Intrada has released the soundtracks for several fantastic horror and giallo films, including Bad Milo! (Ted Masur), Halloween: The Curse Of Michael Myers (Alan Howarth), Le Foto Proibite Di Una Signora Per Bene (Ennio Morricone), as well as Howard Shore‘s scores for three David Cronenberg films: Dead Ringers, Crash, and Naked Lunch. They’ve also posted the soundtracks for Brian Retzell‘s Hannibal.
The soundtracks can be purchased here.
Swedish melodic death metal band At The Gates have released an official video for “Death And The Labyrinth”, which comes from their upcoming album At War With Reality (out October 28th via Century Media Records). The video was directed by Patric Ullaeus, who has created videos for In Flames, Arch Enemy, and many more.
Vocalist Tomas Lindberg comments:
We had a very special idea about the kind of approach we wanted for the first video from ‘At War With Reality’. What we needed was someone gifted enough to throw himself artistically into the project full on. The lyrics to the song are very multi-layered and surreal, so we wanted someone to create a fevered dreamworld that went with the melancholic frustration and dramatic desperation that we feel comes across in the song. This is exactly what Patric has created for us. It’s his vision of the music and lyrics, which compliments the track perfectly in my opinion. I couldn’t be happier!
Read our 5-skull review of At War With Reality here.
Directed by Steven R. Monroe
Distributed by Kaleidoscope Home Entertainment
Ah, vengeful Asian ghosts – can ever we get enough of them? Director Steven R. Monroe hopes not as he dishes up a forest full in Grave Halloween. Set in the real-life Aokigahara Forest in Japan (a strange cultural hotbed of self-termination), Grave Halloween follows a bunch of American students studying nearby who set off to the forest in order to perform a ritual that should lay to rest the tortured spirit of the mother of one of their number. The girl in question, Maiko (Leeb – looking nowhere near as convincingly Asian as the child playing her in flashbacks is), lost her mother to suicide when she was a young girl, and was then adopted by American parents.
Seeking to reconnect with her heritage, she is thus back in Japan with the only physical reminder that she has of her mother – a box of trinkets that she received, supposedly left to her by her late parent.
Accompanying Maiko on her trip are a group of various friends, including film students looking to make a documentary of the ritual, and a further uninvited group of stereotypical party dudes who take none of their activity within the forest seriously. Pretty soon, the theft of a watch from one of the suicide sites by the aforementioned part dudes angers the restless spirits residing in the forest, and the blood begins to flow. Throw in a couple of cops who take care of the forest, and are sick to death of disrespectful tourists, and a wizened old local man and you have a recipe for some ghostly fun, right?
Well… almost. As your typical ‘twenty-something “teens” in peril’ movie, Grave Halloween mostly achieves what it sets out to do via some good use of location (even if completely fails to capitalise on the disturbing nature of its setting), and especially its effectively grim menagerie of menacing ghosts. There’s a surprising amount of convincing gore to be had, most impressive being a particularly nasty sequence involving one unfortunate being quartered by living trees. On the flipside the characters are generally nondescript – usually only making their mark on you when being particularly annoying – and the presentation rarely feels anything beyond the typical Syfy Channel fare amongst which it holds root. Monroe attempts to spice things up a little by chucking in found footage elements using the film crew’s camera, but it merely serves to add to the unambitious feel of the entire affair; a ‘been there, done that’ element that merely adds to the sense of familiarity and really isn’t necessary at all.
The history of Maiko and her mother feels muddled – strange flashback sequences presenting a foreboding element that makes you constantly question why on Earth she’d want to have anything to do with her spirit, restless or not – but does lead to a nice twist in the payoff that unfortunately may be missed, or misunderstood, if you’ve already given up on caring by then. Which would be entirely forgivable, frankly, given the threadbare script. There’s also a secondary twist, quite integral to the story, that is so cack-handed and difficult to believe that it’s a wonder that anyone involved saw fit to keep it in there.
Still, the cast do what they can with the thin script and Monroe sets up a number of tense and creepy set pieces, relishing the manner in which the spirits of the forest toy with and segregate their prey before moving in for the kill. Grave Halloween isn’t great – hell, it’s barely even ‘good’ – but it does what it needs to, ultimately. It’s a relatively inoffensive, if overly familiar, slice of horror sporting a smattering of creepy moments. If anything, at least it’s a step up from Monroe’s odious 2013 effort, I Spit On Your Grave 2. Then again, that’s faint praise indeed.
Kaleidoscope Home Entertainment’s UK DVD release of Grave Halloween is a barebones one. Just like the film, there’s nothing special to see here, folks.
Good news for our UK fans: we got our furry mitts on two copies of director Lowell Dean’s howlin’ good time, WolfCop (review), on Blu-ray to give away courtesy of Studiocanal. Get in here and enter nooooOOOOOWWW!
It’s not unusual for alcoholic cop Lou Garou (Leo Fafard) to black out and wake up in unfamiliar surroundings, but lately things have taken a strange turn. Crime scenes seem oddly familiar. Lou’s senses are heightened, and when the full moon is out, he’s a rage-fueled werewolf.
WolfCop is one cop’s quest to become a better man… One transformation at a time.
To be in with a chance of winning, just send us an email at firstname.lastname@example.org including your FULL NAME AND POSTAL ADDRESS; then sit back, crack open a brewski and enjoy some hair o’ the dog. We’ll take care of the rest.
Please note that this competition is open only to UK residents.
Tattoo artist Shane Murphy is getting into the holiday spirit with his Crown of Thorns Tattoo shop in Worcester, MA.
“This month I’ve been working on a series of 5×7 watercolor paintings based off Bart Simpson in various horror costumes,” he tells us. “I will have 12 in total but here is the first 8.”
The first 8 include Bart Simpson dressed as Freddy Krueger, Jason Voorhees, Leatherface, Beetlejuice, Candyman, The Terminator, Pinhead and, of course, Ash!
Get more Halloween Treat articles here on Bloody.
Go Inside American Horror Story: Freak Show to Meet Dandy; See a Preview of Episode 4.03 – Edward Mordrake Part 1
Is everyone enjoying the sights and sounds of “American Horror Story: Freak Show” so far? Want to learn more about Finn Wittrock’s character, the lovably loony Dandy? Then check out this “inside” look at him along with a preview of next week’s Episode 4.03, “Edward Mordrake Part 1,” which features guest star Wes Bentley.
As a bonus, FX has also released Sarah Paulson’s amazing performance of “Criminal” from last night’s episode.
“American Horror Story: Freak Show” – Episode 4.03 – “Edward Mordrake Part 1″ (airs 10/22/14)
The Freaks refuse to perform on Halloween due to an old carny superstition. Jimmy (Evan Peters) is smitten by a woman claiming to be a fortune teller. Ethel (Kathy Bates) receives life-changing news.
Alt-rock band Foo Fighters have released a stream of “Something From Nothing”, the first single from their upcoming album Sonic Highways. The track has some serious funk while mixing in vocalist Dave Grohl’s signature croons and yells. You can listen to it below.
You can pre-order Sonic Highways, which comes out November 10th, via iTunes, which will net you the song for an immediate download.
There’s a big dinner happening in N’awlins next Monday night on “The Originals,” and along with a clip from the upcoming Episode 2.03, entitled “Every Mother’s Son,” we also have a new preview hosted by executive producers Julie Plec and Michael Narducci.
“The Originals” Episode 2.03 – “Every Mother’s Son” (airs 10/20/14): When Klaus (Joseph Morgan) and Elijah (Daniel Gillies) receive a cryptic invitation to dinner from their mother, Esther, who continues to inhabit the body of Harvest girl Cassie (guest star Natalie Dreyfuss), they find themselves preparing for the worst.
With the help of a new witch named Lenore (guest star Sonja Sohn), Klaus, Elijah, and Hayley (Phoebe Tonkin) attempt to stay one step ahead of Esther, but things quickly take an unexpected turn. While Elijah finds himself reluctantly teaming up with Gia (guest star Nishi Munshi), a newly-turned vampire, Hayley is faced with an enticing proposition about her new status as a Hybrid after a startling encounter with Esther.
Finally, Esther reveals a shocking secret about Klaus’ childhood and unveils her ultimate plan for her children. Charles Michael Davis also stars. Dermott Downs directed the episode written by Christopher Hollier.
The post See a Clip and Then Go Inside The Originals Episode 2.03 – Every Mother’s Son appeared first on Dread Central.
We’ve been anxiously awaiting next week’s return of “Grimm” to NBC, and the network has finally released the first clip from the upcoming Episode 4.01, “Thanks for the Memories,” in which Nick, Trubel, Hank, and Juliette face the aftermath of Season Three’s finale.
Evil has a new enemy in “Grimm” Season Four, premiering October 24th on NBC, followed by the series debut of “Constantine.”
“Grimm” Episode 4.01 – “Thanks for the Memories” (10/24/14; 9-10pm)
NICK MUST LEARN TO COPE WITH HIS NEW REALITY AS A NEW WESEN HITS PORTLAND TO STEAL ITS VICTIMS MEMORIES – ELIZABETH RODRIGUEZ, LOUISE LOMBARD, ALEXIS DENISOF, AND JACQUELINE TOBONI GUEST STAR – After the events at Monroe (Silas Weir Mitchell) and Rosalee’s (Bree Turner) wedding, Nick (David Giuntoli) is faced with losing his identity as a Grimm. Hank (Russell Hornsby) and Juliette (Bitsie Tulloch) join Nick as they try to figure out how to deal with Trubel (guest star Jacqueline Toboni) as she faces the consequences of a heinous murder she committed.
Meanwhile, when Wu (Reggie Lee) arrives at the scene, his discoveries bring back images of his traumatic encounter. A new threat arrives in Portland to steal the memories of its victims, leaving them in a state of dementia. Elsewhere, Captain Renard’s (Sasha Roiz) life hangs in the balance and Adalind (Claire Coffee) falls into Prince Viktor’s (guest star Alexis Denisof) trap as she desperately searches for her baby.
The post Get a Sneak Peek of Grimm Episode 4.01 – Thanks for the Memories appeared first on Dread Central.
Here at Dread Central we love tales of men vs. beasts. Especially giant beasts. Such is the case pertaining to Ron Howard’s latest film, In the Heart of the Sea. Read on for the first info, trailer, and more!
From the Press Release
Oscar winner Ron Howard (A Beautiful Mind) directs the action adventure In the Heart of the Sea, based on Nathaniel Philbrick’s best-selling book about the dramatic true journey of the Essex.
In the winter of 1820, the New England whaling ship Essex was assaulted by something no one could believe: a whale of mammoth size and will and an almost human sense of vengeance. The real-life maritime disaster would inspire Herman Melville’s Moby Dick. But that told only half the story.
In the Heart of the Sea reveals the encounter’s harrowing aftermath, as the ship’s surviving crew is pushed to their limits and forced to do the unthinkable to stay alive. Braving storms, starvation, panic, and despair, the men will call into question their deepest beliefs, from the value of their lives to the morality of their trade, as their captain searches for direction on the open sea and his first mate still seeks to bring the great whale down.
In the Heart of the Sea stars Chris Hemsworth (The Avengers, Rush) as the vessel’s veteran first mate Owen Chase; Benjamin Walker (Abraham Lincoln: Vampire Hunter) as its inexperienced Captain, George Pollard; Cillian Murphy (The Dark Knight Rises) as second mate Matthew Joy; and Ben Whishaw (Skyfall) as novelist Herman Melville, whose inquiries into the event 30 years later helped bring the story to light.
Tom Holland (The Impossible) also stars as young seaman Tom Nickerson with Brendan Gleeson (Edge of Tomorrow) as the same man, 30 years later. Spanish actor Jordi Mollà (Riddick) is the captain of another ship, the Archimedes, who tries to warn the Essex of what may lie ahead.
Howard directed from a screenplay by Charles Leavitt (Blood Diamond), story by Charles Leavitt and Rick Jaffa & Amanda Silver (Rise of the Planet of the Apes), based on the book In the Heart of the Sea: The Tragedy of the Whaleship Essex by Nathaniel Philbrick, winner of the 2000 National Book Award for Nonfiction.
The film is produced by Joe Roth (Oz the Great and Powerful), Paula Weinstein (Blood Diamond, This Is Where I Leave You), Will Ward, Brian Grazer (J. Edgar), and Ron Howard. Serving as executive producers are Bruce Berman, Sarah Bradshaw, Palak Patel, Erica Huggins, and David Bergstein with William M. Connor as co-producer.
The behind-the-scenes creative team includes Oscar-winning director of photography Anthony Dod Mantle (Slumdog Millionaire, Rush); production designer Mark Tildesley (The Fifth Estate); Oscar-winning editors Michael Hill (Apollo 13, Rush) and Dan Hanley (Apollo 13); costume designer Julian Day (Rush); and composer Roque Baños (Evil Dead).
In the Heart of the Sea is a Warner Bros. Pictures presentation, in association with Village Roadshow Pictures, a COTT Productions-Enelmar Productions, A.I.E. co-production, a Roth Films/Spring Creek/Imagine Entertainment Production, in association with Kia Jam.
Opening on March 13, 2015, in theatres and IMAX, the film will be distributed by Warner Bros. Pictures, a Warner Bros. Entertainment Company, and in select territories by Village Roadshow Pictures.
The post In The Heart of the Sea Yields a Whale of a Trailer; First Artwork appeared first on Dread Central.
As we weren’t excited enough already about Showtime’s recent announcement of a limited “Twin Peaks” series heading our way in 2016, today we learned that Mark Frost, who co-created the iconic show with David Lynch, is writing a tie-in novel, The Secret Lives of Twin Peaks.
Per The Wrap, the book’s publisher, Macmillan subsidiary Flatiron Books, has said that the novel “reveals what has happened to the people of that iconic fictional town since we last saw them 25 years ago.” It will also offer “a deeper glimpse into the central mystery that was only touched on by the original series.”
The Secret Lives of Twin Peaks will go on sale worldwide in late 2015, ahead of Showtime’s revival of the series.
Related Story: 9-Episode Twin Peaks Miniseries Heading to Showtime
“[Flatiron president and publisher] Bob Miller and I have enjoyed a fantastic fifteen-year relationship in publishing,” Frost said of the book. “This has long been a dream project of mine that will bring a whole other aspect of the world of ‘Twin Peaks’ to life for old fans and new. I couldn’t be more thrilled.”
In addition, the site says Showtime will run the first two seasons of the original series. Get those DVRs ready!
The post The Secret Lives of Twin Peaks Novel Being Released Prior to Showtime Miniseries appeared first on Dread Central.
Starring Marilyn Burns, Allen Danziger, Paul A. Partain, Terri, McMinn, William Vail, Jim Siedow, Gunnar Hansen, Edwin Neal
Distributed by MPI Media Group
When Dark Sky/MPI Media Group announced a 40th Anniversary Edition of The Texas Chain Saw Massacre, you could hear synchronized groans from movie collectors the world over. “What was wrong with the last one?” That question echoed across the digital ether, leaving message boards and horror blogs to wonder if this wasn’t just another cash-grab for a revered title. In this miraculous age where folks like Synapse Films, Scorpion Releasing, Scream Factory, and Vinegar Syndrome (to name a few) are bringing dozens of titles to Blu-ray for the very first time, it’s maybe harder to get excited about a film that, unquestionably, has been treated very well in the annals of DVD and beyond.
I’m not going to spend a lot of time talking about the film itself. At this point, The Texas Chain Saw Massacre is inborn in us as horror fans. We know why it resonates, and why it’s a perfect horror film. But I’m not sure I can think of another movie that takes on new layers, discoverable through repeat viewings and, perhaps more importantly, a constantly evolving world view. In my youngest years as a horror fan, Tobe Hooper’s film was easily categorized as sort of a proto-slasher. Yes, it has elements commonplace in the subgenre (kids in rural isolation killed one-by-one by a masked maniac), though I never considered The Texas Chain Saw Massacre a bona fide slasher. It’s too real, trading suspense for primal ferocity, and then focusing on the encroaching insanity of its victim, as opposed to boiling into a battle of wits between hero versus killer. Yes, it has elements of a slasher (namely the second act), but it’s so much more.
There comes a point in any film fanatic’s life when he or she begins digging deeper into the movies they love. And like any good college student, I did that same, reading The Texas Chain Saw Massacre as a meditation on the destruction of the nuclear family in post-Vietnam America. The local economy has wilted in the wake of cost-savings and efficiency measures, leading to the closing of the mainstay slaughterhouse, sapping many jobs from an area that needed them. Those who refused to follow the work are left to their own devices, and we get the sense that maybe the Sawyers weren’t always so brazen in their mass-murdering efforts (especially since the Hardesty’s grandfather essentially lived right next door to them).
More recently, Phil Noble, Jr. from Badass Digest tweeted about the film’s astrological aspects, suggesting that the kids were perhaps fated to die that August 18th. It’s something that hung over my head as I watched the film for the umpteenth time and found it gave the movie an even more disturbing quality.
What this says of The Texas Chain Saw Massacre is that it works on numerous levels. Yes, it’s grounded in oft-celebrated “gritty naturalism” that makes some fans feel like they need to be watching it on blurry VHS in order to truly ‘experience’ it. But consider the rest of the information presented in the film and it becomes something of a cinematic Rorschach: what exactly was Tobe Hooper trying to say? Some maintain it’s the stuff of parody, while others read it as a broad depiction of personified insanity. After 40 years, this conversation continues unabated, and that’s perhaps the greatest testament to its abilities.
About the transfer
Now I’m sure you want to know if The Texas Chain Saw Massacre 40th Anniversary Edition is worth your hard-earned bucks. And since I’ve spent a good chunk of my life consuming all of the content packed onto this disc, and scrutinizing the new 4k transfer, I’ll attempt to provide you with an answer. Let me start by saying there is absolutely nothing wrong with the MPI “Ultimate Edition” disc released in 2008, other than the fact that the master was made over a decade ago, and sourced from the 16mm internegative taken from the camera A/B rolls. All things considered, that disc still looks great and it continues to be a respectable way to savor the film.
TCM 40’s transfer was taken from the original 16mm ECO positive, offering a 4k version supervised by Tobe Hooper. Colors pop, grain structure is good, and there’s plenty of detail on display. I think it goes without saying that 16mm looks the way it does, and so the bizarre, ongoing mindset that Blu-ray is going to make The Texas Chain Saw Massacre somehow feel like a new and clean movie is completely asinine. If anything, the added clarity makes the movie feel more authentic and nasty because of the details present. The slightly “warmer” feel of this transfer may be a bone of contention for purists, but it’s not as drastic as some detractors have cited.
There are a few minor tweaks that are raising eyebrows in some corners of the Internet. At the beginning of the film, Tobe Hooper replaced a fade to black with a hard cut to black. Fans have been vocal, and Dark Sky says that Tobe has agreed to restore this to the way it once was in future pressings of the disc. While I’ll talk more about the audio, there’s also a split second glitch that impacts Sally’s scream from the pick-up flatbed at the end of the film. I’ll admit, I didn’t notice this upon my watch, though Dark Sky says it will be addressed in future pressings as well.
Regarding the audio: you choose from four flavors: English DTS-HD Master Audio 7.1, English DTS-HD Master Audio 5.1, LPCM 2.0, and LPCM Mono. Generally speaking, I spring for the mono tracks when offered, as I don’t like it when older films are outfitted with rear channel FX simply to give audiophiles a reason to be excited. But I did spin the 7.1 surround in my home theater and was impressed by its quality/clarity. Dialogue is clear, never drowned out by the chaos, and the surround channels are surprisingly active, and never forced. I was thrilled by the ferocity of this audio and have only nothing but good things to say about it—even with half a second less of Sally’s scream at the end.
Moving onto the supplements, I was supplied with the limited Black Maria edition for review. It includes the chipboard Black Maria truck packaging, a Leatherface apron (complete with blood stains), and a five disc set (two Blu-rays, three DVDs) with alternate Blu-ray packaging that’s only available here. Disc five is a bonus DVD, depicting a conversation between Exorcist director William Friedkin and director Tobe Hooper before a Los Angeles screening of The Texas Chain Saw Massacre. It’s a good discussion that benefits greatly from Friedkin’s gift of gab, handling the crowd with equal parts hilarity and contemplation as he grills Hooper on the film’s legacy. It runs an hour, but I could’ve watched it for another two.
Other than those exclusive supplements, the rest of the extras can be found on the four disc edition (there’s also a barebones single disc set that only houses the four audio commentaries). Anyone familiar with previous editions of The Texas Chain Saw Massacre will find some of this stuff to be a case of déjà vu, though it’s nice to have all of these materials housed in one comprehensive package.
- Audio commentary with director Tobe Hooper: this is a mediocre track, with Hooper lapsing into dry stretches without much insight or info. Honestly, who can blame him at this point?
- Audio commentary with DP Daniel Pearl, editor J. Larry Carroll, and sound recordist Ted Nicolaou: pretty nifty and enjoyable discussion, especially getting the chance to hear Nicolaou and Carroll get a chance to speak at length. It’s great to hear some different perspectives and while I had truthfully only intended to skim this track for time purposes, it wound up capturing my attention.
- Interview with production manager Ron Bozman: a 16 minute discussion from a more business-minded perspective.
- Interview with actor John Dugan: a 15 minute chat with Grandpa that covers the discomfort of shooting in those conditions. It’s well-worn territory, but what isn’t at this stage in the game?
- Interview with editor J. Larry Carroll: a 10 minute conversation that covers similar ground as the commentary track.
- New deleted scenes & outtakes: presented here without sound, sadly, but still worthwhile for archival purposes.
- Horror’s Hollowed Grounds: I swear I’ve seen this before, but it doesn’t look to be on my 2008 Blu-ray.
- Audio commentary with author David Gregory, art director Robert Burns, and actors Marilyn Burns, Paul A. Partain, and Allen Danziger: A classic commentary from 2006, which walks the line between fun and informative.
- Audio commentary with director Tobe Hooper, DP Daniel Pearl, and actor Gunnar Hansen: this commentary dates all the way back to the 1998 Pioneer DVD and is probably even older. It was one of the first commentaries I ever got to listen to and I loved every second then.
- Texas Chainsaw Massacre: The Shocking Truth: a 72 minute documentary that exhausts every aspect of the film, from its origins to the arduous shooting and beyond. An excellent complement to the movie itself.
- Flesh Wounds: Seven Stories of the Saw: as the title implies, seven stories (Daniel Pearl, Tim Harden, Edwin Neal, Dr. W.E. Barnes, Gunnar Hansen, a remembrance of those passed, and the film as seen through the eyes of horror fans) help explore the film’s legacy and impact.
- Off the Hook with Teri McMinn: this was a Blu-ray exclusive on the 2008 release. A quick tour of the infamous house with the lovely actress.
- Tour of the TCM House with Gunnar Hansen: if you’re eager for another tour, from a different perspective.
- Deleted scenes & outtakes: these date way back to the 1998 DVD and perhaps go back further to the laserdisc.
- Blooper reel
- “Shocking Truth” outtakes
- W.E. Barnes Presents “Making Grandpa” still gllery
- Still Gallery
- Trailers, TV & Radio spots
An exhaustive release in every regard. No stone is unturned. I can remember thinking in 1998 that I finally had the definitive release of The Texas Chain Saw Massacre. 16 years later, MPI Media Group has proven me wrong. We’re fast approaching the point where Blu-ray producers should find it challenging to add anything of value to future releases. As it is, the sheer volume of information housed on these discs begins to feel redundant (especially when consumed in a single weekend).
But it’s everything a Chain Saw fanatic could want, and the audio and picture quality are superb. One of the best horror films of all time is graced with one of the best releases of the year. I can’t imagine anyone being disappointed with MPI, no matter the edition chosen.
The post The Texas Chain Saw Massacre: 40th Anniversary Edition (Blu-ray / DVD) appeared first on Dread Central.
Having been one of the lucky few who have experienced appendicitis, I can honestly tell you it’s one of the worst minor afflictions anyone could have. However, it could be worse. Especially if a spider decides to burrow into your scar and live inside your chest.
Such was the fate of one Dylan Thomas of Bunbury in Australia. Thomas was in Bali on vacation when he noticed a mysterious red trail stretching two inches from his belly towards his left nipple.
“It was like someone had scratched me with a knife,” he told NT News. “It wasn’t really a tickling sensation; obviously once the venom started to affect my skin, it was a really burning sensation like a searing feeling. Well that’s escalated,” he told Bunbury Mail.
Dylan finally put this harrowing ordeal behind him and has announced on Facebook: “After running tests and putting things inside my stomach, they finally found out it was a tropical spider that’s been living inside of me for the last three days; [they] managed to get it out luckily. Spider man is well and truly going to stick as a nickname here. Haven’t felt so violated in my life before! Just glad it’s all over.”
In the end Thomas had an arachnid “a bit bigger than the size of a match head” removed from his body. The creature was already dead as it was plucked out with tweezers.
Thomas is now hoping his friends will chip in to pay for a Spider-Man tattoo to cover up his scar.
It’s time for an update on our own Staci Layne Wilson’s upcoming feature Fetish Factory, and on tap today is the film’s official artwork, which was created by artist Aaron Kai. Read on for your first look at the new poster!
From the Press Release
In the gritty, sexy, and scary old school tradition of exploitation and grindhouse art comes the kick-ass poster for Blanc/Biehn Productions’ latest fright flick, Fetish Factory.
BBP commissioned Los Angeles-based artist Aaron Kai to come up with a throwback concept and create artwork that would tell a story – using scenes from the film and building intrigue through visuals just like they did back in the 60s and 70s.
Kai’s meticulously executed, photorealistic film-inspired artwork has been featured globally from Hollywood to Tokyo to commemorate high-profile landmark events including Blade Runner: The Final Cut 25™ Anniversary, The Bette Davis Centennial, and the Jules Verne Film Festival. Prominent collectors of Kai’s original works include Ridley Scott, Harrison Ford, and Clint Eastwood.
Fetish Factory is written and directed by Staci Layne Wilson based on a story by Lony Ruhmann. The plot centers on pin-up vixens vs. bloodthirsty zombies and is set in post-apocalyptic Hollywood.
The film stars Carrie Keagan (“Reno 9-1-1!”), Chase Williamson (John Dies at the End), Jennifer Blanc (Everly, Havenhurst, Hidden in the Woods), Daniel Quinn (Rubber), Stephen Wastell (“Criminal Minds”), Jenimay Walker, (Serpent’s Kiss), Tristan Risk (American Mary), Emma Julia Jacobs (Hitchcock), Ruben Pla (Big-Ass Spider), Diane Ayala Goldner (The Collector), Jesse Merlin (FDR: American Badass), Benjamin Easterday (Poseidon Rex), and Tom Ayers (“Bosch”). Montreal-based alternative model and fetish superstar The Richard rounds out the cast.
Lony Ruhmann is executive producer, and cinematography is by Steve Romano. The original score is by Mars Homeworld and introduces new original songs by guitar superstars The Ventures.
It’s SURVIVAL OF THE FOXIEST! in Fetish Factory, a thrilling and darkly comic horror suspense film with a heaping helping of vintage burlesque bawdiness.
Look for the film in 2015.
Imagine a wickedly saucy by invitation-only stage show and posh private peeps in which your every fantasy can come true, fulfilled by the likes of luscious ladies imitating the sex goddesses of yore: Bettie Page, Jayne Mansfield, and Suzie Wong. Along with classic burlesque strip-teases and curio acts – a ventriloquist, a magician, and a whip-dancer – you are in for the night of your life at the Fetish Factory. That is, until your life is at stake when the apocalypse strikes! Once mild-mannered men become bloodthirsty zombies, and it’s up to the girls to defend themselves by any means – even if that means turning their bullet bras, garter belts, and spike-heels into deadly weapons.
Yesterday we shared these awesome custom “Teenage Mutant Ninja Turtles”.
I was sort of surprised to find out that this wasn’t the first time someone thought to do this.
Bloody reader ‘Joe Amato’ has been doing customs for years now, and asked us to share his “TMNT” horror figures.
“I did a lot of sculpting on them, and even put them on custom hardbacks,” Amato tells us. “If you would like to share them on your page that would be great, especially with Halloween around the corner. I am on Facebook at Joe Amato Custom Creations.”
Look to the sky for horror.
In theaters and on VOD nationwide November 7th from IFC is Hangar 10, a horrifying new British sci-fi thriller from director Daniel Simpson, based on spine-chilling true events!
Bloody Disgusting is the first to enter Area 51 with this exclusive trailer premiere that’s loaded with all sorts of scares and alien-esque fun! It comes from the producers of Severence and Creep, which is promising.
“33 years after the infamous Rendlesham Forest UFO incident, three metal detector enthusiasts hunting for Saxon gold in the same region capture incredible footage of UFOs whilst filming their expedition. As night falls – and with their navigation equipment failing – the trio finds themselves facing a terrifying encounter with an unforgiving alien presence.“
The don’t-show ending of The Blair Witch Project is one of the most infamous, frustrating, polarizing, and perfect closing shots in horror movie history. It offers no closure nor explanation. It simply is what it is. But was it always supposed to be that way?
At Denver’s Mile High Horror Film Festival, I had the opportunity to sit down with Blair Witch directors Dan Myrick and Eduardo Sanchez and I asked them about the ending and their original intent. Turns out it wasn’t always supposed to be how it ended up…and the first thing Artisan wanted to do when they bought it? Change the ending.
“Well, we wanted to show something more spectacular than what we ended up with. But we couldn’t come up with an idea and we had a limited budget, so it was going to have to be something really clever. We actually didn’t have the ending of the movie when we were filming. We started shooting the movie without the ending and I remember Gregg (Hale), our producer, would come in and be like, ‘Man, you got five days,’ and we would go back and think about it.
…but we didn’t want to betray the rest of the movie. There are no real gags in the movie, we weren’t showing anything, you know, except a bundle of sticks and some teeth. And then maybe two or three days before we had to shoot the ending we came up with the idea…Artisan wanted to change it when they bought the movie. That was the first thing they wanted to do was change the ending.
At least Todd McFarlane’s McFarlane Toys was able to create their own interpretation in toy form back in their ‘Movie Maniacs’ Series 4. Good, bad? Eh.
Read more about the Blair Witch’s ending, their original plans for a prequel, their reaction to Book of Shadows, and more tomorrow when my full interview with Dan and Ed is published!
From the writers of Power Rangers R.P.M. and The Tigger Movie comes a wildly morbid and original film: Blood Punch. While its pedigree may sound a bit too kiddie for a horror film, you’ll never see Blood Punch on the Disney Channel, oh no. It’s a twisted and clever film that’s been kicking much ass on the festival circuit and just last week it damn near blew the roof off of the screening I caught at the Mile High Horror Film Festival. It’s like a supernatural film noir on meth, with heaps of dark humor and a madcap edge that cuts deep. And as its name suggests, Blood Punch is a very, very bloody affair.
Much of what makes director Madellaine Paxson’s film such a blast is experiencing the curveballs as they come at you, so I won’t reveal too much of the sharp plot. Milo (Milo Cawthorne) is a brilliant and sweet guy whose knack for cooking meth led him to a drug rehabilitation center. There he’s tempted by pseudo femme fatale Skyler (Olivia Tennet), a chain-smoking harlet with a filthy mouth and silver tongue. She convinces Milo to bust outta rehab and flee with her to a secluded cabin where he’ll cook meth for one day, for one big pay off. Feeling an attraction to Skyler he can’t shake, Milo signs on for this wholly crazy scheme. The only problem is Skyler’s boyfriend, Russell (Ari Boyland), a psychopath she affectionately refers to as “the devil.”
Well, Russell isn’t really the only problem. The cabin was once the site of an epic Native American war, where the full moon raged for an entire month. The blood spilled there left a bit of a paranormal mark on the joint.
From the moment they arrive at the cabin, Russell sets Milo on edge – explaining how much he adores guns and admitting he knows Milo and Skyler knocked boots in rehab (awkward!). From this point forward, Blood Punch makes you second guess everything you thought you already had figured out. Russell is not as dumb as he seems, Skyler is not as one-dimensional as she seems, Milo is not getting played the way he seems, and the cabin is not what it seems. The film frequently toys with your expectations like a kid in a sandbox – building little structures then smashing them up.
Milo’s first hint that things are way, way off is when he awakes to find a video of himself he doesn’t remember recording in which he chops two of his fingers off. But Milo has all his fingers? Blood Punch is full of reality distorting moments like this, but it never feels like writer Eddie Guzelian is trying to outsmart us or yelling “Gotcha!” in our faces. As wild as the story gets, it flows very organically. The only instance where it feels like they’re maybe getting too absurd is when their drug buyer is introduced. Blood Punch sharply veers off its course there. However, considering how much it’s played with our expectations up to this point, it’s easy to overlook the craziness of this scene.
All three main actors are alumni of New Zealand’s version of the Power Rangers and their history truly shows on screen. The chemistry between them all is so thick you could cut with a hatchet (a weapon utilized heavily in the film). They all get their turn to shine as well, without hogging the spotlight. This is an ensemble film, for sure. Ari Boyland does a solid job playing the (heavily armed) prep school bully from hell. His biting delivery is unnerving, giving the sense he could take your head off at any moment. With a smile, of course. Olivia Tennet brings the heat with a seductively rugged performance and Milo Cawthorne anchors them all as the tight-lipped voice of reason (except when he’s losing his mind).
Darkly comedic with a seriously warped set of sensibilities, Blood Punch takes us down the road to hell, which here is paved with blood and meth (with some peyote as a stiff chaser). It’s fun as hell and smart enough to pull all the right moves without rubbing its twists in your face. There’s a film noir from 1948 called Road House (no relation to the Swayze throat ripper) about a violent love triangle that implodes at a secluded cabin. Blood Punch reminded me a bit of that classic, but in broad daylight with a Twilight Zone affection for screwing with our minds. It’s a helluva trip.
Blood Punch is currently without a distributor, which will hopefully be remedied soon because genre fans need this movie in their eyeballs, ASAP.
Messing around with spirit boards never ends well. Especially in film. Although the most widely-used version of a spirit board is made by Hasbro (the masterminds behind Yahtzee and Nerf guns), the Ouija board still manages to scare the hell out of people and cripple sleepovers across the nation. Now the “game” is coming to the big screen courtesy of Universal and Blumhouse Productions.
Ouija hits theaters Oct. 24, just in time for Halloween, but now folks in the Orlando area have the chance to see it early! On Wednesday, Oct. 22 at 7:30pm, we’ll be giving away passes to a FREE advanced screening at:
AMC Altamonte 18
433 East Altamonte Dr.
Altamonte Springs, FL 32701
Passes are limited and first come, first serve so be sure to get there about an hour early!
“In Ouija, a group of friends must confront their most terrifying fears when they awaken the dark powers of an ancient spirit board.”
Stiles White directs the supernatural thriller that is produced by Platinum Dunes partners Michael Bay, Andrew Form and Brad Fuller (The Purge, The Texas Chainsaw Massacre, Friday the 13th) alongside Blumhouse Productions’ Jason Blum (Paranormal Activity, Insidious series, The Purge), Bennett Schneir (Battleship) and Hasbro.
•NO PURCHASE NECESSARY
• RATED PG-13
I love peaking into history and seeing what the studios were up to in October all those years ago.
October 16 is a pretty interesting date as it saw the release of a few horror classics, as well as some truly terrible limited releases.
The best release came in 1992 when Clive Barker’s Candyman, directed by Bernard Rose, hit theaters. Candyman is still one of my favorite horror films ever, mostly because of the urban subplot that tales place in Chicago’s now-vanquished Cabrini Green. It’s rare to see urban horror, although it’s always special when films like Candyman, Attack the Block and People Under the Stairs make it into theaters (Halloween: Resurrection was close to urban horror). Making $25M in theaters, I’m not exactly sure if that was a success or not – but it did spawn sequels and toys. Candyman is still scary as fuck.
In 1998 Ronny Yu’s Bride of Chucky, the fourth film in the Child’s Play franchise, hit theaters. Boasting a supreme soundtrack (Rob Zombie, Static-X and more), beautiful cinematography, and astounding effects work, Bride of Chucky remains a classic, even if the original film and its sequel are still the best in the franchise. Bride also took an interesting new approach to Chucky, in bringing him to the forefront and turning the franchise into a comedy. Still, the film ended on a dark note and could have set up a darker relaunch with Seed. The film was successful enough to get Universal behind Seed of Chucky, and eventually Curse of Chucky. I remember Bride being one of the first DVDs I purchased, and it was a big deal not having to wait for Blockbuster to release used on VHS.
In 2007 Echo Bridge released Anthony Del’s The Woods Have Eyes, “Tracked by a hunter and his crazy sons, to survive the children must take revenge into their own hands.” Also in ’07 Lionsgate and After Dark released Tooth & Nail, about a small group of survivors in a post-apocalyptic world take refuge in an empty hospital with plans on rebuilding society. Oh, and the same year saw Return to House On Haunted Hill, Victor Garcia’s House On Haunted Hill sequel hit home video. In that, Ariel Wolfe is the sister of Sara Wolfe, a survivor of a massacre some years ago in the “Hill House” sanatorium.
The year 2009 was no stranger to horror as it saw the release of both Christopher Smith’s bizarre Triangle and Sony Screen Gems’ generic thriller/remake The Stepfather. Triangle was a direct-to-disc release: “When Jess (Melissa George) sets sail on a yacht with a group of friends, she cannot shake the feeling that there is something wrong. Her suspicions are realized when the yacht hits a storm in the Bermuda Triangle and the group is forced to board a passing ocean liner to get to safety.The ship appears deserted, but Jess is convinced she’s been on board before.They soon realize they are not alone… Someone is intent on hunting them down, one by one.”
The remake The Stepfather opened wide making $30M worldwide. Not the best of Screen Gems’ gener-o thrillers.