne Ramsay, Brett Gentile, Jeremy DeCarlos, and Adam Robitel.
Back in April of 2013, we learned that J.J. Abrams’ Bad Robot Productions was in negotiations for the rights to Stephen King’s bestselling 2011 novel 11/22/63 for a possible TV series, but then not much happened. Today we finally have an update, and the “network” the show is heading to isn’t one you’d expect.
Per Hulu’s Blog Hulu has greenlit “11/22/63″ – a new Hulu Original from J.J. Abrams’ Bad Robot Productions, acclaimed author Stephen King, executive producer/writer Bridget Carpenter, and Warner Bros. Television.
Here are the details direct from Craig Erwich, Hulu’s Senior Vice President, Head of Content:
This direct-to-series order marks a monumental deal for Hulu as we partner with J.J. Abrams and Stephen King, two of the most celebrated storytellers of our time. We are thrilled to be working with them and with Warner Bros. Television to bring this unique take on one of the most seminal historic events of the twentieth century to Hulu.
Based on the best-selling, award-winning novel by Stephen King, “11/22/63″ will take viewers on a journey back to the day that former President Kennedy was shot and ask the eternal question: “What if?” Part thriller, part love story, “11/22/63″ is a fascinating story that goes beyond the concept of time travel. With the talented team of producers bringing the story to life, we are confident that “11/22/63″ will be an event series that our viewers will love.
“11/22/63″ joins our growing offering of premium Hulu Originals and reinforces our mission to continuously captivate and connect audiences with the stories they love. The series will make its debut exclusively on Hulu. Until then, keep checking back for more details.
The post Hulu Gives Stephen King’s 11/22/63 a Direct-to-Series Order appeared first on Dread Central.
Here at Dread Central we’re all about giving back, and any time we get the chance to help spread the word about a worthwhile cause, we jump on it. Two have come to our attention that we’re thrilled to share with you.
First up, Gary Cecil over at The Black Cat Horror Blog has launched a Get Kids in Costumes initiative. The basis of this charity is to help underprivileged children and their families on Halloween to make sure that the little ones have Halloween costumes and baskets to celebrate the spookiest day of the year.
Every dollar earned will go directly to an account set up specifically for the donations! Whether it’s a penny or a hundred bucks, it doesn’t matter. Click here to learn more and to contribute.
One thing I know about first-hand is how much it sucks to spend Halloween night in the hospital. Believe you me, it was NOT as exciting as it was for Laurie Strode in Halloween II. That being said, one of the most popular Halloween shops, Spirit Halloween, has launched a Spirit of Children campaign as a means to help make the hospital stays of kids a lot more fun on Halloween.
Click here to learn more and to contribute.
Come on, guys! It’s that time of year when everyone is entitled to AT LEAST one good scare! Do something good… and spooky… today!
Directed by Conor McMahon
In From the Dark Irish director Conor McMahon sacrifices the goofy humor seen in his previous effort Stitches in favor of no-nonsense horror that combines a fear of the dark with vampire mythology.
From the Dark is exceedingly simple in terms of its story: While on holiday, a young couple named Mark (Cromwell) and Sarah (Algar) become stranded on a muddy back road in rural Ireland. Brandishing a flashlight, Mark takes off on foot to discover an old house in which lies an elderly man in a state of delirium and shock from a wound to the neck. After returning to the car to get Sarah for assistance, they discover that the old man has fallen victim to a sinister creature with a strong distaste for the light.
With a simple twist on the vampire mythology, McMahon starts things off strong and creepy, keeping the creature out of focus or moving ever so slightly out of frame with the arrival of a light source. Throughout much of the film he keeps this trend going, even when the creature has traded in the shadows of the woods of Ireland for the confines of a dimly lit house; out of focus background shots, quick moments of action, and dimly moonlight-lit rooms keep the creature’s true appearance from being fully revealed. Granted, glimpses are seen, at least enough to show its form.
Bipedal and tall, the creature is an unholy union of Nosferatu and the subterranean humanoids from The Descent with a bit of vampire goodness from I Am Legend tossed into the mix. The result is mostly uninspired, but the real magic in the film is when McMahon keeps it relegated to the shadows.
Ironically, it’s From the Dark’s simplicity and straightforward approach that hinders it the most. After darkness falls, it becomes a mostly one-note film with Sarah’s quest for light taking a repetitive turn that’s fairly unsatisfying given the interesting setup. Once all hell breaks loose, the suspense slowly fades in favor of a more action-oriented approach, but darkness with only the moonlight and a cell phone to (mostly) lead the way renders it unexciting. There are only so many ways you can keep the same process of “hide, find light, fight back, hide” engaging enough before you’re itching for something new.
But what McMahon gets right he does in a way that helps to offset its many issues. In addition to remaining relatively tight and genuinely suspenseful at times, the two leads are exceptionally believable as an ordinary, run-of-the-mill couple seeking to get away from it all for a few days before being thrust into an extraordinary situation. They bicker and trade barbs, but underneath it all there is a very real and natural sense of love and respect for each other. As a result, you genuinely care about their plight, especially when Mark becomes incapacitated and Sarah must do everything she can to save them from the darkness.
From the Dark is a mostly fun and a little scary, yet inoffensive film that, although satisfying for what it is, could have benefited greatly from a little bit of risk-taking. It takes the safe route. It’s not bad, it’s not great, it’s just a well-made little thriller.
What has eight legs and breathes fire? Whatever it is, please keep it far the hell away from me as I don’t need that kind of shit in my life! What I do need, however, is a new flick from Mike Mendez, and if it stars a hellish beast like the one I just described, then I’m okay with that too!
From the Press Release
Giant lava-breathing tarantulas – Lavalantulas – erupt out of ancient volcanoes in the Santa Monica Mountains, raining death and destruction upon Los Angeles, in the new Syfy Original Movie Lavalantula, premiering in summer 2015.
With the City of Angels on the verge of incineration, only a washed up ‘90s action hero actor, played by Steve Guttenberg (Police Academy, Diner) — joined by Police Academy alumni Leslie Easterbrook (Police Academy) and Michael Winslow (Police Academy: The Series) — stand in the way of this monstrous swarm of bloodthirsty creatures who burn their victims alive.
Currently in production in Los Angeles, Lavalantula also co-stars Nia Peeples (“The Young and the Restless”) and Ralph Garman (KROQ/LA DJ).
Lavalantula will be directed by Mike Mendez, who won a Saturn Award for helming Big Ass Spider!
Look for more on this feature showcasing fire-breathing tarantulas as soon as we get it!
A few days ago we saw the first clip from the upcoming Season 6 premiere of “The Vampire Diaries,” Episode 6.01, entitled “I’ll Remember,” and now we’re back with another, in which we see how Caroline (Candice Accola) is coping with her loss.
“The Vampire Diaries” Episode 6.01 – “I’ll Remember” (airs 10/2/14): After spending the past four months coping with the loss of Damon (Ian Somerhalder) in an unconventional and potentially dangerous way, Elena (Nina Dobrev) has returned to Whitmore College for the start of sophomore year.
Unable to move on, Caroline (Candice Accola) is desperate to find a way to reverse the anti-magic spell the Travelers have put over Mystic Falls and grows frustrated when her calls to Stefan (Paul Wesley) go unanswered.
Tyler (Michael Trevino), who is human once again, has a run-in at a football tailgate that tests his ability to control his anger, while Matt (Zach Roerig) worries that Jeremy (Steven R. McQueen) is dealing with the loss of Bonnie (Kat Graham) in a self-destructive way.
Alaric (Matt Davis), who is struggling to adjust to his new life as a vampire, finds himself in an awkward situation when he meets Jo (guest star Jodi Lyn O’Keefe), a beautiful doctor at the university hospital.
Lastly, while everyone believes Stefan is off tracking a lead to get Damon and Bonnie back, Elena is shocked when she learns the truth of what he has really been up to. Jeffrey Hunt directed the episode written by Caroline Dries.
The post Never Forget this New Clip from The Vampire Diaries Episode 6.01 – I’ll Remember appeared first on Dread Central.
Kojima Productions has released its first concept teaser for the next entry into the Silent Hill franchise, Silent Hills.
The creepy video sets a promising pace as it features dying victims spewing carrion and a glimpse at one of the game’s giant monsters, following the tradition of the Silent Hills series’ inventive monstrosities.
Silent Hills was announced cryptically this year at Gamescom as it was a hidden reveal at the end of Sony’s P.T. demo.
Silent Hills is being helmed by Metal Gear Solid creator Hideo Kojima, along with acclaimed director Guillermo Del Toro. The game features “The Walking Dead” star Norman Reedus.
Directed by Marcel Sarmiento, Gregg Bishop, Nacho Vigalondo, Justin Benson and Aaron Moorehead
The V/H/S franchise started off not with a bang, but a whimper, the four shorts and wraparound segment that binds them all together failing to form a cohesive vision. The sequel proved to be a far more successful outing, thus suggesting for the optimists that the series will only get better with future installments. And in a way it does, but not without some caveats.
The worst thing about V/H/S Viral, the third and likely final installment in the found footage horror anthology series, is the conceit that binds the short films together. While the first two films’ wraparounds segments, however boring or pointless they may have been, managed to actually utilize VHS tapes to introduce the segments, the third abandons it entirely.
Directed by Marcel Sarmiento, the wraparound, known as Vicious Circles, opts for a more modern approach, utilizing cell phones that seemingly transmit a virus to groups of onlookers seeking to film a police chase involving a stolen ice cream van. It is, to be blunt, a nonsensical jumble of static and noise that barely makes a lick of sense until the final moments, and even then it’s hardly satisfying. Save for a cringe-worthy moment involving a pair of feet, asphalt, and a high speed chase, it’s just a chore to sit through.
Thankfully, if viewed as a simple anthology of fun horror tales, the trio of directors and teams – Dance of the Dead’s Gregg Bishop, Timecrimes’ Nacho Vigalondo, and Resolution’s Justin Benson and Aaron Moorehead – have managed to succeed admirably.
Dante the Great: Written and directed by Gregg Bishop, this short is less found footage than a mock doc that follows the rise and fall of Dante the Great, a magician whose act revolves a mysterious cloak that grants him “magical” – and violent – powers. Despite mostly abandoning the genuine found footage conceit and, at times, appearing to take a straightforward narrative approach, Bishop’s short manages to be a fun little start to the anthology, showcasing some impressive special effects and reveling in gleeful violence perpetrated by the titular character (played wonderfully by The Signal actor Justin Welborn). It’s the “scariest” segment of the three, if only for its final jump-worthy moment.
Parallel Monsters: Nacho Vigalondo once again returns to his sci-fi roots, substituting time travel in favor of parallel dimensions with his witty, shocking, and fiercely intelligent middle segment. In the short, a man secretly creates a machine that leads to a world identical to his, only reversed, as if looking in a mirror. On the other side he meets his parallel self, and the two decide to switch places and explore for fifteen minutes. A genius in his own right, Vigalondo keeps you on your toes the whole way through, constantly guessing at the end game before taking things in an utterly absurd direction. It may not be the most exciting segment, but it certainly is the smartest.
Bonestorm: Directed by indie darlings Justin Benson and Aaron Moorhead, whose debut feature Resolution capped many Best Of lists upon its release, Bonestorm is a frenetic ride clearly influenced by Gareth Evans and Timo Tjahjanto’s Safe Haven segment from V/H/S 2. It follows a trio of skater kids and a slightly weird cameraman as they travel to Tijuana to finish shooting a skateboarding video in an old reservoir. Naturally, things don’t go as planned when they come face to face with a Mexican death cult, forcing them to defend themselves and fight them off through any means necessary. It’s fun, it’s funny, and seeing a bunch of kids beat the crap out of skeletons in long robes with skateboards and machetes is just a recipe for a damned good time.
Apparently a fourth segment, written and directed by The Apparition director Todd Lincoln, was dropped from the final product, making the film a bit shorter and thus slightly easier to digest, given the slog that is Sarmiento’s tale. Three is enough.
The shorts that comprise V/H/S Viral are inventive enough to make up for the blunder that is Sarmiento’s wraparound, even if each one breaks the found footage “rules” in egregious ways. But at this juncture, screw the rules. Found footage has become a shadow of what it once was and has becomes nothing more than a catch-all term to designate a hand-held or first-person perspective. The directors this time around got that, and while V/H/S Viral didn’t necessarily finally “get it right,” it certainly realized that it’s okay to simply have fun with the conceit.
Scarecrows. There’s just something about them that is inherently spooky to me. Screen Gems is hoping you agree because they’re gearing up to spring one on you that’s bound to send some shivers.
Variety is reporting that Sony has bought Mike Scannell’s horror-thriller Scarecrow with horror specialist Unbroken Pictures producing.
Scannell’s spec script, set at a remote lake house, revolves around a mother and her two young daughters who must fight for survival after falling into a terrifying and bizarre nightmare conceived by a psychopath.
Bryan Bertino, who directed 2008’s The Strangers, and Adrienne Biddle are producing through their Unbroken Pictures banner. Screen Gems President Clint Culpepper and Scott Strauss will oversee Scarecrow for the company.
Bertino wrote and directed Mockingbird, which he also produced with Biddle. That title will be released October 6th through Blumhouse’s newly launched BH Tilt label.
Unbroken is currently in pre-production on There Are Monsters with Atlas and Bertino directing from his own script. It’s also developing supernatural horror movie February with Kiernan Shipka and Emma Roberts attached and supernatural thriller Stephanie with Blumhouse and The Gotham Group with Akiva Goldsman directing.
More on all of these as we get it!
Directed by Jonas Govaerts
Many still believe that the French horror phenomenon is responsible for the most twisted and vicious genre films in the past decade, although Belgium is surely giving France a run for its money with the advent of a new wave of depraved horror films.
First-time director Jonas Govaerts only supports this fact as his first feature, Cub, puts a brutal new spin on standard camp horror fare.
After the film’s creepy and at first misleading prologue, viewers are introduced to Sam (Luijten), an introverted twelve-year-old on the way to a camping trip with his fellow cub scouts and three teenage camp counselors. When a mishap with two bullies reroutes the group further into the woods, the counselors try scaring the boy scouts with a campfire tale about Kai, a werewolf rumoured to be stalking its prey in those very woods.
When the impressionable Sam runs into a savage young boy wearing a mask, he is convinced he has found the real Kai and is promptly ridiculed for his theory. Although the boy is not a mythical beast, the threat of something sinister brewing in the air is very much real as the group is being stalked by a flesh and blood skilled and patient killer, and Sam quickly realizes that the legend of Kai is the least of his worries.
One of the things that makes Cub stand out from the archetypal “slasher in the woods” movie is its usage of its supporting characters. Like a majority of slashers, the supporting characters exist simply to pad the numbers. However, what makes them unique from regular slashers is that besides one villainous character, none of them are particularly unlikable. For instance, in Cub, not all of the camp counselors are horny wing bats, and the one female counselor who is, is actually the film’s most empathetic character. By making the minor characters less detestable, it makes the nihilistic events to follow that much more shocking to watch, and be warned: This is not a film for the easily offended.
Govaerts also succeeds in displaying the most inventive set-pieces in a camp horror film since Severance. The fatal booby traps that the members of the group fall victim to one-by-one are particularly well thought-out and will invoke cheers from the audience.
On the downside, Cub loses its momentum and falls apart in its final act, when it inexplicably turns into a generic and over-the-top slasher and ends with mediocre results. This wouldn’t be such a disappointment if the acts that preceded the finale weren’t full of enjoyable, yet sadistic moments.
Cub may end on a weak note; however, director Jonas Govaerts still manages to take a generic plot and deliver a solid horror experience by taking his viewers on a dark and unexpected ride through the woods.
In a year filled with one mediocre flick after the other, Kevin Smith’s Tusk is a breath of maniacally fresh air and will stand proudly on my top 5 of the year list. If it’s playing near you, SEE IT! If not… dig this clip!
Tusk (review), written and directed by Kevin Smith, stars Justin Long, Haley Joel Osment, Genesis Rodriguez, and Michael Parks. Long plays a journalist who finds the story of a lifetime in Mr. Howe (Parks), a worldwide adventurer with amazing tales and a curious penchant for walruses.
Producers are Sam Englebardt, William D. Johnson, and David Greathouse for Demarest and Shannon McIntosh for Smith’s SModcast Pictures banner. Jennifer Schwalbach and XYZ’s Nate Bolotin are executive producers.
Look for the flick in theatres NOW.
Following up on this morning’s news, Dread Central has learned exclusively that Camille Keaton, who played Jennifer in Meir Zarchi’s 1978 cult classic I Spit on Your Grave (Day of the Woman), will be starring in the next film.
The project is now titled I Spit on Your Grave – Deja-vu and, as it turns out, is an actual sequel written by Zarchi that shares characters as well as continuity with his original 1978 cult classic Day of the Woman, aka I Spit on Your Grave. Chad Ferrin and Terry Zarchi are producing with Meir once again directing.
The project has nothing to do with CineTel Films or Anchor Bay.
Stay tuned for more as it comes.
Following her rape, Jennifer Hills wrote a best-selling account of her ordeal and of the controversial trial in which she was accused of taking the law into her own hands and brutally killing her assailants. In the small town where the rape and revenge took place, the relatives of the four rapists she killed are furious that the court declared her not guilty and resolve to take justice into their own hands.
The post Exclusive: Camille Keaton BACK for First Official I Spit On Your Grave Sequel appeared first on Dread Central.
Respectively scheduled for release in late 2014 and early 2015, both the James Wan-produced Demonic and franchise reboot Amityville: The Awakening have unexpectedly been pulled from release by TWC-Dimension, and at the moment it doesn’t look like there are any set future plans for either film.
December 12th of this year was the planned date for Demonic, starring Maria Bello and Frank Grillo. The film centers on the aftermath of a horrific massacre where five college students were brutally murdered inside an abandoned home. Detective Mark Lewis and psychologist Dr. Elizabeth Klein question one of the few survivors, who explains they were amateur ghost-hunters, seeking out paranormal phenomenon at the abandoned house, which was believed to be haunted. But what started out as a harmless activity turned into something truly terrifying.
As for Amityville: The Awakening, that one was slated for release on January 2, 2015. In the Frank Khalfoun-directed film, Belle, her little sister, and her comatose twin brother move into a new house with their single mother, Joan (Jennifer Jason Leigh), in order to save money to help pay for her brother’s expensive healthcare. But when strange phenomena begin to occur in the house, including the miraculous recovery of her brother, Belle begins to suspect her mother isn’t telling her everything and soon realizes they just moved into the infamous Amityville house.While we wait for news about new dates, you can check out the trailer for Amityville: The Awakening below.
The post Amityville: The Awakening and James Wan’s Demonic Fall Victim to Indefinite Delays appeared first on Dread Central.
This coming Monday night is home to the Season 2 finale of “Under the Dome,” and if you’ve been sticking with it like we have (lord only knows why!), here are three sneak peeks of the upcoming Episode 2.13, “Go Now.”
“Under the Dome” stars Mike Vogel (Barbie), Colin Ford (Joe), Alexander Koch (Junior), Rachelle Lefevre (Julia), Dean Norris (Big Jim), and Mackenzie Lintz (Norrie). Season 2 guest stars include Brett Cullen, Sherry Stringfield, Eddie Cahill, Grace Victoria Cox, Dwight Yoakam, Karla Crome, and Max Ehrich.
“Under the Dome” Episode 2.13 – “Go Now” (airs 9/22/14; 10-11 PM)
A potential exit from the Dome is revealed just as the walls begin closing in on those trapped in Chester’s Mill.
The post See a Trio of Clips from the Under the Dome Season Finale Episode 2.13 – Go Now appeared first on Dread Central.
Directed by A Lot of People
The first ABCs of Death received the sort of reaction you’d expect from an anthology film comprised of 26 shorts from 26 different filmmakers: “meh.” Some were good (Marcel Sarmiento’s “D is for Dogfight”), and some were bad (Ti West’s lazy “M is for Miscarriage”) so to walk away with anything more than a tepid reaction would be asking for a lot.
In the case of the sequel, however, the credo “learn by doing” was taken to heart with the majority of the shorts proving to be a wicked good time and far surpassing their predecessors.
Above all else, the film as a whole stands out for its wickedly funny, yet haunting intro credits scene: The sounds of a child’s lullaby permeate as a children’s book’s pages turn, revealing the credits as animated children succumb to death in darkly humorous ways. If anything, it helps to tame the preconceived notions one might have about the anthology, suggesting that a bit more thought and care went into making the experience unique, rather than a carbon copy of the first.
It would be a fool’s errand to discuss each and every film, especially in light of the fact that half the fun is discovering that gem in the rough. As such, if half your fun with the first film was derived from guessing the names of the shorts, then beware as spoilers abound in the following paragraphs.
The good far outweighs the bad in ABCs of Death 2. Right off the bat expectation are sent to insane levels with the humorous “A is for Amateur,” directed by Cheap Thrills helmer E. L. Katz and featuring an assassin doing what he does worst. Letter placement aside, it served as a good intro, if only for its clever naming convention. The best shorts typically use an idea or theme as a means of death, rather than an explicit item (either as a tool or as a factor). For example, Alejandro Brugues’ hilarious “E is for Equilibrium” follows a duo of marooned men on an island whose, well, equilibrium is interrupted by the arrival a young woman. They keep you guessing, adding another level of enjoyment to the anthology as a whole.
Conversely, others, such as Julian Barratt’s “B is for Badgers,” which aims for a send-up of David Attenborough’s nature shows, and Julien Maury and Alexandre Bustillo’s “X is for Xylophone,” which features Inside‘s Beatrice Dalle, are pretty obvious in their naming convention. From moment one you know exactly what the title is going to be, even if you hope for a bit of cleverness. Thankfully, more often than not the finished product is good enough to allow for this dismissal of naming creativity.
Other standouts among the pack include Larry Fessenden’s “N is for Nexus,” which sees a calamity befall a group of people at an intersection; Robert Morgan’s twisted claymation “D is for Deloused,” which is just… just gross and weird and filled with all sorts of nightmare-inducing madness; and Rodney Ascher’s deviously clever and funny “Q is for Questionnaire.”
The whole shebang is rounded out with Chris Nash’s twisted “Z is for Zygote,” which is sure to give future mothers horrible, horrible nightmares for years to come.
Conversely, there were plenty that elicited little more than a tired shrug, while one, Jen and Sylvia Soska’s “T is for Torture Porn,” just felt lazy and horribly pandering. Others, such as George Plympton’s “H is for Head Games” and Lancelot Oduwa Imasuen’s “L is for Legacy,” simply didn’t live up to the standard set by their superior brethren.
But such is the beauty of this anthology. While each short has its merits, they will invariably elicit a wide range of responses, and unlike the first film, the good far outweighs the bad. If you can’t catch it in the theater, watch it with a six-pack and a handful of good friends who relish in the absurd.
Directed by Billy Senese
Human cloning is a divisive subject, and while many films tend to err on the side of science fiction or an already established world where cloning is an accepted reality, it’s rare to come across a film that deals with the ramifications of such groundbreaking science in as real and terrifying a way as Billy Senese’s debut feature, Closer to God.
The film’s protagonist is Victor Reed (Childs), a genetic scientist who holds the distinction of being the first doctor to successfully clone a human being. Using his DNA mixed with another’s, the baby is named Elizabeth and, save for a transponder seemingly inserted directly into her brain, appears to be the picture of health. Almost immediately the ramifications of such a scientific breakthrough begin to weigh heavy on Victor, but the real trouble lies in a dark secret he keeps from his wife, Claire (Hoppe), known only to him and a pair of caretakers named Richard (Alford) and Mary (Newman) living in a guest home on his property.
The problems associated with cloning a human being come to light almost immediately. Obsessed with his groundbreaking work, Reed’s home life begins to suffer as it becomes apparent that he is neglecting not only his wife and two daughters in favor of baby Elizabeth, but also his “son,” Ethan (Isaac Disney), a heretofore unseen child that is the source of major consternation for Richard and Mary. Furthermore, a crowd of protesters begin to gather around his house, shouting religious mantras that decry Reed’s work and make the claim that Elizabeth doesn’t have a soul.
While the stress of keeping Elizabeth out of the public eye begins to build, his secret past is slowly revealed through a series of flashbacks, allowing him to subtly build up the more horrific and Frankensteinian elements without overpowering the film’s strongest points in any significant manner. This “B” story is inextricably linked to the tension that pervades the “A” story, and while sporadic moments toward the end find the film devolving into cliched monster territory, Senese never strays from the real life implications of cloning. He manages to blend the two seemingly conflicting tones in a way that suggests an incredibly assured man behind the camera.
Thus is the beauty of Closer to God. Even when taking detours to focus on the more horror elements, Victor Reed’s reality remains front and center, with Senese placing the focus entirely on his struggle to maintain order amidst the chaos he unwittingly caused. Supported by a stellar performance from Jeremy Childs, his stoic personality and gaunt appearance supports the image of a man whose goal in being at the forefront of one of the most life-changing discoveries in human history has become more important than considering the consequences of it.
There is this beautiful sense of objectivity in Closer to God that makes it stand out as something special.
Dealing with the moral, ethical, legal, and, most importantly, religious ramifications of human cloning, this stellar low-budget thriller doesn’t seek to pick a side but rather explores both as playing an almost equal part in the aftermath of a lone doctor putting ambition before everything else. The consequences of successful human cloning are unknown, but Senese has crafted a unique and fascinating twist on the Frankenstein tale that brings them to light in an incredibly real and poignant way.
Yep, another day, another “American Horror Story: Freak Show” teaser… but this time it has some company in the form of a promo that’s airing on Fox UK and combines a little bit of each of the videos we’ve seen so far.
“American Horror Story: Freak Show” debuts October 8th at 10:00 PM on FX.
It begins its tale in the quiet, sleepy hamlet of Jupiter, Florida. The year is 1952.
A troupe of curiosities has just arrived to town, coinciding with the strange emergence of a dark entity that savagely threatens the lives of townsfolk and freaks alike. This is the story of the performers and their desperate journey of survival amidst the dying world of the American carny experience.
Jessica Lange, Kathy Bates, Angela Bassett, Frances Conroy, Sarah Paulson, Emma Roberts, Gabourey Sidibe, Denis O’Hare, Jamie Brewer, and Evan Peters return from previous seasons. New cast members includes Michael Chiklis, Wes Bentley, John Carroll Lynch, Finn Wittrock, Matt Bomer, Patti LaBelle and the world’s smallest living woman, Jyoti Amge.
“American Horror Story: Freak Show” – Episode 4.01 – “Monsters Among Us” (airs 10/8/14)
One of the only surviving sideshows in the country struggles to stay in business during the dawning era of television. When police make a terrifying discovery at a local farmhouse, the eccentric purveyor of the freak show (Lange) sees an opportunity that will lead her troupe either to their salvation or ruin. Written by Ryan Murphy and Brad Falchuk; directed by Ryan Murphy.
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