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.
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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.
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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!
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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.
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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.
Last week, the long awaited and eagerly anticipated Alien: Isolation hit shelves. Garnering mostly positive reviews, the game is being hailed for its eerie atmosphere and terrifying stealth elements. And one of the elements that is being recognized and lauded is the score, which was composed by duo Joe Henson & Alexis Smith, aka The Flight.
Today, we’ve got an exclusive interview from the duo as they talk us through their process for scoring Alien: Isolation as well as their thoughts on where video game composing might go in the future.
Make sure to check out Adam’s 10 Ways to Die in Alien: Isolation!
Tell me about the process of working on ‘Alien: Isolation’. What was the first step in crafting the score and how important was Jerry Goldsmith’s original score as an influence?
Jerry Goldsmith’s score was our jumping off point. We referenced the film a lot, but were already very familiar with it. It is one of the few films that we still watch at least every year. We each have a very personal idea of what the Alien universe sounds like. Saying that, we didn’t just want to make a pastiche of the original score, so we started there but quickly moved in our own direction.
For this project we teamed up with film composer Christian Henson. One of the first things he did was an amazing piece where he expanded on the key Jerry Goldsmith themes. But from there we tried to get into new territory.
There are also some very iconic non-thematic sounds in Alien that we used throughout our score.
The game uses a lot of technology to make the music a truly immersive experience, one that reacts to what the player is doing. Considering that people have several ways of playing a game, how difficult was it to write cues that matched these different possibilities?
It is a balance. You have to be aware of how the music system is going to work, as that is the way most people will be hearing it, and it has a job to do in the overall experience of the game. At the same time, to begin with you have to try and forget about this, and concentrate on simply writing music in a musical way. It is the key challenge of writing interactive music, and one that we actually enjoy the puzzle of.
Some of the musicians who recorded the original ‘Alien’ score nearly 35 years ago were also there to perform for ‘Isolation’. What was it like working with people who were a part of the original story, before it became the phenomenon that it is today?
It was great to have some of the original players in the orchestra. One of the things we were racking our brains about was trying to replicate that iconic Alien ‘whale’ sound. We had tried using a superball on the soundboard of a piano and we had sung through a Zube Tube. However, one of the trumpet players who had played on the original said he remembered it being a conch shell. We used all three versions in the score!
Over the years, the ‘Alien’ games have long been plagued with bad reviews. Was there any concern in taking on this project?
Not really, we knew that the guys at Creative Assembly were doing something amazing as soon as we met them. They had a great idea that instantly intrigued us and were obviously putting real heart and soul into everything they were doing.
Creating a score that inspires fear, dread, and terror is not an easy task. What sounds or tones did you find sent shivers up and down your spine as you were working on this score?
Those iconic Alien sounds still scare us! The ‘whale’ sound, the menacing col legno orchestral snaps through analogue tape delays, and the unsettling aleatoric high strings. When writing the most extreme part of the score it was sometimes difficult to listen to. The player will only hear the chaos for a few seconds before he/she dies again, but we had to work on them for days.
As game consoles become more advanced, what opportunities does that allow you as composers in terms of creativity, range, and scope?
For us, it just removes any restrictions that might have come before. This is good for the industry – hopefully we can now concentrate a bit more on the musical content rather than how the technology works.
You’ve worked with some very big artists in the music industry. How do those experiences help with your scores?
We’ve come to scoring games from a different angle to a lot of composers; we don’t always think orchestra first. We usually just pick up instruments and start playing ourselves, or get some people together in a room. Working with artists has taught us that the magic usually happens when people collaborate. In some ways music has become a bit of a lonely exercise recently, with a lot of it made by people on their own on a laptop. We want to get away from this and it feels very natural to us both as that is how we have always worked.
In your opinion, what does the future of video game composing look like? What will change, what will stay the same, and what exciting advances do you think will revolutionize how composers create their work?
We hope it becomes more about the music and less about the technology. As the music systems are now limitless in scope, we hope that we can now get past that and return to thinking about what makes music engrossing and emotional. For us, that is about hearing real people playing instruments, as well as pushing electronic boundaries.
We are aware that there are some amazing procedural systems that are currently in development, but that doesn’t mean that is how all game music will be created in the future. We can imagine some types of games where this may be perfect, but hopefully there will always be a place for hearing real people making, writing and playing music.
After having just finished “Ghost Fleet” #1 I can assure you this is a comic you don’t want to miss. It’s so much more than a long haul trucker action comic, although it has plenty of that… It’s less Maximum Overdrive and more Indiana Jones, but with it’s own spin. The world is huge and the first issue is pulse pounding and mysterious in all the right ways. Plus writer, Donny Cates is a standup dude. He was more than energetic this past week at NYCC, and was just excited to share his story with others. So be sure to pick this bad boy up in the first week of November from Dark Horse Comics.
THEY TRUCKED WITH THE WRONG GUY!
For the world’s most valuable, dangerous, or secretive cargo, you don’t call just any trucking service . . . You call THE GHOST FLEET. When one of the world’s most elite combat-trained truckers takes a forbidden peek at his payload, he uncovers a conspiracy that will change his life forever! A new series of badass action on the open road begins here!
* From the critically acclaimed writer of Buzzkill!
THE GHOST FLEET #1 is on sale November 5th.
Deadpool proves to be Marvel’s answer to defying genre conventions. The incredibly fun hero is comfortable in any sort of environment, and every year it seems the merc with a mouth has gotten himself into more insane trouble. So it should come as no surprise that Marvel is releasing a sequel series to “Night of the Living Deadpool” in the form of “Return of the Living Deadpool.”
To “cure” the horror of a zombie outbreak, the Merc With a Mouth used his own healing factor to save the day. Any zombie that ate Deadpool transformed…into another Deadpool!
“So there are thousands of Deadpools, all of them originating from the one and only Wade Wilson,” says Bunn in an interview with Marvel.com. “Every time a zombie takes a bite out of one of these Deadpools, the zombie becomes Deadpool. But the ‘copy’ is degrading from rebirth to rebirth. You know how Deadpool has numerous personalities? Well, these newly created Deadpools start to latch onto different aspects of Deadpool’s split psyche, forming factions. And these factions don’t all get along!”
As hordes of Deadpools battle for undead supremacy against the zombie hordes, witness a world gone completely insane! Time to find out what’s worse – an army of flesh eating corpses, or an army of wisecracking Deadpools. You decide this January in RETURN OF THE LIVING DEADPOOL #1!
RETURN OF THE LIVING DEADPOOL #1
Written by CULLEN BUNN
Art by NIK VIRELLA
Cover by JAY SHAW
On Sale in January!
Not nearly as cool as getting a photo with Robert Englund in his Freddy Krueger makeup, Rock and Shock is still setting up an even that’s still a must for all horror fans.
When the event returns to Worcester, MA from October 17th through 19th, those attending can nab a photo with the cast of both Child’s Play (1988) and Curse of Chucky (2013)!!
Posing with you next to a screen-used authentic Chucky doll are Child’s Play and Curse of Chucky stars Brad Dourif (the voice of ol’ Chuckster), Fiona Dourif and Alex Vincent.
Prices range from $30 to $40 for individual shots, group shots are more like $50 to $70 depending on how many actors are in the shot, explains the site.
Full details here.
“American Horror Story” babe Alexandra Breckenridge has joined “The Walking Dead’s” ongoing fifth season, says THR.
The actress will recur in season five with an option to be promoted to a series regular in season six. While specific details about Breckenridge’s character are being kept under wraps, the casting breakdown described the role of “Samantha” as an attractive, strong, smart, charming and articulate woman with a vulnerable side. She’s a mother with a bohemian spirit, and a talented artist.
Season five now finds Rick’s (Andrew Lincoln) group back out on the road, where they’re likely to encounter several new people — with additional characters from Robert Kirkman’s comic series expected to be introduced.
Screen Daily reports that IFC Midnight has acquired North American rights to Dark Summer, Paul Solet’s supernatural horror film that Content Media will introduce to international buyers at the AFM.
“Dark Summer is a stylised contemporary ghost story about a home-alone teenager on house arrest who experiences a terrifying presence.”
Keir Gilchrist stars with Stella Maeve, Grace Phipps, Maestro Harrell and Peter Stormare.
The distributor has set the multi-platform release for January 9, 2015, after brokering the deal with Preferred Content and Content Media.
Here’s the first ever image and now a trailer, thanks to Bloody reader Fabien M.
“IFC Midnight truly excels in the elevated genre space and has been a great North American home for the Pact franchise – so we’re very happy to have them as partners on Dark Summer,” said Carmichael.
Jason Bakutis – a former professional special FX makeup artist (Friday the 13th: Jason Goes to Hell, Critters 3 and 4), – just wrote in about his new Kickstarter campaign that I am absoutely praying gets funded.
What he’s created is tiny dioramas based on classic, iconic horror scenes called “MicroFear.”
“MicroFear” is a collection of digitally-sculpted, handcrafted miniature dioramas. The tiny pieces each convey a classic horror scene from film and literature that fans of the genre know and love.
Backers of the campaign will receive one or more dioramas to display in their own Cabinets of Curiosity. For an added level of interest, modelbuilding enthusiasts can opt to receive the diorama in kit form! This option is an exciting throwback to anyone familiar with Aurora model sets or other “garage kits” that were wildly popular in past decades.
Each scene measures less than 2.5” tall and features details smaller than 1mm. The majority of each scene is comprised of high quality cast bronze pieces, while remaining elements are composed of materials like onyx resin, wood, lichen, and even sand, that add an element of realness far beyond that of hobbyist model kits. The design starts as a digitally sculpted 3D model from artist Jason Bakutis, a former Hollywood special FX makeup artist. When the model is perfected at the tiny scale, it is then 3D printed in extremely high resolution in wax, and then cast in bronze using a traditional lostwax casting technique.
“I cast the pieces in bronze because the material’s strength allows me to beautifully render small, thin elements that won’t lose their shape,” said Bakutis. “I am a kid from the monster generation. I built model after after model in my day, and I know how much fans like me appreciate this level of incredible detail.”
Backers to the Kickstarter campaign can choose from scenes titled: “The Mummy”, “The House of the Psychopath”, “Bigfoot”, “The Pit and the Pendulum”, “The Nanny”, and “Spook Shack”.
While Bree is raving about last night’s episode (read her review), I’ve only managed to catch the premiere of “American Horror Story: Freak Show”.
The show set up a solid premise, was unique and colorful, and introduced enough mysteries to keep us hanging around – and the killer clown was crazy awesome!
The next two episodes are to be a two-parter, with the first being “Edward Mordrake Pt. 1″. In the third episode, “The Freaks refuse to perform on Halloween due to an old carny superstition. Jimmy is smitten by a woman claiming to be a fortuneteller. Ethel receives life-changing news.”
Watch the promo below and tell us what you thought of Episode 2.