In this world, it’s easy to lose sight of what’s real… Charlie Brooker’s “Black Mirror” returns on Netflix October 21.
Netflix has sent us the official trailer, which boasts its “Twilight Zone” appeal, while also showing us what the future may hold. “Black Mirror” is one of the best television series on the planet, and tackles social issues in the digital space from Twitter to gaming and National Security. The original series was dark, and carried horrific finales (one episode had a political leader fuck a pig), while there’s rumors this new revival is a bit more light-hearted. I hope this isn’t true because the worst “Twilight Zone” episodes were the ones in the 1980’s that ended with a fucking rainbow.
There’s huge potential here, anyhow, with directors ranging from 10 Cloverfield Lane‘s Dan Trachtenberg (starring the infinitely awesome Wyatt Russell) to James Watkins, Joe Wright, Jakob Verbruggen, Owen Harris and James Hawes. The six episodes feature performances by Gugu Mbatha-Raw, Mackenzie Davis, Jerome Flynn, Alex Lawther, Bryce Dallas Howard, Alice Eve and James Norton and more.
Visiting grandma is often an experience that you dread as a kid because of the boredom usually associated with such trips, so it was only a matter of time that we had a horror film based around such a topic.
At Granny’s House, from director Les Mahoney, stars Bill Oberst Jr., Rachel Alig and Nissa Von Reiter and is available now in stores and on VOD.
“At Granny’s House” is about what happens when a young lady (Rebecca) moves in to be caregiver to Granny, a little old lady in a rural USA midwest town. Rebecca turns out to have her own dark secrets and agenda, and these play out as the movie develops, especially when Ted Steiner comes to visit Granny’s house. A typical Midwest house. A sweet little old lady. When a caretaker moves in to help out, Granny’s House becomes a macabre place of death – and love.
I never thought of George A. Romero as having any involvement with the NFL, but a new episode of the documentary series “The Timeline” titled “Night of the Living Steelers” will examine how his Living Dead movies and the Pittsburgh Steelers both became cultural icons. Get more on their official website.
It premieres on October 5, and if anything, it’s great to see something related to the NFL come along that doesn’t involve people whining about Colin Kaepernick expressing his First Amendment rights granted to him as a US citizen.
From the Press Release:
“If there is a similarity between what was going on with the Steelers at that time and what was going on with us, it’s about perseverance.” – George Romero
The second season of NFL Network’s Emmy-nominated documentary series The Timeline from NFL Films continues Wednesday, October 5 at 8:00 PM ET with Night of the Living Steelers, examining the similar legacies of filmmaker George Romero’s classic zombie films and the 1970s Pittsburgh Steelers.
Romero – known as the father of the zombie film – hosts and narrates the one-hour show, reflecting on how the Steelers and his zombie films grew to become Pittsburgh icons. Along with Romero telling the story of how the success of the Steelers mirrored that of his films, Night of the Living Steelers focuses on four Steelers-based films Romero made in the mid-1970s: “Franco Harris: Good Luck on Sunday,” “The Steel Curtain,” “Terry Bradshaw: Thank God I’m a Country Boy,” and “I’m Back: The Rocky Bleier Story.”
Night of the Living Steelers features interviews with Romero, Steelers Hall of Fame quarterback Terry Bradshaw, Steelers president/co-owner Art Rooney II and former Steelers player personnel chief Art Rooney Jr., as well as former Steelers Franco Harris, “Mean” Joe Greene and Rocky Bleier each watching the Romero film they starred in at the Parkway Theater.
To view a trailer for Night of the Living Steelers, visit: https://www.youtube.com/watch?v=CEW5iTX7_hE
Among the topics discussed in Night of the Living Steelers are:
How George Romero created the zombie film empire starting with Night of the Living Dead
Four Steelers-focused films Romero made in the 1970s
The connection between the rise of the Pittsburgh Steelers and the rise of Romero’s movies
The copyright issue with Night of the Living Dead which prevented Romero from receiving the profits
Night of the Living Steelers includes interviews with the following people and more:
George Romero – Filmmaker
“Mean” Joe Greene – Steelers Hall of Fame defensive tackle
Terry Bradshaw – Steelers Hall of Fame quarterback
Franco Harris – Steelers Hall of Fame running back
Art Rooney II – Steelers president/co-owner
Art Rooney Jr. – Former Steelers player personnel chief
Rocky Bleier – Former Steelers running back
Provided below are some select quotes from Night of the Living Steelers:
– “I used to be the only guy in the playground. I was the only guy doing zombies. Then all of a sudden ‘The Walking Dead’ happened and it became mainstream. Now, they’re all over the place.” – George Romero
– “There were two cults – movie cult and sports cult – that captured the imagination of the people not only here [in Pittsburgh] but throughout this country.” – Rocky Bleier
– “It was the start of something that no one saw coming.” – Franco Harris
– “If there is a similarity between what was going on with the Steelers at that time and what was going on with us, it’s about perseverance. Whatever that quality is of never say die, seemingly against all odds.” – George Romero
Each episode of The Timeline – as well as all NFL Network programming – is streamed live on the NFL Mobile from Verizon app (NFL.com/mobile) and via Watch NFL Network on tablet (NFL Mobile and Watch NFL Network apps), PC (NFL.com/watch), Xbox One and Xbox 360(NFL on Xbox app) and other connected TV devices (NFL app on Apple TV and Playstation 4).
The post George A. Romero Appears in Night of the Living Steelers NFL Documentary appeared first on Dread Central.
Starring Sondra Blake, Meegan Warner, Sean Martini
Directed by Jeff Prugh
One of the more heartbreaking (and stressful) situations one can be put into is taking care of a loved one when they’re at the end stages of their life. Around-the-clock care can not only be taxing to the wallet, but to the emotional psyche as well, and if that loved one has not only gone off the rails, sanity-wise, what if that particular person held a secret so close that it threatened others’ safety? Don’t even get me started on the whole paranormal issue to boot, either!
Director Jeff Prugh brings us his latest, The Caretaker, and at the risk of sounding like a heartless bastard (which I’ve been accused of), the FIRST time I encountered the issues that occur in this movie, my dear ol’ relative would have been shipped off to a nursing home – now that’s not to say I wouldn’t be up to the challenge of providing for them, but what follows behind said relative is just a bit much more than I’m willing to negotiate with. Sondra Blake leads the pack here as the cantankerous Birdy (appropriately enough, cause this fusspot has flown the coop). Her eerily odd and irascible ways have driven off more than one caretaker, and now it’s up to her granddaughter Mallorie (Warner) to step in and take the reins…best of luck to ya, young one. So Mallorie and her fella (Martini) move into the house that Mallorie grew up in since the age of four when her Mom went missing, and was raised by a semi-sane Birdy – notice how I said “semi-Sane?” Yep, not quite sure if the Bird-lady has ever had both oars rowing at the same time, but that’s an issue that’s way down the road by now.
Troubles are not very far off for the young couple when some very juicy secrets begin to drum up, and Birdy’s already sketchy past comes into play, serving up more than a few very creepy instances – come on, I’m not gonna throw the entire game for ya now! The film does have more than a few worthwhile jump-scares, and is fairly well put together, and aside from some slow-burning that chews up a fair share of the runtime, this is overall a decent chiller to check out. Blake absolutely shines like a star in her role of the out-to-lunch Birdy, more than often creeping me the hell out with her blank stares and at times, frightening displays of dementia…or is she just fooling us all, including her granddaughter? The film doesn’t exactly cover all the bases when laying down the scares, with some missed opportunities, but still manages to convey a spooky tale that spans more than one lifetime, and I’m ultimately glad to say that Prugh has given the audience a decent flick to check out this Halloween season.
We recently spoke to director Chad Armstrong and writer/producer Andrew Thompson about Deimosimine, their new drug-related horror film which is being made via their company Legless Corpse Films. To make matters even more exiting, it’s being produced by Volumes of Blood creator PJ Starks, so they do indeed have some strong talent on-board. Check out the interview and some footage and images after the jump.
DC: How are things going with your company Legless Corpse? Is business taking off?
Chad Armstrong: Things are going good I really can’t complain. The accomplishments and goals we have superseded in the last year have been incredible. We just moved into a new location and can hire some additional people when needed, so that’s always a good thing.
DC: Can you talk about the cast of Deimosimine?
CA: The cast is fucking AMAZING. The first 5 days of shooting Ashley Coughlin (playing lead Cindy Richards) was just splattered with blood everyday and never complained, well she did in a sarcastic playful way, which is how we all communicate on set. It’s like a big family. But the entire cast we have worked with has been great and amazing, Jim O’Rear can aboard for one day and just nailed this very cool character and then sat in the makeup chair for almost 3 hours getting made up into an awesome creature by our FX guru Dennis Preston. Scott David who is playing Dr. Winter, was a replacement for another actor and was cast literally 2 days before shooting and showed up and did an incredible job. Everyone has just been awesome!!!
DC: Is the titular drug and its adverse effects intended to be some sort of metaphor for how big pharmaceutical companies in the US charge outrageous prices for lifesaving medicine?
Andrew Thompson: Not really — I wasn’t thinking in that direction with this script (although I did consider it for the follow-up, if there is one!). For Deimosimine, the drug is there as the catalyst for the horror that is to come — moreover, I thought of it as a kind of Greek tragedy-type element for the character of Dr. Winter, the inventor of the drug: He sincerely wants to help people, but he’s blinded by his pride and success. Thus, his greatest creation becomes his downfall, playing up the old parable of a good but impatient/overzealous man sowing destruction by trying to do good things.
DC: How did you find the experience of writing a character struggling with an addiction?
AT: The script actually only deals with her addiction in the first half of the first act, so I didn’t spend a lot of time on trying to get that deep into the addiction itself — there’s a scene where she receives a dose during a bad spell of DTs that shows how the heroin affects her physical and mental state, and a sequence during her detox that’s pretty harrowing, but other than that the rest of the film deals with the affects of her “cure” rather than her addiction. For insights into how she would be during that first act, and having no personal experience with drugs to work from, I drew instead from people that I’ve known who struggled with different addictions (mostly alcohol or pills) and did a lot of reading on heroin addiction and it’s tribulations. Using my own addictive impulses (I’m a collector, and a horror film junkie, obviously), I embellished and exaggerated those thoughts and feelings, and used the first hand accounts and research to create what I hope is a least a passable suffering for the character in those opening scenes.
DC: And you’re using practical creature effects?
CA: Yassss! Who doesn’t love practical FX? We have 4 creatures in the film all practical, sculpt, molded, foamed, painted, applied, etc. Very tough to accomplish on our budget, but we have done pretty well. The film has been 2 years in the making and we are finally closing in on finishing up. We have some of the major action sequences with the main creature and one another creature to shoot so we are shooting and raising funds at the same time. If anyone is interested in helping out they can grab anything on Deimosimine.com and not only do the proceeds go to the film but you will be reimbursed from the profits of the film. They will be like mini-investor, which we think is fair because they are putting faith in us, being patient why we finish the film and they deserve something for their contribution.
DC: So to round off, why is fear the best medicine?
CA: Well you have to see the film or watch the trailer to see that the tagline ties into the film, but mainly it’s just a cool tagline!!
Deimosimine is a dark multi-creature feature that is bringing true dark horror back to the fans. We are funding the film by a unique pre-order option where if you pre-order any items from the official Deimosimine store, you will get your items and we will pay you back with the films profits just like a traditional investor, but on a much smaller scale.
The post Exclusive: Chad Armstrong And Andrew Thompson Talk Deimosimine appeared first on Dread Central.
MTV has put in development “Freaks of the Heartland”, a dark fairy tale drama series from Dark Horse Entertainment, the film and TV division of comic book publisher Dark Horse Comics, and Universal Cable Prods, Deadline reports. David Gordon Green is attached to produce and direct, subject to availability.
“Freaks of the Heartland” is set in a rural town in America’s heartland that has harbored a terrible secret. Trevor’s family had been hiding his deformed little brother Will in the barn, hidden from the world by their father. When the local sheriff discovers Will and kills their father in the subsequent struggle, the boys go on the run, framed for the murder, and uncover that Will isn’t the only one, that “freak” children were born to other families in this town, and that the sheriff killed many of them years ago. Now he wants to finish the job, and only Trevor stands in his way. Trevor will do whatever it takes to keep his brother – and all the other innocent freaks still in hiding – out of harms way.
Written by Geoff Davey and Peter Sattler (Camp X-Ray), the project is based on the Dark Horse Comics graphic novel by Steve Niles (“30 Days of Night”), with art by Greg Ruth.
Dark Horse Entertainment’s Mike Richardson & Keith Goldberg executive produce along with Niles and the Gotham Group. Davey and Sattler co-executive produce.
New York-based arthouse distributor Film Movement has an exciting batch of releases in store for the month of October starting with a couple of films from Japanese actor/director Takeshi Kitano on October 11th. Kitano’s Violent Cop and Boiling Point are both arriving on DVD and Blu-ray for the first time and they’ll be loaded with bonus content included original artwork from comic book artist Ben Marra.
Film Movement will keep the good times rolling two weeks later on October 25th when they release Vampire Ecstasy and Sin You Sinners, both films from sexploitation pioneer Joe Sarno. The Sarno films will be available on DVD and Blu-ray and come as a double feature.
VIOLENT COP & BOILING POINT
In his breakthrough classic, VIOLENT COP, “Beat” Takeshi directs and stars as vicious rogue homicide detective Azuma who takes on a sadistic crime syndicate only to discover widespread internal corruption within the police force. Kitano’s debut feature marks his transformation from motor-mouth comedic star of stage and screen to art house auteur – consciously playing with the schizophrenic nature of his public persona, both in his films and in public. The San Francisco Chronicle called VIOLENT COP “exhilarating,” and Lawrence van Gelder of The New York Times said the film “packs a punch,” when it was released in the U.S. in 1999, ten years after it was made and following the success of Kitano’s other films, HANA-BI (FIREWORKS) and SONATINE. VIOLENT COP was in the official selection of the Yokohama Film Festival, where Kitano won the Best Director award; Karlovy Vary; and Moscow Film Festival.
BOILING POINT, the second film from Renaissance man Kitano follows two members of a junior baseball team who get mixed up with yakuza gangsters, haphazardly stumbling into a journey for revenge. For the first time Kitano wrote as well as directed, carving out his unique genre blend of crime, action and comedy. The Chicago Reader observed that “Takeshi Kitano’s handling of tones, which range from the grimly depressive to the irreverently hilarious, is amazing,” and Time Out called it “the funniest film to date from a key ’90s filmmaker.” BOILING POINT received a Special Mention at the Torino International Film Festival and gained recognition at Karlovy Vary and Mumbai International Film Festivals.
Blu-rays and DVDs of VIOLENT COP and BOILING POINT, which will be available on October 11th, will each include an essay by Tom Vick of The Smithsonian Institution, as well as a 20-minute bonus featurette. THAT MAN IS DANGEROUS: THE BIRTH OF TAKESHI KITANO will be paired with VIOLENT COP, and OKINAWA DAYS: TAKESHI’S SECOND DEBUT will be included with BOILING POINT. The featurettes will include interviews with the filmmakers, actors and producers; clips from the films; and a survey of graphic images and posters.
VAMPIRE ECSTASY & SIN YOU SINNERS
Called “an undercurrent of poetic melancholia and surrealism” (Offscreen.com) and dripping with gothic atmosphere, VAMPIRE ECSTASY is Joe Sarno’s mesmerizing foray into the horror genre. When a trio of beautiful young women journey to their ancestral home to claim an inheritance, they fall prey to a coven of witches, intent on trying to reincarnate their deceased vampire leader. Meanwhile, SIN YOU SINNERS, from the first wave of sexploitation films by Sarno, the “Chekhov of soft-core” (The Village Voice) is a hypnotic noir about a medallion forged in a voodoo ritual that preserves an exotic dancer’s youth and beauty. When the dancer’s jealous daughter and employer hatch plots to steal the amulet for themselves, it sets off a chain of events ending in murder.
“SIN YOU SINNERS….finds (Sarno) already occupying the unconscious position of a genuine grindhouse auteur,” wrote film critic Tim Lucas. This inaugural home video release will also include a bonus essay by Lucas.
The iconic science fiction monster Godzilla makes land fall in the U.S. and Canada this October with the North American theatrical release of Shin Godzilla (read our review) from Toho Company, Ltd.
Shin Godzilla will roar into theaters for a limited engagement on October 11 – 18. The movie will screen in more than 440 theaters across the U.S. and Canada. Here are a ton of official images, with only one showing Godzilla, but the others displaying his path of destruction.
Co-directed by Hideaki Anno (creator of “Evangelion”) and Shinji Higuchi (director of Toho’s 2015 “Attack on Titan” live action movies), Shin Godzilla is the 29th Godzilla film produced by Toho and represents a brand new chapter in the 62-year history of this celebrated movie monster. The film stars Hiroki Hasegawa and Satomi Ishihara – both also from the “Attack on Titan” live action movies – as well as Yutaka Takenouchi.
In Shin Godzilla (Godzilla Resurgence), “An unknown accident occurs in Tokyo Bay’s Aqua Line, which causes an emergency cabinet to assemble. All of the sudden, a giant creature immediately appears, destroying town after town with its landing reaching the capital. This mysterious giant monster is named “Godzilla”.”
To purchase tickets to or find more information on Shin Godzilla, visit the official site.
On the heels of sinking their teeth into a trailer, Screen Gems/Lakeshore Entertainment has shared four character posters for Underworld: Blood Wars, opening in theaters on January 6, 2017.
Kate Beckinsale once again returns as Selene with Theo James (Divergent) back as Selene’s ally David, reprising the role he played in Underworld: Awakening. British actors Tobias Menzies (“Outlander”, “Rome”) and Lara Pulver (“Sherlock”) take on the respective roles of a formidable new Lycan leader and a fiercely ambitious Vampire, and Charles Dance (“Game of Thrones”) again plays Vampire elder Thomas.
Rounding out the film’s stellar international cast are: James Faulkner (“Game of Thrones”), Peter Andersson (The Girl with the Dragon Tattoo), newcomer Clementine Nicholson, Bradley James (A&E’s upcoming “Damien”) and Daisy Head (the upcoming Fallen).
Anna Foerster is the director of Underworld 5. Foerster, who previously directed episodes of the television series “Criminal Minds” and “Outlander,” is widely known for her work as cinematographer on epic blockbusters such as Independence Day, The Day After Tomorrow and White House Down.
The ten-week shoot took place entirely in the Czech capital and areas surrounding.
Any of you guys watching “Van Helsing” on Syfy? We’ve got a sneak peek of tonight Episode 1.04, “Coming Back,” to share with those of you who can’t get enough of this new re-imagining set in a world dominated and controlled by vampires.
“Van Helsing” Episode 1.04 – “Coming Back” (airs 10/7/16 at 11/10c)
Vanessa (Kelly Overton) and Mohamad (Trezzo Mahoro) head into the vampire-controlled streets in search of Dylan, the daughter that Vanessa orphaned when she “died.” Back at the hospital, Cynthia is found dead, and Doc (Rukiya Bernard) soon discovers that what looked like a suicide is actually a deliberate murder. Is there a killer amongst the group? On their return to the hospital, Vanessa is captured by vampires while Mohamad leads a new group of refugees to the hospital.
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Today Joel Potrykus’ The Alchemist Cookbook became available via BitTorrent Now on a pay-what-you-wish basis, and to celebrate the release, we have an exclusive sneak peek to share.
Directed by American indie auteur Potrykus (Ape, Buzzard — both also on BitTorrent), The Alchemist Cookbook (review) is a portrait of a young hermit out to solve an old mystery, who loses his mind along the way. The film, which stars Ty Hickson and Amari Cheatom, premiered at SXSW and has played many other festivals earlier this year, including BAMcinemaFest and Fantasia.
Young outcast Sean has isolated himself in a trailer in the woods, setting out on alchemic pursuits, with his cat, Kaspar, as his sole companion. Filled with disdain for authority, he’s fled the daily grind and holed up in the wilderness, escaping a society that has no place for him. But when he turns from chemistry to black magic to crack nature’s secret, things go awry; and he awakens something far more sinister and dangerous.
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“Falling Water” is debuting on October 13th, and to help whet your appetites for the dreamy treasures to come, the USA Network has released the first ten minutes of Episode 1.01, “Don’t Tell Bill.”
The show is executive produced by Gale Anne Hurd (“The Walking Dead”) of Valhalla Entertainment, Blake Masters (“Brotherhood”), and the late Emmy Award-winning Henry Bromell (“Homeland”).
David Ajala (Fast & Furious 6), Lizzie Brochere (“American Horror Story: Asylum”), and Will Yun Lee (“Hawaii 5-0”) star.
Three unrelated people slowly realize that they are dreaming separate parts of a single common dream. Each of them is on a mysterious and highly personal quest — one is searching for his missing girlfriend, one is searching for a lost child, one is looking to cure his catatonic mother — and it is the clues found in their collective dream that come to guide them. The deeper they dig, though, the more they come to realize that their missions touch on stakes that are much larger than their individual agendas… that the visions found in their common dream just might hold the key to the fate of the world.
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A “delirious blend of high-octane action, razor-sharp political satire and full-throttle mayhem”, Roger Corman’s Death Race 2050 arrives on Blu-ray combo pack, DVD and Digital HD January 17, 2017, from Universal Pictures Home chntertainment, Bloody Disgusting just learned.
A reboot of the cult classic Death Race 2000, the Universal 1440 Entertainment original production straps viewers into the driver’s seat of the ultimate auto showdown, a blood-splattered no-holds-barred virtual-reality show that gleefully pits hardened road warriors against each other — and their audience.
Legendary filmmaking icon, Roger Corman, is back with his most outrageous film yet in this sensational, action-packed and darkly humorous reboot of the original Death Race 2000! It’s the year 2050 and America is controlled by an all-powerful corporate government ruled by The Chairman (Malcolm McDowell). The masses have been brainwashed with violent virtual-reality entertainment. The event of the year is the Death Race, in which a motley crew of violent drivers compete in a cross-country road race, scoring points for shamelessly running people over and driving each other off the road. The reigning champion and fan favorite, Frankenstein (Manu Bennett), who’s half-man half-machine, wants to take the crown, but his rebel spy co-pilot threatens his legacy.
Produced by Roger Corman, the king of cult classics, Roger Corman’s Death Race 2050 stars Manu Bennett (The Hobbit) as Frankenstein and Malcolm McDowell (A Clockwork Orange) as the Chairman. The cast also features Burt Grinstead (“NCIS”), Marci Miller (Viper), Folake Olowofoyeku (The Beaver), Anessa Ramsey (Footloose), Yancy Butler (Hard Target) and Charlie Farrell (Cantar).
The film is directed by G.J. Echternkamp from a script by Matt Yamashita (Sharktopus vs. Pteracuda) and G.J. Echternkamp, and produced by Roger Corman (Death Race 2000) and Luis Llosa (Anaconda).
Bonus features reveal how filmmakers transformed the deadliest competition on wheels into a hair-raising, savagely funny game of life or death.
BLU-RAY, DVD AND DIGITAL HD’s exclusive BONUS FEATURES:
- The Making of 2050 – This featurette goes behind the scenes of Roger Corman’s Death Race 2050 to explore why, over four decades later, the original Death Race 2000 has been remade, including what made this project appealing to cast and crew, what changes have been made, and what fans of the original will still love. Discover the movie magic behind the deaths, stunts and of course — the cars! Includes interviews with stars, director G.J. Echternkamp and Corman himself.
- Cars! Cars! Cars! – Go on the set with the drivers of Death Race 2050 as they introduce their one-of-a-kind killing machines: Frankenstein and his Monster, Perfectus and his Piece of Art, Tammy and the Tank, Minerva and her Sound Box and ABE.
- The Look of 2050 – An insider look at how the film’s visual style came together, including how shooting in Peru helped set the tone of the picture and how the costumes became stars in and of themselves.
Arguably the most memorable segment from V/H/S has gotten a feature-length expansion in the form of Siren, which Chiller Films will be bringing to theaters on December 2, 2016, and VOD, Digital HD, and DVD on December 6th. While we wait, why not check out this first one-sheet?
The film stars Chase Williamson (The Guest, John Dies at the End), Justin Welborn (The Final Destination), Michael Aaron Milligan (Three Billboards Outside Ebbing, Missouri), Hayes Mercure (Mascots), Randy McDowell (Elvis), and Hannah Fierman (V/H/S) and is directed by Gregg Bishop (V/H/S Viral).
SIREN is a horror-thriller about Jonah, an apprehensive groom-to-be whose bachelor party turns into a nightmare when he frees a seemingly innocent victimized girl locked up in a supernatural sex club. Her ruthless handler and proprietor of the sex club will stop at nothing to re-capture his prize. Jonah struggles to rescue the girl, only to discover it is he who needs to be rescued as he comes to the realization that she is a dangerous fabled predator who has chosen him as her prize.
“Teen Wolf” fans have a lot to look forward during the upcoming sixth season, and today we bring you some new artwork plus the first trailer for the show’s return next month.
#REMEMBER… The final season of “Teen Wolf” premieres Tuesday, November 15th, at 9/8c on MTV.
“Teen Wolf” follows the story of Scott McCall (Tyler Posey), a teenager who is bitten by a werewolf and becomes one himself. Now he must figure out how to balance the challenging curse along with all the normal struggles of high school. With the help of his friends, Scott learns how to protect the ones he loves, become a stronger werewolf, and tackle life one day at a time.
The post #NYCC16: Teen Wolf’s Final Season Trailer and Artwork Unveiled appeared first on Dread Central.
More spooky news inbound as Deadline reports that NBC is developing a haunted house procedural drama from a team with genre credentials, Jason Pagan and Andrew Deutschman (Paranormal Activity: The Ghost Dimension), and Vertigo Entertainment, whose credits include the A&E series “Bates Motel” and The Grudge horror movie franchise. Universal Cable Prods. is the studio
Written by Pagan and Deutschman, “The Eight” is based on the short story, The House on Ashley Avenue, by Ian Rodgers. It is set inside the High Risk Claims Department of an AIG-like insurance company – a small secret unit that specializes in insuring haunted houses. After the death of the company’s enigmatic Founder, the department is forced into a high-stakes race to find The Eight – a mysterious group of properties, hidden across North America, connected by a terrifying and powerful force.
The post The Eight Found in The House on Ashley Avenue By Paranormal Activity Writers appeared first on Dread Central.
Last night, “The Walking Dead” star Norman Reedus, who plays Daryl, hopped on the stage of the Tabernacle in Atlanta to jam along with thrash metal legends Anthrax for their song “Indians”, which comes from their 1987 album Among the Living. Reedus played bass alongside the group, standing next to bassist Frank Bello.
The band is known to be big fans of the series, with Bello and guitarist Scott Ian visiting the set the night before the show. Ian has also been an extra on the show as a zombie.
You can see photos of Reedus rocking it up below.
Remaining tour dates:
6 Varsity Theatre, Baton Rouge, LA*
7 Gas Monkey Live, Dallas, TX
8 ACL at the Moody Theatre, Austin, TX
10 Fillmore, Denver, CO
11 The Complex, Salt Lake City, UT
12 Rev Hall, Boise, ID*
13 The Wilma Theatre, Missoula, MT
14 The Hill event Center, Idaho Falls, ID*
15 Revolution Concert House, Garden City, ID
16 Knitting Factory, Spokane, WA* (offer)
17 ENMAX Centre, Lethbridge, AB
19 S. Okanagan Cvents Centre, Penticton, BC
20 Abbotsford Centre, Abbotsford, BC
21 Hawthorn Theatre, Portland, OR*
22 Discovery Park, Elverta, CA (w/Aftershock)
23 Reno Events Center, Reno, NV
22 Aftershock Festival, Sacramento, CA
25 Orpheum Theatre, Flagstaff, AZ*
26 Top Deck, Famington, NM* (offer)
27 El Paso County Coliseum, El Paso, TX**
* Anthrax & Death Angel
Next year, Swedish tech metal band Meshuggah celebrate their 30th anniversary. Few bands can lay such a claim. Hell, most give up before reaching a tenth of that. So I feel that some respect must be presented to any band that offers forth new music after such a career. The Violent Sleep of Reason marks the band’s eighth studio album, following 2012’s Koloss (review), and offers 10 new tracks of social, political, and religious commentary (more about that here) couched in blistering, disjointed metal that’s so fierce, it practically begs to rip and tear into your body.
“Clockworks” masterfully opens the album, immediately making it clear that fans are going to get what they want, which is masterful performances and deep, crunchy riffs. It mixes rage and technical mastery with the staggered dissonance that the band is known for, although it must be said that the chorus is surprisingly melodic and almost beautiful amidst the ugliness of the chaos that surrounds it, while also acting as the longest song of the album. From here on out, everything will be shorter but under no circumstances will it be forgiving.
“Born in Dissonance”, a song about religion taking the form of a massive asteroid that will eventually smash into Earth, destroying it, is a mid-tempo track that feels as huge as its topic. It simply thunders across your ears, laying waste to all in its path. “MonstroCity” brings forth a strange kind of groove, dare I say something almost funky? Let me be clear that there is no funk in the song. Rather, it simply has this swagger, this kind of attitude that I would call “funky” and goddamn do I love it. It’s the kind of track that will annihilate any unsuspecting soul who finds themselves in the mosh pit when this plays.
“By The Ton” feels as heavy as its name implies. There is an quality, an air about this song that sets it apart from the others. It’s still 100% Meshuggah but it feels different from the other songs, as though it’s its own beast.”Violent Sleep of Reason” opens with a psychedelic, swirling chaos before locking down into a vicious, snarling riff. Towards the end, vocalist Jens Kidman pulls back on the growls and recites vocals almost like some terrifying bedtime story, angrily whispering them into the mic before roaring back.
Throughout these tracks, I couldn’t help but notice that Kidman’s voice sounds different from Koloss. It’s a bit raspier, a bit more harsh. It’s not a bad thing because it matches the style of the album perfectly. He still sounds absolutely enraged when he sings, his growl not being used simply because the music calls for it. It’s also by this point that I realized that the album sounds glorious. The production is crisp and tight, each instrument clearly heard.
As the album progressed, I came to another realization: I was having a blast. Meshuggah have crafted an album that is just as much fun to listen to as it is heavy. It may be an assault on the senses but to paraphrase Frank from Hellraiser, “Meshuggah gave me an experience beyond limits… pain and pleasure, indivisible.”
I could go on about the rest of the tracks, such as the beautiful (no, I’m being serious) outro to “Stifled” or the sludgy, almost filthy tones used on “Into Decay”, but I feel like I’d be ruining the experience you’d get by listening to it yourself. Do yourself a favor and get this.
The Final Word: There is no denying that Meshuggah are trailblazers in the metal genre. They pave the way with each new release and The Violent Sleep of Reason only furthers this tradition, proving that there is no band that can write music like this except Meshuggah. Expect this to show up on nearly every “Best Metal Albums of the Year” list.
I had no idea what to expect when I sat down in the Egyptian Theater to watch a full screening of the three-part Shudder-exclusive French miniseries, Beyond the Walls (‘Au-Dela des Murs’ in its homeland). I knew it was French with English subtitles, that it was two-and-a-half hours long and that’s about it. As the credits rolled at the end of the third episode, I was completely blown away. Beyond the Walls is a confident, visually gorgeous and most importantly ruthlessly coherent adventure that mixes a Del-Toro-esque labyrinth, time travel and everything in-between.
The show follows Lisa (Veerle Baetens), a Speech Therapist in France who inherits the house across the street from her apartment despite never having met the deceased owner. After moving into the house, she hears scratching on the other side of the wall and breaks through only to find a dingy hallway that leads her to parallel universe.
Despite the language barrier, Beyond the Walls is easy to follow thanks to the incredible world-building at play. You’re never flat out told Lisa has had trauma in her life, but you’re certain of from the middle of the first episode thanks to a few factors.
Lisa lives alone in a tiny apartment that she hasn’t bothered to furnish or unpack. She wears a wedding ring despite not having a husband, and uses it as an excuse to avoid hanging out with her friends after work. Finally, she’s tormented by night terrors of a shallow pond that cause her to wet the bed almost nightly.
This almost definitely stems from the show’s co-writer and director, Hervé Hadmar, doubling as a graphic novelist. Each shot feels like a panel of a comic book, filled to the brim with details that give you insight into Lisa’s life. If something is in frame during a scene, it’s put there on purpose.
Soon after stumbling into the world within the walls, she gets horribly lost and meets a man roughly her age named Julien (François Deblock). He reveals that he’s been trapped in the house what he determines to be about three years. Their conversation is cut short by monsters that Julien calls ‘Others’ and they’re forced to hide in the floorboards
Others are men that have been lost so long in the house that they no longer require food or water. The animalistic creatures wander in packs, lead by men with glistening, oily black skin called the First Men. They search for those who haven’t succumbed to the house to finish them off.
The Others aren’t scary to look at, they actually look just like people except for their completely blacked out eyes. That’s what makes them creepy though. They’re so close to human it’s heartbreaking, They can speak and eat, and at times it seems like the only reason they became Others in the first place is that they just simply gave up on getting their lives back.
The labyrinth itself is one of the most beautifully designed worlds I’ve ever seen in film. It never lingers too long on a certain environment, and it’s not entirely made up up dark, winding hallways. Rooms shift from elaborate Victorian parlors, to chapels eerily reminiscent of the Undead Asylum in the video game Dark Souls, to a haunting forest shrouded in thick fog.
The plot never gets lost in the maze of its world, however since Julien has spent his time in the walls meticulously mapping them out. He knows exactly where to go when Lisa brings up clues she gleaned from the will of the man who left her the house. It never feels cheap either, because the places they’re forced to go are teeming with Others, so Julien never had reason to go there.
Beyond the Walls’ coherence lasts through the entire series, and despite dragging a bit at the beginning of the third episode, it luckily kicked into gear as soon as I started to get bored. I was genuinely surprised at how easily I was able to recite the entire narrative to my girlfriend a full 24 hours later and I don’t think there’s a better testament to a film that’s literally about being lost than that.
Finally, the finale is simple yet satisfying, and even though I caught little clues throughout the story, I hadn’t exactly figured it out by the end. Thankfully the it isn’t a cop out either. Without giving too much away, it’s definitive and emotional and I haven’t stopped thinking about it since.
Nearly everything about Beyond the Walls from the Others to Julien’s stagnation before meeting Lisa lends itself to the message that to have happiness in life, you can’t avoid pain and heartbreak. You need to face it head on and you’ll almost always come out a stronger, better person for doing so.
2016 seems like it’s the year of the horror film with standouts like The Conjuring 2 and Don’t Breathe, and Beyond the Walls effortlessly solidifies itself as one of the best. I’ll re-watching it when it launches on Shudder October 20th, and it’s more than worth the $5 dollars a one-month subscription to the service costs.
V/H/S breakout star Hannah Fierman is returning to her “Amateur Night” role in SiREN, our non-found-footage spinoff directed by Gregg Bishop (Dance of the Dead, The Other Side, VHS: Viral).
SiREN, executive produced by V/H/S director David Bruckner, is set for release in theaters on December 2, 2016 with a VOD, Digital HD and DVD date set for December 6, 2016 through Chiller Films. Here’s the first look at the poster that heeds a warning.
The film also stars Chase Williamson (The Guest, John Dies at the End, Beyond the Gates), Justin Welborn (The Final Destination, The Signal), Michael Aaron Milligan (Three Billboards Outside Ebbing, Missouri), Hayes Mercure (Mascots), and Randy McDowell (Elvis).
Based on a short by David Bruckner, the feature was written by Ben Collins and Luke Piotrowski.
“‘SiREN’ is a horror-thriller about Jonah, an apprehensive groom-to-be whose bachelor party turns into a nightmare when he frees a seemingly innocent victimized girl locked up in a supernatural sex club. Her ruthless handler and proprietor of the sex club will stop at nothing to re-capture his prize. Jonah struggles to rescue the girl only to discover it is he who needs to be rescued as he comes to the realization that she is a dangerous fabled predator who has chosen him as her mate.”