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 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 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 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 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.