XLrator Media’s Poker Night (review) arriving on video February 10th, so here’s a new batch of stills from the thriller starring Hellboy‘s Ron Perlman, Giancarlo Esposito, Beau Mirchoff, Titus Welliver, Michael Eklund, Ron Eldard, and Corey Large.
“In this twisted thriller, a young detective is caught in a sadistic game of cat-and-mouse when he is kidnapped and tormented by a masked serial killer. In order to survive, the rookie must use the wisdom imparted to him by senior detectives on their regular poker night.”
Greg Francis directs.
As promised last week, we’re continuing our exclusive weekly series of teasing the upcoming My Enemies & I EP Sick World, which comes out March 10th!
For this clip, we’re teasing the track “Transform Victims”, which sounds like it’s going to be one of the heaviest tracks on the album, featuring huge drums, strong riffs, and vicious growls. Hear the short snippet below!
Tour dates with Arcane Haven and Alaya
Feb 16th | Pittsburgh, PA Keynote Cafe
Feb 17th | Beckley, WV Muncheez Bar & Grill
Feb 18th | Richmond, VA Canal Club
Feb 19th | Fayetteville, NC The Drunk Horse Pub
Feb 20th | Spartanburg, SC @ Ground Zero
Feb 21st | Evansville, IN The Hobo Jungle
Feb 22nd| Sauget, IL @ Pop’s
While you’d think this new Domino’s Pizza print ad would be a bizarre tie-in for Fifty Shades of Grey, it’s actually to promote Domino’s new “super spicy” and “super tasty” Sriracha.
Like something out of a horror movie, this bold BDSM-themed campaign is running in Israel (source) and promises to give a sexy snap to your tongue.
Now if only they could remove the word “Domino’s” from the ad…
UK production outfit Evolution Pictures is readying a number of features including actor Jason Flemyng’s directorial debut Reign Of Blood, a vampire action film written by Danny King, BAFTA-nominated in 2011 for drama Wild Bill, reports ScreenDaily.
Flemyng is best known for roles in Guy Ritchie films Lock, Stock and Two Smoking Barrels and Snatch, blockbusters including X-Men: First Class and Clash of the Titans, and more recent features Gemma Bovary and Sunshine on Leith. He also starred in Will Bill.
Production is set to begin in summer 2015 with casting currently underway.
I’m still looking out my window thinking I’m going to see some pigs fly by as yesterday a Ghostbusters bomb was dropped. It appears that not only do we have our main cast in place, but there’s also a planned release.
First, mark your calendars for July 22, 2016, at that’s when Columbia Pictures plans to bust some spooks.
“Kristen Wiig is playing Erin Garber, a published author on the subject of the paranormal. Erin now works for Columbia University.
Leslie Jones is playing Abby Bergman, who co-authored the book with Garber. Since publication, the two former colleagues had a falling out and went their separate ways. Abby more actively chases ghost a la Ghost Hunters. This tension between academic investigation (Wiig’s character) and mainstream media investigation (Jones’ character) is central to the story.
Kate McKinnon is playing Abby Berman’s new partner, Jillian.
Melissa McCarthy is playing Patty, an NYC subway worker who stumbles across the main, supernatural threat in the film.”
The site suggests that the casting is tailored to the roles, as opposed to be pigeonholed into one, even though it looks to me like they’ve just emulated the original four ‘busters.
But some really interesting news is that the studio hopes to convince Bill Murray to star as Martin Heiss, “a man who is a professional supernatural debunker who is out to prove that the Ghostbusters are frauds,” while also confirming they hope to land Peter Dinklage, as previously reported, as the main villain, “a creepy mechanical genius.”
Paul Feig is directing the reboot that’s going to be both fun and scary. Oh, and it will be set in New York, thankfully.
Having its U.S. premiere out of the 2015 Slamdance Film Festival, which runs through January 29th, 2015 in Park City, Utah, is the Irish thriller Darkness on the Edge of Town.
Bloody Disgusting landed the official trailer, poster and still from Patrick Ryan’s film that “Tells the story of Cleo Callahan (Emma Eliza Regan), a teenage sharpshooter who decides to avenge the death of her estranged elder sister after she is found murdered in a public bathroom. Unbeknown to Cleo, her best and only friend Robin O’Riley (Emma Willis) is the murderer she’s sworn to kill.“
Emma Eliza Regan, Brian Gleeson, Maura Foley, Emma Willis, and Sam Monaghan star.
A few months ago, I introduced you all to Minnesota band Thee Massacre, who take the theatricality of horror and mix it with the heaviness of metal to create something very cinematic, aggressive, and fun. I stated that they would be a “slasher film” if comparing to subgenres.
Now, I’m pretty thrilled to bring you the exclusive music video premiere of “Drenched In Blood And Sweat”, which comes from their EP Horror (out now via Bandcamp).
The video, directed by Elijah Woodcock of Pandemic Pictures, is the tale of a sock puppet who is pushed over the edge and goes on a murderous rampage. It’s bloody, it’s gory, and it’s absolutely ridiculous. Honestly, it reminds me of Meet The Feebles, so if you’re a fan of that movie you definitely need to check out this clip!
The band states:
Thee Massacre would like to thank everyone that participated in the project. It’s been a really fun process. Travis and Jordan our main stars deserve a lot of credit for the effort and performances they put forth. They really made this better than we hoped it could be.
Elijah and Anthony did a great job bringing this goofy idea we had to life. We are more than happy with how everything turned out and are extremely excited to present it to everyone.
We didn’t want to do your conventional metal band video where it’s just intercut shots of each band member. We really wanted to make a story that suits our personalities and makes the audience not only feel the horror movie vibe we try to capture with our music, but to make them laugh as well.
Thee Massacre will be playing a show March 7th at The Triple Rock in Minneapolis MN alongside By The Thousands, Reaping Asmodeia, and From Concept to Chronicles.
Director Woodcock states:
This is by far the most bizarre project I’ve ever been apart of. When the band pitched the idea of a homicidal sock puppet going nuts I didn’t really get it, but my business partner Anthony Cousins was like, “Please lets do this!” As I talked to the band more and they told me they wanted an grind house horror vibe thats when I Jumped in with both feet. I grew up watching I Spit On Your Grave, Pieces, Sleepaway Camp, etc etc. Horror is my genre. My only hope is it is as fun to watch as it was to create.
Reviewed By Katy Rex. ‘Blitzkrieg Button’ has Peggy navigating moral ambiguity and who to trust, it´s almost the overarching theme of the episode, but it seems like the show runners are really trying to hammer home concepts of privilege in society. And Agent Carter is the perfect vehicle to discuss who is included and excluded — not only is it set in an era pre-Civil Rights, notorious for a strict social class system, but the post-WWII government angle gives them ample opportunity to bring up Nazis as often as possible.
Tonight is perhaps the most disheartening hour for Agent Carter’s character, as with every turn her position as a woman in a male-dominated social structure is reinforced. She still does her signature Peggy move, allowing herself to be underestimated and using it to her advantage. But where there had previously been a tone of hope for the future, this week Agent Chad Michael Murray literally says to her that the Natural Order of the Universe is that no man will ever consider her equal.
Agent Susan also has his chance to confront privileged experiences this episode, as he doggedly pursues the leads he believes in regardless of the agency’s lack of faith. He’s such a likable, relatable guy, it’s really hard not to cheer for him, even though we know he’s (unknowingly) trying to foil Agent Carter. He’s the least villainous antagonist we’ve encountered in the Marvel Cinematic Universe. His lead starts to pan out, he finds a bum who may have witnessed the anonymous tip that Jarvis called in last week, and then we get an amazingly touching character development scene in which Susan tries to relate to the bum, one broken veteran to another.
Even effing Howard Stark, at one point in the episode, goes off about the ways the world is weighed against certain people based on race, gender, or socioeconomic status, and that growing up poor left him with a complex. That’s a bit far, don’t you think? Come on.
The thing is, the trust/morality/loyalty theme is maybe less obvious, but it’s way heavier this episode. Stark’s face is charmingly covered in lipstick marks from a different woman every time we turn around, which he clearly thinks is roguish and cute, but you can see Peggy’s patience wearing thin. This is where she has placed her loyalty– but was it the right thing to do? The way she’s questioning authority in this episode actually is very similar in tone to the way Steve Rogers himself questioned the moral right of authority in Winter Soldier.
Not everything about this episode was strong; there was absolutely not enough Angie in this episode, for one, but you can’t have it all. But, Peggy’s weird apartment situation gets more and more interesting each episode, as evidenced by a truly bizarre conversation the girls have about stealing food from the main room and having a special pocket built into a sweater to smuggle chicken. And the new girl, Dotty, we were wondering about last episode? Hold on to your butt, Peggy, because maybe you’re not the only pretty girl who’s being underestimated around here.
Also, I won’t spoil why specifically, but I might have squealed a little when Stark and Jarvis got their shoes shined. You’ll get it when you see it.
What did you think of ‘The Blitzkrieg Button?’
—Katy Rex writes comics analysis at endoftheuniversecomics.com, comicsbulletin.com, and bloody-disgusting.com. She also writes scholarly articles for various academic journals. She really likes butt jokes, dinosaurs, and killing psychos and midgets in Borderlands 2. She has a great sense of humor if you’re not an asshole. Twitter: @eotucomics Tumblr: katy-rex.tumblr.com Instagram: @katy_rex Email: firstname.lastname@example.org
WOH!!!! I feel a little bit like Ray up there…
How about tonight with all of these new release dates?! First Friday the 13th, then Paranormal, Rings and now this!
With the all-female reboot cast in place, Sony’s Columbia Pictures has dated Ghostbusters for July 22, 2016!
Earlier today is was announced that Kristen Wiig, Melissa McCarthy, Kate McKinnon and Leslie Jones would all star in the film written and directed by Paul Feig. While these aren’t exactly the names I was hoping for, it’s exciting to see this officially announced. Pigs are flying, somewhere.
Allegedly, the plan is to land “Game of Thrones” fav Peter Dinklage for the villain role. He would play the ghost of a murderer (sort of like Wes Craven’s Shocker, actually) who resurrects a ghost army based on historical characters.
Deathaus Films has announced Massacre, a short horror film that features cameos from some of the biggest rockstars in the industry, including London May (Samhain), Billy Morrison (Billy Idol, The Cult), Jeordie White (Marilyn Manson, A Perfect Circle), and Rob Patterson (Korn, Filter).
The film follows Marianne James, a girl who wakes up at the site of a bloody mass murder and can’t remember what happened. It’s directed by Erik Boccio (Pussy Riot) and produced by Damian Lea (Cemetery Gates) and Pandie Suicide, who appeared in David Lynch‘s “Crazy Clown Time” video and also stars in the short.
The film will be out later this year and is currently being edited in New Zealand by Greg Daniels (The Hobbit: The Battle of the Five Armies).
Below are several behind-the-scenes photos and a poster.
After announcing its first cast member last week, Paramount Pictures is bringing The Ring reboot to theaters this year!!
Rings, the newest incarnation of the J-horror franchise that’s to be directed by F. Javier Gutierrez and stars Italian actress Matilda Lutz, will hit theaters November 13, 2015!
“Rings” is also the name of the short – directed by TCM 2 and TMNTs’ Jonathan Liebesman – that accompanied the purchase of The Ring 2 on home video in 2005.
As previously reported by TheWrap, Walter Parkes and Laurie MacDonald are producing the horror film, which will once again feature Samara and a deadly video tape, though Rings will feature a fresh young cast rather than Naomi Watts.
Aviva Goldsman, David Loucka and Jacon Aaron Estes all had a hand in writing the script, which is based on the 1991 novel by Koji Suzuki.
The Ring was the incredibly 2002 remake of the J-horror classic, Ringu, which starred Naomi Watts as a woman uncovering the mystery behind a haunted VHS tape. It also served as some inspiration behind V/H/S.
In addition to shifting the release of Friday the 13th, Paramount Pictures is also moving the latest installment of the Paranormal Activity franchise, taking October back once and for all!
Paranormal Activity: The Ghost Dimension, which was originally scheduled for this coming March 13, will now be haunting audiences on October 23, 2015. It’s nice to see a Halloween release once again for the PA franchise!
Greg Plotkin is directing from a screenplay by Jason Pagan and Andrew Stark.
The plan is to release PA5 in 3-D for the “Ghost Dimension,” which has an 80′s vibe to it.
PA5 will be opening against Lionsgate/Summit’s The Last Witch Hunter, which means one of the two films will be forced to move. Who will budge? We put our money on Witch Hunter.
Breaking news this Tuesday evening as Paramount Pictures has once again delayed the release of Friday the 13th, this time taking it out of the planned November slot and moving it to May 13, 2016.
This comes on the heels of the news from two weeks back that there still isn’t a script for the reboot to be helmed by The Signal and V/H/S director David Bruckner.
Platinum Dunes producers Brad Fuller and Andrew Form have already confirmed that the new Friday, which will be the 13th film in the franchise, will in fact feature the iconic Jason Voorhees.
For those who just crapped their pants, be happy that it’s at least being worked on, unlike a new Elm Street. And were is Michael Myers when you need him?
At least we all know that Jason can never die.
Next Month sees the release of a brand new horror book I couldn’t be more excited about. ‘Plunder’ from BOOM! Studios, written by Swifty Lang (Feeding Ground) and drawn by Skuds Mckinley reinvents the pirate genre. Seriously this isn’t the swashbuckling Pirates from the Caribbean, these are the pirates of Captain Phillips. They are cut throat, dangerous, and fearless until they find a research vessel harboring some unknown horror. We caught up with writer, Swifty Lang to talk all things horror, inspiration, and John Carpenter.
Bloody-Disgusting: Horror at its best seems to boil down to a loss of control and a degradation of the human form into something based solely on survival. Already, “Plunder” has self-serving pirates, with no rules, and no respect so how else did you work these themes into the book?
Swifty Lang: When the pirates board The Seeker, even though they are a lawless bunch, there is certainly a hierarchical structure. Pirates operate within this book in a very similar way to street gangs, with a very clear leader. What distinguishes the internal cohesion is these aren’t just random people who have joined up, they’re family. Clan is incredibly important, and not just a metaphorical tribe, but literally cousins and extended family. This makes ties run incredibly deep, but also brings up all the internal jealousy and history that family members have. If there is respect, and there is, it is closer to allegiance.
What horror also does is breakdown, or invert the social order. What happens when all bets are off? As in a war situation, what happens when leadership begins to make bad decisions, or is not seeing things accurately? From the outset, our crew is confronted not only with absolute carnage, but a previously successful leader who they have trusted many times before who is showing terrible judgment. This is very frightening because when one has already surrendered their autonomy to a group, a dose of chaos makes one ask questions. The move towards self-preservation is its own kind of violence. It’s a cleaving of identity.
They are both literally trapped because of circumstance and psychologically trapped because of their loyalty to the clan. There is always safety in numbers, or at least the illusion of it. The decision to move forward, to march towards the grave, is where control begins to slip. Being bullied by leadership to take foolish actions is a loss of control. It’s a little bit terrifying to see a parent cry, to realize they are making it up as they go along, too.
BD: Bahdoon finds himself stuck in this debut issue. At 14 years old he’s experiencing real horror for the first time, thanks to the actions of his fellow pirates, and what they find on the ship. What motivated you to make the protagonist that young? And how old were you when you really experienced something horrific for the first time?
SL: Bahdoon’s age is very important because his illusion being shattered is horror. Firstly, that age has a real hunger for adventure, yet they are old enough to begin to understand adult need. Think of a movie like The Goonies. Bahdoon is driven by both. Bahdoon wants more opportunity than his peers. He’s incredibly ambitious, but he’s not beyond influence. His moral compass is still being shaped by experience. He will listen to adults. He may think he knows better, he may have stopped listening to his parents, but he is definitely still seeking mentorship. This is why gangs are able to recruit people that young. They seem to have it all figured out and they have all the trappings of conspicuous consumption that a young person might hunger for. Having a cool car is pretty impressive. Someone more set in their ways who is not tied by family would have the self-preservation instinct to blow up group cohesion, especially if they’re rebellious.
When I first started working on the book, Bahdoon was even a bit younger. Through conversation with Rebecca Taylor and Chris Rosa (two INCREDIBLY talented editors) it became clear that Bahdoon had to be older in order to be able to do the things he must to survive. Someone a bit younger may have buckled. I think that idea of ‘playing pirate’ and ‘being pirate’ are kind of two ideas someone that age holds in their head simultaneously. Once one learns about the ramifications of their decisions, their actions, playtime is over, and it’s terrifying.
The first-time I experienced true horror, which I define as having a set of expectations horribly inverted, was when I was six years old. I wrote a story about the experience with my co-creator on FEEDING GROUND, Michael Lapinski, in The Gathering called Sparkler. One 4th of July, my father, who is a neurosurgeon found out I was playing with sparklers. Instead of a happy father/son hospital visit to make rounds, he took me to the burn unit and introduced me to a kid burned over 95% of his body. I never really played with fireworks after that. I was afraid of turning on the oven until I was married.
BD: I was surprised by just how relentless this first issue is. You don’t waste any time getting to the gore, but in doing so you raise a lot of questions. What is your approach to storytelling? And why abandon the slow build of tension that is so well known in horror?
SL: That is something I actually discussed with my studio mate Dean Haspiel recently. Originally, there was a slower build, almost a prologue, of a craft sinking into the water. In Skuds’ and my pitch packet we enter Somalia in media res. A member of the clan has been shot and they’re on the run looking for a place to hide. It’s amazing how ideas come back around. Chris Rosa made the suggestion of really trapping them and it felt really organic, it fit. It was a fantastic idea.
I have used the technique of disorientation in other work, most recently a short film I made with my wife called The Showing. Much like in cult indoctrination, disorientation makes one susceptible. Loud music, bright lights, distractions, they open up the mind to seek some kind of order. And then a leader emerges, whose capable hands one is more than willing to step into. In storytelling, that leader is both the storyteller and the protagonist. On a subconscious level as a viewer/reader you ask, “please help me make sense of this.” Your loyalty is instantly aligned with the protagonist.
Though we get the prologue scroll in Star Wars, we still start out with enough of a disorienting chase scene to ask, ‘what’s going on here?’ Even The Thing uses this technique, a mysterious wolf running in the snow being fired at, such an AMAZING, I-don’t-know-what-the-hell-is-going-on, opening. In PLUNDER, beyond the action, instantly one has to figure out the language cues, and who is talking, and you’re involved in the narrative. It’s a risk to make a viewer do the work from the outset, but when things move from that sense of heightened tension to a crawl, it’s a relief. And when you club them next, it hurts even more.
BD: I couldn’t shake the connection to John Carpenter’s The Thing, but your storytelling is noticeably different than that film. What is your biggest influence coming into Plunder? What motivated you to tell this story and better yet, why modern day Somalian pirates?
SL: Now The Thing really establishes a group that knows each other as much as a group of men working together can, but they still don’t completely trust each other. They live with each other in tight quarters. If you watch the dissolution of that group, it all comes down to how they swig their alcohol. When they do and don’t share their bottles. With PLUNDER there is more trust because you are dealing with family or close connections. You really want to believe the person to your left has your best interest in mind. I guess I wanted to explore what does it feel like when the people you trust most can’t actually be trusted. They’re still selfish, and you know this, but you do the dance out of fear or habit.
I was also hugely influenced by Jay Bahador’s: The Pirates of Somalia: Inside Their Hidden World. That was my primary source as far as research was concerned. It did an excellent job of not only giving some background into the root of piracy, but also how gangs operate in many ways similar to street gangs: leadership at the top, foot soldiers at the bottom. Now I’ve definitely taken liberties in terms of technology (cell phones, geo-tracking), but all of that was an effort to keep this somewhat timeless. Nothing roots something more to its era than technology.
I chose Somali Pirates because I am always interested in Robert Merton’s Strain Theory – the idea that criminals want the same things that most of us do, but they don’t have the opportunity to get it. The idea that society creates criminals due to the distribution of wealth or blocked access. Most criminals want the same things we do, the ability to feed family or themselves, but those opportunities are not there. They are driven by need more than want. I am fascinated by deviance, people who abandon a conventional sense of morality. To paraphrase Nas, “I root for the villain,” but I don’t identify with him. I try to understand their motivation.
Outside of The Thing, which is nearly a perfect film about group dynamics, I had recently read Doctrow’s Billy Bathgate for another project I was working on. It was a shared reference (and her initial recommendation) between Rebecca Taylor and me. The young initiate who is in over his head is the essence of Billy Bathgate. Bahdoon, at a certain level always watched the pirates being big shots in the market, and he wants a piece of that action. He sees men who have taken what they want and admires it. So this idea was definitely there. There is something aspirational about their wrongdoing. They won’t be suckers in a world that cares less about them. They are the disenfranchised that have the courage to not feed on the scraps, to take more than the world gives them. The reality is Bahdoon may not be tough enough for that adult world, until he has to evolve to survive.
Most pirates never had to resort to the kind of violence this task requires. Many were fisherman who picked up a gun because of blocked opportunity. Their seas were illegally overfished; there was toxic dumping in their water. While I am not advocating their violence, I abhor real violence (I don’t even watch MMA), I always try to understand the root. It’s fascinating to me what drives someone to hurt another. A real pain is usually at the source. It’s much easier to punish and respond to the reaction than question and heal the source of violence. We couldn’t have a privatized prison industry without it. What the hell would the news look like if we weren’t told to be afraid? Nothing cements the current power structure like fear.
BD: As I reached the halfway point of issue #1 the isolation of the group really got to men. Horror on the highseas doesn’t happen often, but the remote location really makes the situation desperate, what for you is the scariest part about setting a book on an abandoned boat?
SL: Getting to play on that boat is the ultimate set piece. It’s by no means a realistic boat. It’s part submarine, part eccentric’s mansion, and part research vessel. If something like The Seeker exists, I haven’t seen it, and if it does, I am sure an eccentric billionaire is at the helm. Boats are really scary because there is nowhere to run if shit goes down. There’s no one to call to help. The best you can do is float and hope the sharks don’t get you. There’s a painting by Winslow Homer called Gulf Stream that influenced me. It shows a man in a small boat alone with a broken sail. Sharks circle around, and he simply awaits his fate. The man’s face is amazing. He’s resigned to his death. He has moved past fear to that moment when you shift from fight or flight to a sleepy, narcotized acceptance.
Boats also offer no cues other than themselves. There’s no neighborhood to determine, no geography to make sense of. They just are, and we have no idea about their port of origin. As for hope, all one can do is look off into the horizon and pray. If you are going to put characters in dire circumstances, you can’t do much better.
BD: Is it important to you that the horror comes through the characters rather than the situations or both?
SL: I don’t think you can really distinguish the two. If one is not invested in the characters it’s pure spectacle. There’s a place for that kind of horror, but I find it really dull, numbing. It’s almost like pornography in the sensations must become greater and greater to get a reaction. Culturally, that’s where we’re heading. I mean, the Saw series is essentially clever kills, and they are clever, but they work as kind of Rube Goldberg Machines of murder. I grew up when we used to rent Faces of Death at slumber parties and tried to gross each other out. Some of the stuff I am putting into PLUNDER is freaking me out. I’ve definitely asked myself where the hell that came from, or showed my wife a script sheepishly. That’s how I know I am hitting the right notes. There are more situations and set ups than I had in FEEDING GROUND, but part of that is having more experience writing for this medium.
BD: The last five pages are just relentless in terms of gore, scares, and incredible set pieces. What kind of discussions did you and Skuds have to develop these intense scenes and what are you most excited to unleash upon people in the future?
SL: Thanks for that. The truth is, much of that is Skuds’ genius. Where I have laid out the story beats, dialogue, images, and the emotional moments, he made sense of that visually. The geography and making sure it hits at the right time is what Skuds was able to do. He is so talented and one of the true pleasures of working with him is how he is constantly surprising me with how he elevates a script. Though his work ethic is next level, it seems to be effortless for him.
Editorial also played a big role in helping create the tension through parallel action. All the essentials were there, but I rewrote this bad boy MANY times. I am really fortunate to be working with such a talented team. I am not working in a bubble. For me, comics are as collaborative a medium as film. I’m not sure how other writers work, but I live on notes. I just happen to be getting some really great ones.
As far as the next issue, without revealing too much, I can’t wait to see some of the hallucination sequences. Again, I wanted to push this as far as it can go, but it is rooted thematically, and in character. I don’t want ‘strange for strange’s sake.’ I just want to give you some honest nightmares.
‘Plunder’ #1 hits comic shops Feb 18th.
Drafthouse Films has set a date for the phenomenal Spring, the stunning new genre-defying supernatural love story from directors Justin Benson and Aaron Moorhead (Resolution, V/H/S: Viral), opening in U.S. theaters (through Drafthouse) and on VOD (through Filmbuff) March 20th.
“Evan (Lou Taylor Pucci, ‘Evil Dead,’ ‘Thumbsucker’) is a young American fleeing to Europe to escape his past. While backpacking along the Italian coast, everything changes during a stop at an idyllic Italian village, where he meets and instantly connects with the enchanting and mysterious Louise. A flirtatious romance begins to bloom between the two – however, Evan soon realizes that Louise has been harboring a monstrous, primordial secret that puts both their relationship and their lives in jeopardy.“
Reviewed by Fred Topel
At the intro to his midnight premiere of The Hallow, director Corin Hardy called it a grounded, dark fairy tale. It is that but it’s so much more too. It’s also a creature feature, a siege movie, possession and body horror. It serves all five and now makes me really happy Hardy is doing The Crow.
Adam is working for a logging company in a small town where the locals believe the forest belongs to some creatures. Now, even if they were just hostile locals, that’s scary enough. I would quit. The logging business can’t be lucrative enough to endure scary locals threatening my family. But of course, having watched movies before we know the townie freaks are actually right.
The Hallow is relentless when the creatures come after Adam, his wife and his baby. They just keep coming and break through every barricade, poke through every keyhole. Big loud jump scares are backed up by first rate creature design and staging of the attacks. When Adam is working on the power generator while the his wife is guarding the baby, she’s f***ed. Those things are coming at her.
That’s the siege and the creatures, but they can also possess Adam so that’s another threat on top of the above. It mutates his body so there’s your Cronenberg. There’s some good old black goo oozing around too. The fairy tale is in the mythology, which is explored in the third act.
All of the above is just a list of things The Hallow did right. Combining all those elements and keeping it intense, all with characters who have been established as passionate and loving, makes us invested in the ride Hardy is taking us on. After he’s done with The Crow I would be happy to revisit The Hallow again, but of course I would. I’m Franchise Fred and I think there should always be sequels to everything, indefinitely, no exceptions. Bring on Return to The Hallow, Bride of The Hallow and, of course, The Hallow in Space.
Just last night the Sundance Film Festival hosted the World Premiere of Anouk Whissell, François Simar, and Yoann-Karl Whissell’s Turbo Kid, a post-apocalyptic splatterfest in which a kid must face his fears, and journey to rid the Wasteland of evil and save the girl.
The filmmakers behind the film talked to Bloody about 5 films that traumatized them as children.
“Growing up, we watched a lot of movies – many of those for which we were way too young (we have cool parents). Because we’ll forever live with those moments, here’s the top 5 of the movies that traumatized us as kids – and made us the filmmakers we are!
(Since we had to come to a consensus between the three of us – these are not in a particular order.)”
Here’s who is officially in talks for the new Ghostbusters, as reported by Variety: Kristen Wiig, pictured above, Melissa McCarthy, Kate McKinnon and Leslie Jones.
Paul Feig is directing with Katie Dippold penning the script.
Several sources say Jones is likely to play a government official similar to the role William Atherton played in the original.
Sounds like this is becoming a “SNL” parody sketch instead of something inspired.
Allegedly, the plan is to land “Game of Thrones” fav Peter Dinklage for the villain role. He would play the ghost of a murderer (sort of like Wes Craven’s Shocker, actually) who resurrects a ghost army based on historical characters.
Trevor Matthews’ directorial debut, GirlHouse, is getting a limited theatrical and VOD release from eOne Films next month, and we have the early details for you here. Look for it Valentine’s weekend, beginning Friday, February 13th.
Matthews, who also produced the film, starred in Jack Brooks: Monster Slayer and The Shrine. GirlHouse was written by Nick Gordon and stars Ali Cobrin (Showtime’s “Look,” Neighbors, American Reunion), Adam DiMarco (Radio Rebel), Slaine (MC in hip hop supergroup La Coka Nostra), and a bevy of smoking hot girls including Chasty Ballesteros (Final Destination 5, The Internship, Casting Couch) and Erin Agostino (“18 to Life,” You Are So Undead)
In an attempt to make some extra cash while away at college, Kylie (Corbin) moves into a house that streams content to an X-rated website. After a deranged fan hacks in to determine the house’s location, she finds herself in a terrifying fight for her life.
A few days ago, our very own Jonathan Barkan asked you which Freddy kill was your favorite. I decided to take his idea and expand it to kills and deaths in any horror film, period. A great kill scene is (arguably) enough to elevate even the worst movies to mildly watchable. As a way of not repeating Jonathan’s list and other lists before me, I’ve decided to eschew any deaths from the Friday the 13th, Halloween, Nightmare on Elm Street or Child’s Play films. The deaths that follow are 13 deaths that I have found to be the most creative, gory or just downright disturbing in horror films. Now I want to know yours!