James Wan has taken the The Fast & the Furious franchise to a whole new level – the mile high club. Only this club is super exclusive.
Check out this clip from Fast 7 in which Paul Walker, Tyrese Gibson, Ludacris, Vin Diesel and Michelle Rodriguez jump from a plane…in their cars. Holy crap, son.
In theaters April 3, Dwayne Johnson, Jason Statham, Jordana Brewster and Kurt Russell also star.
Emile Hirsch (Lone Survivor) and Brian Cox (The Bourne Identity) have signed on to star as co-leads in The Autopsy Of Jane Doe, the English-language debut of Norwegian director Andre Øvredal (Trollhunter), reports Deadline.
Penned by Ian Goldberg & Richard Naing, “Cox and Hirsch will play father and son coroners who receive a mysterious homicide victim with no apparent cause of death. As they attempt to identify the beautiful young ‘Jane Doe,’ they discover increasingly bizarre clues that hold the key to her terrifying secrets.”
Stuart Ford’s sales-finance-production powerhouse IM Global will fully finance the film through its Octane genre label. Fred Berger (La La Land) and Eric Garcia (Matchstick Men) produce under their Impostor Pictures banner alongside Rory Aitken and Ben Pugh of 42 (Monsters: Dark Continent, Welcome To The Punch).
It begins production in the UK at the end of March.
While it was originally suggested that Neill Blomkamp’s planned Alien sequel, which would follow James Cameron’s 1986 Aliens, would be the final entry in the series, the Chappie (review) director now says there could be more.
In an interview with the UK Empire Magazine, via their podcast, Blomkamp explains his process, how he came to develop this new Alien concept, and how it could be more than one film.
“If you go back even three or four years, I’ve wanted to make a film in that genre, in that franchise. I’d come up with an idea, and when I met Sigourney (Weaver) on the set of Chappie, I presumed that she would never want to play Ripley again. Rightly or wrongly, I had that in my head. I also didn’t know where you could go with her, given Alien 3 and 4,” said Blomkamp.
“So when I started speaking to her, I just wanted to know more about the process of making the first two films. The first two are the ones that I care about. Then I started to realise there was a whole film – at least a film, if not more – that still contained Ripley, which I was really surprised by.”
The article goes on to boast his love for the franchise, which is slightly troubling. I’m not exactly a proponent of a director creating a “fan film,” which typically ends up as an annoying rehash with too many nods to the original films. I would love to see a sequel to Aliens, but I also want it to be Blomkamp’s own vision – something I believe he’s incapable of after seeing his films. Whatever the case, I really do want to see a new Alien sequel, as opposed to Prometheus, and hope he can pull off a miracle. How do you top Aliens? You don’t. Good luck, Mr. Blomkamp.
From the producers of The Guest and You’re Next comes Faults (review), the directorial debut of Riley Stearns. The flick gets a theatrical and VOD release courtesy of Screen Media Films today, and as is our duty here on Dread, we’re here to tell you all about it. So read on!
Written and directed by Stearns, Faults stars Mary Elizabeth Winstead, Leland Orser, Beth Grant, Chris Ellis, Jon Gries, and Lance Reddick.
In the film, Claire is under the grip of a mysterious cult called Faults. Desperate to be reunited with their daughter, Claire’s parents set out to recruit Ansel Roth, one of the world’s foremost authorities on cults and mind control. But Ansel’s specialty, deprogramming cult members and returning them to their families, is not an exact science, and a series of financial setbacks has left him in debt to his manager.
Ansel warns Claire’s parents that his deprogramming methods are risky and expensive, but they agree to hire him to kidnap and deprogram their daughter. Claire quickly reveals herself to be a formidable challenge. Her belief is unshakeable and her logic is undeniable. A battle of wits develops between the two as they delve deeper and deeper into each other’s minds.
There’s a large amount of talk on the web right now about Avenged (review), a hardcore horror-thriller about a young woman who is brutally raped and killed by thugs but returns to life thanks to the soul of an Apache warrior. The movie, from newcomer Michael S.Ojeda, has been well-received by both horror critics and mainstream movie press with near every review singling out star Amanda Adrienne as a big part of the reason the movie works so well. We spoke to Adrienne as she prepared for the film’s Los Angeles theatrical launch.
Dread Central: The film has turned into a real monster online. You must be over the moon seeing your face, not to mention movie, all over the place at the moment?
Amanda Adrienne: When I saw the movie on those illegal sites over a year ago, I was kind of floored. Like wow, people want to see this enough to pirate it. How do they even know about it? It’s a little surreal.
DC: But even in terms of the marketing online for the film – you’re everywhere! How long has it been since you completed the movie?
AA: Its been awhile since my part was done. We shot the trailer to get financing in October 2010, the movie in April 2012, and probably the last pick-up shots in August 2012.
DC: Wow, three years ago! Have you been able to travel for the movie? It opened in the UK last year, right?
AA: It did open in the UK last year. Yeah, it’s been all over the world for festivals. I got to go to Toronto in August 2013 for Fan Expo. The movie hadn’t screened anywhere yet. So, no one really knew anything about it, but it was a great experience for me. I got to meet the Soska Twins, Don Coscarelli, and Slash. It felt like a welcoming of sorts into the horror family. It was cool, and I really dig Toronto as a city.
DC: It’s great. I read you answered a Craig’s list ad and that’s how you got the job. Do you know how many others you were up against?
AA: Yeah, a friend from acting class forwarded me the craigslist ad seeking an actress. I ended up auditioning and getting the part. No idea how many ladies I was up against. I guess that’s something I try not to think about going into auditions. It can end up being self-defeating.
There are so many odds against you. You just have to ignore the odds. Get to that place where it’s just you against you.
DC: Was there any concern from the producers’ point of view that you mightn’t be able to carry the movie, being that it’s your first lead?
AA: I can remember being paranoid that they would replace me during the time between shooting the trailer and shooting the actual movie. But that’s normal actor paranoia from what I’m told. The producers never expressed anything to me directly if they did have concerns. I’m sure they did. But luckily, I didn’t have to hear about it.
DC: And the movie wouldn’t have been the same without you! In terms of preparation for the film, what did you do have to do? Fight training, obviously?
AA: Yeah, I trained at LA Wushu for 9 months with some amazing coaches. I took archery lessons. Michael had me work with the stunt choreographer on specific fight sequences. For the other aspects of the character, I did a lot of research and journaling and exploration. Since Mangas Coloradas is a real person, I felt very obligated to his truth and the truth of the Apache people or at least my understanding of it. I had a sensitivity about how I wanted to approach him as a character and always with a sense of honor and respect.
DC: Was there a fight choreographer on set? Did you find those scenes at all daunting?
AA: Absolutely. The stunt team was great. They really worked with me and pushed me. I’m not the most natural athlete, but I do work hard. I’m just grateful for everyone’s patience with me quite honestly as far as the fights.
DC: What about when you’re covered in all that gunk – be it blood or dirt. Is that uncomfortable? Does it drive one a little crazy?
AA: It’s funny. The first couple days it was kind of exhilarating, because I’d never done a horror movie before. I can remember being covered in blood staring out at the vast desert sky and thinking – wow, I never would have imagined this moment in the string of moments that make up my life. But yeah, after a while it does start to drive you a little crazy. Surprisingly, the contact lenses drove me the craziest. I tried to just let that feeling feed the character.
DC: At any time during production did you find yourself going a little ‘Zoe’ yourself?
AA: I think any project I work on, be it a feature film or a short film, is fuelled by obsession for me. And that obsession starts to bleed between myself and the character creating this feeling of going crazy. I went a little Zoe in that sense.
DC: Why do you think critics are responding to this movie?
AA: I don’t know, but I’m happy that they are. Michael never compromised his vision, and we all poured our hearts into it. I guess passion attracts passion every step of the way.
DC: Has the movie opened doors for you?
AA: Fingers crossed it does. Or I guess I’ll have to open them myself.
Avenged is screening at the Arena Cinemas in Hollywood from Friday, and is available on VOD day and date. Look for it on DVD April 21st.
While traveling across country, Zoe, a lovely deaf mute woman, stumbles on a horrific crime – a gang of rednecks slaughtering two Native American boys. Zoe’s brave attempt to save one of the boys seals her fate. She is captured, raped, and left for dead. When an Indian shaman finds her clinging to life in a shallow grave, he attempts to save her – but something goes horribly wrong. The spirit of an ancient Apache warrior takes host of Zoe’s dead body. So now she walks amongst the living, hell-bent on getting revenge. One by one she slaughters the men who brutalized her, while the clock ticks away on her quickly decomposing body.
Part of the SXSW Midnighters, playing from March 13 – 21, 2015 in Austin, Texas, is the crime-horror-thriller He Never Died.
Written and being directed by indie helmer Jason Krawczyk (The Briefcase), He Never Died stars punk icon Henry Rollins as Jack, a mysterious loner who has lived an inexplicably long life fueled by blood lust and filled with crime and violence.
But in-between the battles, he releases his tension playing Bingo. Yup, Bingo. You can see his cathartic release in the exclusive still shown above.
Rollins is joined on screen by the Twilight franchise star Boo Boo Stewart (X-Men: Days of Future Past), Kate Greenhouse (The Dark Hours), Jordan Todosey (“Degrassi: The Next Generation”), and Steven Ogg, who is fresh off his success playing the popular character Trevor in the critically acclaimed “Grand Theft Auto V.”
“He Never Died follows Jack in his battle with cannibalism and mental sobriety. An exceptionally prolonged life has brought depression and detachment. Jack buys stolen blood from a hospital intern, plays bingo, sleeps fourteen hours a day, watches television six hours a day, and lives alone. This is his life – he has shelled himself away from social interactions. The fuse is lit when Jack’s past comes back to rattle him. Jack must now walk a tight rope of sobriety and try to eat as few people as possible in this violent tale of personal responsibility and self worth. As it turns out, there are very few reasons to live when you can’t die.”
Starring Nathan Phillips, Angourie Rice, Jessica De Gouw
Directed by Zak Hilditch
If the idea of an impending apocalypse doesn’t put enough thoughts in your head about survival, the ability to sustain, and how you would build upon a future that potentially couldn’t be there, then how about sticking this one in your think tank: What if it was a foregone conclusion that no one would survive a cataclysmic event, and you now were left to wonder what you’d do with your remaining time on the planet?
Such questions are better left to fend on the fly, and in director Zak Hilditch’s end-of-the-world dramatic-thriller These Final Hours, such a horrendous prophecy is left to be filled in a biblical fashion, and the masses are simply waiting to be eradicated. This is one of the more powerful films I’ve checked out in ages – it’s depressing, it’s thought-provoking, and it sticks with you long after it’s come to a conclusion.
The events follow the final 12 hours in Australia after an apocalyptic event has occurred, wiping out a large portion of the globe, and the countdown is on. For one man named James (Phillips), he’s going to go out like a rock star: Partying and procreating are the must-dos on his short-termed bucket list. As the movie opens, we see James and his “other” girlfriend (De Gouw) spending their final moments together before she tells him to head to his friend’s blowout party and live the last hours of his life in pure ecstasy.
So, off James goes, boozed and drugged-up and ready to commit himself to the last bash he’ll ever attend–that is, until he drives past a small girl being taken by force into a home by two men, whose last actions are apparently high on the reprehensible scale. Torn between fleeing or helping, he rescues young Rose (Rice), and the two opt to travel together to find either her or his relatives.
Along the way, their efforts at times prove fruitless, which certainly adds to the bleakness factor, coming across many poor souls who have either checked out or are waiting to be decimated by that tsunami of fire that will come rolling onshore very shortly. There are some truly effectual performances here by a few bit players, and it just brings more flavor to this incredibly tasty presentation. From James’ overly-possessive girlfriend to a former police officer that has given up hope, right down to a delusional partygoer who swears that Rose is her lost child, you’ll cringe, you’ll surely sympathize, but more than likely, you’ll keep your eyes locked on the screen until the bitter end.
This review is fairly short in words; however, if I typed everything I saw or felt during the movie, I’d be typing until the end of days myself. The film looks simply brilliant with numerous shots of a red-hazed sky over the Australian borderlines, signifying an imminent impact of colossal proportions.
Phillips gives his all in a display that showcases a multitude of emotions, and they all are stellar in appearance – he’s come a long way from Wolf Creek and is poised to make a huge mark in the business shortly, I believe. If there were any minuses to speak of here, it would be the somewhat long stretches of downtime; yet, they only add to the apprehension that the characters are feeling while waiting out their remaining moments, bringing the tension directly toward your screen. This one’s simply got to be seen and is a film that I’ll definitely be checking out again.
The Indie Video Game Report is a series where we take the time to delve the crags and crevices of the indie game market to bring you the down low on the most promising/disastrous indie titles.
Kickstarter is like your stoner friend. Sometimes the shit he gives you is shit, and sometimes he doesn’t even bring the shit at all. Hes always talking about all the connections he has and shit he can make happen, and he more often than not makes a complete dick of himself. Still, every once in a while, he pulls through, so you still stop by from time to time just to see what he’s peddled this month.
My newest romp with a Kickstarter alumni comes from Darkest Dungeon, and similar to the stoner friend of yester paragraph, it too has kept me up for several nights much to the detriment of my health. From Red Hook studios comes your latest reason to skip meals. Darkest Dungeon mixes quick and satisfying gameplay with long term base building and team management, adding more than a dash of roguelike randomization. Easily consumed in small chunks or large sittings, every run is another step towards the eventual endgame. As an amalgam of successful mechanics, it succeeds, but as a macabre and deeply atmospheric world, it thrives.
You play as a faceless and nameless protagonist, assumed to be some kind of inheritor to a once great estate that has fallen into ruin through a series of demonic deals and occult rituals. A letter from the previous lord before his suicide beckons the player to these lands, and in tow a slew of heroes that will harrow the darkest dungeons to slay foes and reclaim the relics and glory of the town. To this end, the player creates parties of 4 heroes from 10 different classes to try to survive 1 of 5 different objectives. Boss fights are unlocked by repeated completions, and high level heroes are required for more brutal tasks.
The end of each dungeon run is not where your ordeals end. Characters take sanity damage while in the dungeon, which must be healed by participating in leisure activities in the town. Leveling up the town with the relics you find will increase the effectiveness and capacity of your buildings, as well as providing better gear and skills for your leveled up heroes. Different leisure activities also have the risk of inflicting different “quirks”, debuffs that can only be removed in the sanitorium. Nothing is ever truly safe in Darkest Dungeon, with even the most innocent of activities proving perilous.
The element of randomness permeates the entire experience, with an overarching philosophy best described as a give-and-take. Every trap, monster, interactive object, and even item has both positive and negative outcomes. Inspecting a stack of books can either yield a permanent buff or debuff (quirks), with supplies such as holy water sometimes ensuring a positive outcome. Critical strikes hit for greatly inflated damage, giving the combat a similar degree of randomness. Positive and negative quirks are doled out in a semi-random fashion, I.E. you will never get syphilis from reading a book, but in equal measure might gain insight into the warrens or unhealthy occult fascination.
You would think that the randomness would lead to some hair pulling moments, as was the case in Gods Will Be Watching, but you have enough control over the situation that it never feels totally random. You aren’t forced to interact with any of the random chance objects (unless you have a specific quirk that makes your hero sometimes interact with it without your input), and a low health state called “Death’s Door” makes the random crits never unfairly brutal. When a character is reduced to zero life, they are at Death’s Door, and each hit from then on has a random chance of being a “Deathblow,” which is self explanatory. Any healing while in this state will restore the hero to outside of Deaths’ Door, so as long as you are careful and your party well built, you usually can make it through with minimal casualties.
What is unique about dungeon runs in Darkest Dungeon is the battle against attrition. Healing is scarce, with most healing spells either healing for a wildly random amount or very little. It is common for healing spells to only hit for 2, with hero life being somewhere between 22 and 34. Food can be consumed to heal between 1 and 2 life, but is also required at random intervals to feed your party. For long adventures, players can make camp, using various campfire skills to buff and heal party members. If you play cautiously, it is possible to stay mostly topped off, but there are no health potions to stock up on to make the run easier. Runs can be abandoned at any time, but you sacrifice the rewards you would get for winning.
At the same time, the light is constantly going down, only being raised by some Vestal skills and consumable torches. Lower light means more crits and loot, but also vastly increased sanity damage. If a player runs out of sanity, their resolve will be tested. Sometimes this is a good thing, giving the player a huge buff and healing a large amount of sanity. More often, the character succumbs to a negative buff, which can drastically decrease their effectiveness. Paranoia can cause your party member to not listen to you and refuse all healing. You can heal this afflicted state by returning their sanity to full while in town, but expect your run to be difficult if this happens.
The inventory is broken down into 16 slots, with every item taking up a slot with variable stacks. Gold is stacked up to 1500 a slot, and the relics required to rebuild the town vary in size from 12 per stack to as few as 3. Logs for campfire take up a whole slot, as do quest items, making their use and picking them up a calculated effort. Players provision themselves at the start with food, torches, and a series of useable items for specific situations. The useable items are things like antivenom and shovels, which sometimes have function in removing ailments, but are mostly used to ensure positive outcomes from interaction objects. As the narrator says, “packs laden with treasure are often low on supplies,” so how much you take in and how liberally you use them is a give and take. It can be torturous to ditch your shovels to make room for another stack of gold, only to have the next room contain a wall of rubble you have to dig through.
Overall, the game feels like a slow but steady grind to improvement. Heroes are plentiful, meaning you can punt a dude off of your roster if he acquires too many negative quirks. It can be a bit of a hassle to train up a solid squad, since higher level heroes will not participate in lower level missions. Even so, once you fill out your roster to about 15, you should have plenty of squads ready to do all levels of missions.
What is easily my favorite part of Darkest Dungeon is the variety. Every hero has 7 skills, but only 4 can be slotted at a time, leading to multiple styles of play for each character. A Highwayman can be a good third slot ranged damage dealer, but can also serve equally well as front line massive burst damage with a different loadout. Some heroes lack this variety, such as the Leper, who can only function as a front line, but these heroes usually make up for it with multiple strong options in that slot.
Keeping with the give and take theme, heroes can be equipped with items that always give something and take something. The item that increases your dodge chance and speed also decreases your chance of resisting movement impairing effects. The game asks you to tailor your character to the role you want them playing at the time, rather than just giving you a strongest answer. It might take a bit more planning and forethought than you are used to, but even the most experimental of party loadouts has a chance to succeed.
Presently, there are only 3 dungeons. Each dungeon has a boss, and each boss plays differently. The Necromancer summons a constant stream of skeletons, making the player decide if they wish to try to deal with the skeletons as they come or just burst the boss down. The Swine King consists of 2 enemies, with a giant high health pig monster in the front and “Wilbur” in the back marking enemies. The Hag is the third and hardest boss, who will grab a random party member and throw them into a pot. The person in the pot will take constant damage, but can be knocked out of the pot if the pot takes enough damage. All the fights prove to be unique challenges, and none are pushovers.
While content is currently light, there is a ton of room for expansion. The next dungeon has already been announced, promising eldritch fish monsters. New heroes can also be added with ease, and I am eager to see where this title goes. They have already done a fantastic job with enemy and challenge variety, so it is clear the project is in good hands.
My scant few criticisms come from inconsistent difficulty and the grind. Difficulty is supposedly based on the level and length of mission that you chose, but it is always the case that the Ruins is the easiest and the Warrens is the hardest. Its a minor gripe, but I do get tired of sending my new parties into the Ruins for the millionth time. There is also a substantial grind, with heroes requiring several runs per level to level up. The max level is 6, with more difficult missions becoming available at levels 3 and 5. Since it takes a full run being left in the sanitarium to heal a single quirk, it can take upwards of 30 runs to get a hero healthy and battle ready for a level 5 boss.
Still, Darkest Dungeon is one of the most exciting and well polished indie titles out there. It doesn’t reinvent the wheel, but it does its core mechanics satisfyingly enough to create a whole package. The narration is great and atmosphere impeccably macabre, with tension laced to the core in every element. Not for the weak of will or the faint of heart, Darkest Dungeon is a game I will still be playing and looking forward to for months to come.
Horror heavy hard rock band New Years Day are kicking off 2015 with a ton of wild information! First, they’re currently on tour with Motionless In White. Next, the band has signed a record deal with Another Century Records. And finally, they’ve announced that they will be writing and recording a new album, which is set to come out later this year!
With all that information, we had to reach out and catch up with vocalist Ash Costello, who answered six questions for us. The topics we covered are touring, signing to a new label, and what horror composer and horror director she would love to work with! Head on below for this exclusive interview.
You can buy the band’s latest EP Epidemic via iTunes.
BD: Talk to me about signing to Another Century Records. What was it about them that you feel made them the right choice for your vision, your goals?
We thought about it long and hard. We had been doing so amazing on our own with our managers label Grey Area Records, that we weren’t sure If we were ready and willing to expand our family, but the team at another century has gone above and beyond to prove that they really want to be a part of our team, and now we are all pretty excited and ready to move forward together.
BD: You’re currently on tour with Motionless In White and then you’ve got Warped Tour this summer. Talk about the differences between those indoor venue tours and festival dates.
The differences are MASSIVE! On Warped Tour your work day starts around 8am, on a venue tour your work day begins around 2 or 3pm. On a venue tour you build a tight family and on a festival tour there’s SO many people to get to know. I personally love doing both!
BD: What should fans expect from your upcoming album? Are there any surprises in store that you think will really stand out?
Well we actually have not begun to sit down and really write it yet. Of course we are always writing and there are some ideas being laid down, but we are really going to get into it this April.
Expect it to stay on the heavy path we’ve been heading down, some amazing music collaborations and of course there’s always a dark twist. I’ve been feeling pretty pissed off so I’m sure the album will reflect that!
BD: The description of your music on your Facebook page references ‘Dexter’ and ‘True Blood’. Take me further into your view of horror and how it influences your sound.
Horror has a hand in EVERYTHING I do. To my hair and make up, the way I dress, the way I decorate my house, the movies and books I prefer, so it would make sense that the music we write would reflect that. Why would I write music that isn’t personal to me?
BD: Let’s say you’re given the opportunity to work with any famed horror composer on a new track. Which composer do you go with?
I’m unsure if he counts as a true horror composer but I would love to do a heavy rock song with Danny Elfman!
BD: Now, let’s take that song from the previous question and say you’re going to turn it into a music video. Which horror director would you want behind the camera for that video?
Hahahaha well I guess you would presume I would say Tim Burton but I think I would go with Rob Zombie actually on that one.
03/06 Portland, OR – Hawthorne Theatre
03/07 Vancouver, BC – The Rio Theatre
03/08 Seattle, WA – El Corazon
03/10 Sacramento, CA – Ace Of Spades
03/13 San Diego, CA – Soma
03/14 Anaheim, CA – Chain Reaction
03/15 Anaheim, CA – Chain Reaction
03/16 Mesa, AZ – Nile Theatre
03/18 Albuquerque, NM – Sunshine Theatre
03/20 San Antonio, TX – Kapone’s
03/21 Grand Prairie, TX – QuikTrip Park
03/24 Toronto, ON – The Opera House
03/25 Montreal, QC – La Tulipe
03/27 Baltimore, MD – Baltimore Soundstage
03/28 New York, NY – Irving Plaza
03/29 Philadelphia, PA – Theatre Of Living Arts
It’s been about a year since last there was anything to report about the upcoming indie flick Cute Little Buggers, but that changes now as we have a brand new trailer for you to dig on!
Tony Jopia (Deadtime, Crying Wolf) is readying the ’80s inspired grisly British comic horror flick Cute Little Buggers 3D starring Caroline Monroe, Joe Egan, Kristofer Dayne, Gary Martin, John R. Walker, Dani Thompson, Jess Jantschek, Samar Sarila, Jo Price, Sarah Bennett, and Leslie Grantham.
The flick has been described as “Gremlins meets Hot Fuzz set in the English countryside.”
After hostile aliens crash-land on local farmland, the villagers at the summer ball get suspicious when young women start going missing. The villagers soon band together around our hero Melchoir (Kristofer Dayne) to fend off the invaders and bring back peace to the sleepy English countryside.
From South Park (18 seasons and counting) to Team America: World Police, Trey Parker’s provocative, politically-incorrect brand of hilarity is as vital as ever. There’s nothing he wouldn’t dare satirize. In 2011, he fulfilled a lifelong dream and conquered Broadway with The Book of Mormon, winning an impressive 9 Tony Awards. Cut to 2015, Director/Co-Writer Christopher Bond, who brought us the amazing Evil Dead: The Musical and Night of the Living Dead Live stage productions, has adapted Parker’s directorial debut, Cannibal! The Musical. It’s presently having its World Premiere in Toronto, Canada at the Panasonic Theatre, followed by a U.S. tour soon after.
Bond once again finds that impeccable balance of staying true to the source material yet at the same time expanding on Parker’s wacky universe. The show is blessed with a terrific ensemble cast including the likes of scene-stealer Marty Adams (Saw IV, The Barrens) and Mike ‘Nug’ Nahrgang (Evil Dead: The Musical, Night of the Living Dead Live). Each performer juggles their multiple roles with gusto. Cannibal! The Musical sees Bond take another cinematic cult classic to the stage, packed with freshness and creativity, without forgetting the foundation that’s made these properties so enduring to fans. This is an absolute must-see whenever it hits your town! This is theatre at its most unhinged fun.
I had the opportunity to chat with members of the cast and creative team to discuss the show and its genesis.
B-D: Where did the idea of adapting Cannibal! The Musical all start?
CHRISTOPHER BOND: Trevor (Martin) and I were looking for something to collaborate together on. We were working on Evil Dead (The Musical) together and become quick friends, realizing we kind of have a unique comic styling. Trevor is the smart joke, I’m the butt joke and together we make lots of good jokes. There was this great audience in Toronto that was really hot on Evil Dead: The Musical and we discovered Cannibal! The Musical. It’s great on its own but we really wanted to take it to the next level. It wasn’t a full blown musical. It needed more music, needed to kind of get some structure. We called up the Trey Parker camp and said: “Hey, we want to make this its own thing, make it a full-fledged Broadway-style musical. It took some talking and negotiating but at the end of the day they were like: “Yah”. This was the first thing Trevor and I collaborated on. We wrote the script, as well as maybe three new songs. We got the approval of Jason McHugh (Producer, as well as played Frank Miller in the film). He’s been our point man. He sends everything up the chain for us which is kind of cool and sneaky. It’s been great. We got the green light then all of a sudden we got a: “Hey guys, you know what? Trey and Matt are working on this other musical and we’ll circle back”. Who knew that would be The Book of Mormon, the biggest theatre success ever. It’s an amazing show. They circled back and said: “Cannibal…you guys want to do that?” Years have passed so we blew the dust off the old script and realized it needed some fine tuning, needed some more music. Long story short, here we are at the Panasonic.
TREVOR MARTIN (Co-Writer, plays Bell, Juror 1, The Undertaker, Prison Guard): Our original intention was to have this really small, comedic cast with a couple of rocks and some cowboys hats. As we were growing, building the songs, we started realizing this is a musical. This is like a musical, musical so we need legit musical theatre people. Aaron Eyre is our other Co-Writer. He was the Musical Director of Evil Dead: The Musical. He composed a lot of the songs and really filled out the existing songs that were in the movie. When we were casting, we wanted musical theatre chops and comedic chops and we’re split 50-50 with those camps. The musical theatre people are funny and the comedic people can sing and dance a little bit. Enough to keep up anyway. Everyone has meshed together really well. It’s been kind of magic.
LIAM TOBIN (Alfred Packer): Jason McHugh, who works with Matt and Trey all the time, came in for a week and kind of worked with us as well in saying: “Yah okay, let’s keep that bit but you know maybe that one isn’t working as well.” It was fun to kind of collaborate and create a new work.
B-D: What was it about Cannibal! The Musical that attracted you to take this project on?
CHRISTOPHER BOND: I saw the South Park movie and it blew my mind. The music from that inspired the music that became Evil Dead: The Musical. When you finally discover Trey Parker, you go on a little Trey Parker pilgrimage: “What this? BASEketball. What’s this? Orgazmo.” Then you finally get to Cannibal which is where it all started. It’s underground, crazy, hilarious, kitschy and campy. I was turned on by it right away.
TREVOR MARTIN: When you watch Cannibal, you can see the beginning. You hear some South Park voices. Movies aren’t silly anymore. They usually take a kind of more serious bent, or it’s very satirical. This is just a fun, silly movie that’s got that comedic sensibility we grew up with and miss.
MIKE ‘NUG’ NAHRGANG (Miller, The Judge, Frenchy, Convict): I’ve owned maybe four copies of this movie in my lifetime and it’s always been stolen from me. Whoever I show it to is like: “Could I borrow that?” and it never comes back. The movie makes me laugh so much. When I first saw South Park, I wanted to know everything so that’s how I found Cannibal, Orgazmo and all that stuff.
B-D: What was the approach to this stage adaptation?
TIM PORTER (Noon, Loutzenheiser, The Preacher, The Cyclops,
Cherub 2): It’s a bit of a take on the cult fame of the movie. We play on the stuff that’s kind of cheesy (in the movie) but at the same time, pay such homage. They (Bond and Martin) obviously love the movie.
LIAM TOBIN: We’ve built on what’s there, as opposed to replacing anything. So a lot of the stuff is straight out of the movie but there are some new elements that are a lot of fun too.
B-D: What were the challenges in bringing Cannibal! The Musical to the stage?
MIKE ‘NUG’ NAHRGANG: While it is a movie musical, a stage musical has to have a logical intermission point and a few songs here and there plus serve several functions. The movie doesn’t have some of those things. It doesn’t have a logical place to have an intermission so that got added to the show. While there are 7 songs in the movie, there are 12 or 13 songs in our show. Aaron Eyre, Trevor Martin and Chris Bond put together some songs and incorporated some lines from the movie into the songs. Lines from The Judge, when they sentence Packer to be hung; I actually full-on sing those lines. It always has to be a little bigger, little better, go a little further. It’s not necessarily Evil Dead. I don’t think we need a splatter zone in every show but there’s some stuff like that here. Fans of Cannibal who loved the gore: there’s a little bit of the gore. There wasn’t much in the movie to begin with but there is some.
TREVOR MARTIN: We’ve taken situations and moments that were scenes and turned them into big songs. We didn’t want to just do the movie on stage. There’s no point. We want to make it fresh, completely different spin. This was his (Trey Parker’s) first movie. The career trajectory of Trey Parker and Matt Stone has gone a lot more irreverent, a lot saucier. So we’ve incorporated that kind of sensibility, more of an edge. Now the bar has been heightened or lowered, depending on your perspective. We wanted to bring it in line with 2015 expectations of what this is going to be.
TIM PORTER: You can do pretty much anything on film. In the film, they did a really good job of being really low budget and making a lot of stuff happen. Even if it doesn’t look as realistic necessarily, they stage things so cleverly in this show that they’ll take people by surprise like the horse and The Green River.
LIAM TOBIN: They’ve been pretty inventive with a lot of the set pieces. It’s doing everything that we can with the things that are possible, as well as finding fun and inventive ways to have alternatives that still create the same results.
CHRISTOPHER BOND: Although we’re in the Panasonic and stuff are pretty slick, we still resort to some very amazing fromage to make magic on stage. The mountains and horse are there. Everything that’s iconic from the film is in our presentation plus we’ve added our own stuff, explore the characters a little bit. We kind of barked up a few different trees that are kind of touched upon in the film, go the extra mile and just made it a full musical theatre experience.
TREVOR MARTIN: The scale of this is so much grander than what we originally imagined. It’s a technically-heavy show.
CHRISTOPHER BOND: Unfortunately it’s been 7 years but we’re putting on the show I think we always dreamed of it being, as opposed to something small. We’re giving Cannibal the grand treatment, something spectacular.
For more information on Cannibal! The Musical, go to www.cannibalonstage.com.
Terrorising the UK on DVD and Blu-ray right now is the Eli Roth-produced coulrophobia heightener Clown, and to celebrate, we have an exclusive clip that may prove NFSW depending on your boss’s tolerance for child mutilation. You have been warned!
Clown (review) is directed by Jon Watts and stars Andy Powers, Peter Stormare, Laura Allen and Elizabeth Whitmere.
It’s Jack’s 10th birthday, but the clown has cancelled. His dad, Kent, finds an old clown suit in the attic and saves the party. But after the party is over, Kent has a problem… the suit won’t come off. What starts as a joke quickly turns into a hellish nightmare. Kent can feel himself changing, and his desperate attempts to free himself just leave him in agonising pain.
As the suit takes hold of his body, Kent slowly endures a brutal transformation. As he changes, an uncontrollable hunger begins to consume him, an overwhelming and insatiable hunger… for children.
If you’re a fan of collecting horror memorabilia, then let me tell you all about Nerdblock and their amazing horror-themed monthly subscription box Horror Block! Packed to the brim with awesome horror merch, it will net you t-shirts, Rue Morgue magazines, books, action figures, plush toys, watches, and a whole lot more, all for a low monthly cost. In fact, the most expensive option is $19.99 (without S&H), so when you factor how much get in one box you’re still doing incredibly well!
Nerd Block contains licensed merchandise, hand-picked by our team of uber-nerds representing all genres from movies, television, video games, internet, and more! Each item is carefully selected and put through a series of in-house testing based on quality, brand association, collectability, and most important – fun factor.
Below we’ve got several pictures of things you can get from Horror Block as well as a video of me unboxing February’s box.
If you’re interested in subscribing, follow this link: http://www.horrorblock.com/r/bloodydisgusting!
Here’s some terrible god-awful news that hurts more and more as I type each and every word… we may lose Harrison Ford is now in stable condition after he crash landed a plane in Venice, Calif. on Thursday, according to several reports.
Variety, who originally misreported that he was in critical condition (and then edited their article to “seriously injured”), writes that the 72-year-old crash landed on Penmar golf course after something apparently went wrong with the small plane. Ford was transferred to a local hospital in critical condition. The actor was the only one aboard the plane and the only person who sustained injuries.
Ford reportedly walked away from the crash, but had multiple head injuries. TMZ states that he suffered multiple gashes to his head and was bleeding. Two doctors who happened to be at the golf course rushed over to treat the actor.
Various sources now report that he is now in fair/stable condition with serious head wounds (Update 4:12PM PST).
Ford is an avid pilot, and has crashed planes before with minimal injuries.
He’s one of the all-time greatest actors having appeared in Star Wars, Indiana Jones, Blade Runner, as well as American Graffiti, Patriot Games, Apocalypse Now, The Expendables 3 and many others.
We’ll keep you updated as news comes in. We’re all praying for him.
Updated headline at 4:19PM PST
Check out this exclusive clip from These Final Hours (review), in select theaters nationwide and VOD platforms Friday, March 6th from Amplify Releasing and Well Go USA.
“In this apocalyptic drama, James is a troubled young man on a mission. He’s desperate to join his girlfriend Vicky at the ‘party to end all parties’ and numb any feelings as the world comes to an end. On his journey however, James is greeted by a lawless and chaotic city, facing a cataclysmic event that will end life on the planet, and he discovers that getting to where he needs to be will not be easy. Along the way, he saves the life of a girl named Rose, frantically searching for her father. Out of options, James invites Rose to join him. Together they discover how they would truly like to spend their last moments on Earth in this world gone mad.”
Zak Hilditch directs Nathan Phillips, Angourie Rice, Jessica de Gouw, Kathryn Beck, Daniel Henshall, Sarah Snook, and Lynette Curran.
Organic is a really good way to describe Title Fight’s evolution. The band has grown from their punk/hardcore roots to embracing a more experimental and shoegaze sound. But this shouldn’t be taken as a negative as those hardcore influences are what gives their sound the depth that a lot of bands that play this style of music usually fall flat of.
Their last LP, Floral Green as well as their last EP Spring Songs should have been a pretty good heads up of what was to come with Hyperview.
The intro to the album, “Murder Your Memory”, comes off as that “calm before the storm” sound. It’s very dreamy and slips silently right into the first single of the album “Chlorine”. The song is almost disruptive with its twangy-crushing guitar intro, almost like someone smacked you awake then hugged you for getting up. It’s a great indicator as a taste of things to come from the album.
From there, every song on this album flows together in a way that comes off as effortless, but still very much thought out. “Mrahc” sounds like a song from The Jesus And Mary Chain’s first length or even a Joy Division B-side from their early years. Quick and punchy but still carries that hollow sound. “Your Pain Is Mine Now” is the epitome of a sad bastard song. It scratches that itch of self loathing and sadness that we all pretend we don’t love to embrace every once in a while.
It shouldn’t go unnoticed the quality in production courtesy of producer Will Yip, who has also produced bands such as Blacklisted, La Dispute and Circa Survive. He also produced Floral Green and Spring Songs. At this point he should really be considered a 5th member of the band. He honestly gets them and has helped them come into their own. It’s very refreshing.
A lot of long time fans might be a little bummed with this album. This is understandable, but at the end of the day they still sound like Title Fight and that is something that shouldn’t go unnoticed. Many bands that come out of the same genre waste your time and money churning out the same material every year and a half. But not this band. They took their time and put out something you can tell wasn’t just whipped together.
The Final Word: Hyperview is a fantastic album that adds even more substance to Title Fight‘s discography. It is, however, a dividing line. But that should be taken as a positive.
Chicago, IL’s Harm’s Way recently released their video for “Amongst The Rust” via Decibel Magazine last week. Their new album Rust comes out next week (March 10th) through Deathwish Inc., which you can pre order here.
The video shows the band playing in a boiler room, which I think is just a metaphor for how damn heavy this song is. And because the singer is just about as big as the machinery. Enjoy!
Always thrilling and a little bit dangerous, Tribeca’s Midnight section this year features five genre films and one special event for adventurous late night audiences. Creative and unique villains from vengeful anthropomorphic bananas to evil mutant wasps and crazy ass babysitters terrorize the heroes of Bodyslam: Revenge of the Banana!, Stung, and Emelie. Conversely, it’s antiheroes who take the spotlight in corrupt cop drama Hyena and envelope-pushing kidnapping story Scherzo Diabolico. The program is capped off with a one-night only live performance from cinephile comedy group Rifftrax, who will skewer the reigning king of Midnight Movies: Tommy Wiseau’s The Room.
Stay up late with these scary, funny, surprising tales in Midnight at Tribeca.
Bodyslam: The Revenge of the Banana!, directed and written by Ryan Harvie and John Paul Horstmann. (USA) – World Premiere, Narrative. Ronald McFondle, Eddie Van Glam, and other social outcasts made up the Seattle Semi-Pro (SSP) Wrestlers, an off-kilter family of cabaret fighters that spoofed the pros. When a newcomer Paul, The Banana, fell on the wrong end of the joke, he ran to the government to disband the SSP. Bodyslam: The Revenge of the Banana! captures the wrestlers’ fight to keep the theatrics alive.
Emelie, directed by Michael Thelin, written by Richard Raymond Harry Herbeck. (USA) – World Premiere, Narrative. After their regular babysitter Maggie can’t make it, the Thompson family turns to her friend Anna to supervise their children while the parents go out to celebrate their anniversary. At first Anna seems like a dream come true to the kids, allowing them to eat extra cookies and play with things that are usually off-limits, but as her behavior becomes increasingly odd, the kids soon find out that her intentions are dark and twisted, and she is not who she seems to be.
Hyena, directed and written by Gerard Johnson. (UK) – U.S. Premiere, Narrative. Michael Logan (Peter Ferdinando) may be a corrupt, coke-addled cop, but he’s a bad lieutenant with a conscience. After years of dodging the same laws he was assigned to uphold, Michael suddenly finds himself trying to change while safeguarding a young Albanian woman from the sex trade. Equal parts grit and neon, Hyena blurs the line between cop and criminal and exposes the illicit underworld inhabited by London’s most ruthless policemen. A Tribeca Film release.
Scherzo Diabolico, directed and written by Adrián García Bogliano. (Mexico, USA) – World Premiere, Narrative. Armed with a fine-tuned chokehold and penchant for piano sonatas, a wearied accountant breaks his mild-mannered routine when he kidnaps a young woman. What starts as a carefully calculated plan soon crescendos into his worst nightmare. A delightfully twisted black comedy, Scherzo Diaboloco is the latest opus from director Adrián García Bogliano. In Spanish with subtitles
Stung, directed by Benni Diez, written by Adam Aresty. (Germany, USA) – World Premiere, Narrative. For catering staffers Paul and Julia, Mrs. Perch’s fancy garden party at her remote country villa is nothing out of the ordinary. A mishap with toxic plant fertilizer leads to the most unwelcome of dinner guests: giant killer wasps. Director Benni Diez takes audiences on a thrilling, gory rollercoaster ride from campy to creepy, in this delightful and dreadful creature-feature.
SPOTLIGHT – Co-Sponsored by Brookfield Place and The Lincoln Motor Company
Backtrack, directed and written by Michael Petroni. (USA) – World Premiere, Narrative. In this spine-tingling supernatural thriller, troubled psychotherapist Peter Bowers (Adrien Brody) is suffering from nightmares and eerie visions. When he uncovers a horrifying secret that all of his patients share, he is put on a course that takes him back to the small hometown he fled years ago. There he confronts his demons and unravels a mystery 20 years in the making.
Maggie, directed by Henry Hobson, written by John Scott 3. (USA) – World Premiere, Narrative. There’s a deadly zombie epidemic threatening humanity, but Wade (Arnold Schwarzenegger), a small-town farmer and family man, refuses to accept defeat even when his daughter, Maggie (Abigail Breslin), becomes infected. As Maggie’s condition worsens and the authorities seek to eradicate those with the virus, Wade is pushed to the limits in an effort to protect her. Joely Richardson co-stars in this post-apocalyptic thriller. Lionsgate/Roadside Attractions release.
Mojave, directed by and written by William Monahan. (USA) – World Premiere, Narrative. William Monahan’s second feature, starring Oscar Isaac and Garrett Hedlund, is a delirious trip from the fringes of the desert to the center of the film industry. Armed with little more than a knife and two handles of vodka, an on-edge Hollywood director sets out to the Mojave Desert, where he finds a drifter brandishing a rifle and claiming to be the Devil.
Thought Crimes, directed by Erin Lee Carr. (USA) – World Premiere, Documentary. Convicted yet then acquitted of conspiring to kidnap, rape, kill, and eat several women, NYPD officer Gilberto Valle quickly rose to infamy as New York’s own “Cannibal Cop”. With exclusive access to Valle, Erin Lee Carr’s unflinching documentary asks a fundamental question that challenges our beliefs about the criminal justice system, and even the very nature of right and wrong: Can you be guilty of a crime you only thought about committing? An HBO Documentary Film.
Starting March 18, the Film Guide and screening schedule will be live on www.tribecafilm.com and detail all feature films announced to date; additional programs will be added upon announcement.
The first trailer has gone online for No Escape, an action thriller starring Owen Wilson, Lake Bell and Pierce Brosnan.
In theaters September 2, 2015, “The story centers on an American businessman (Wilson) as he and his family settle into their new home in Southeast Asia. Suddenly finding themselves in the middle of a violent political uprising (i.e., a coup), they must frantically look for a safe escape as rebels mercilessly attack the city.”
Devil, The Poughkeepsie Tapes and As Above/So Below‘s John Erick Dowdle directed the movie and co-wrote it with his brother, Drew Dowdle.
The trailer is pretty intense, and is loaded with incredible set pieces, tons of action and violence, with an insane scope. It’s well surpassed my expectations! Thoughts?
Remember The Darkness and their megahit “I Believe In A Thing Called Love”? Well, those high pitched British rockers are back with Last Of Our Kind, a new album that comes out June 1st via Kobalt Label Services. And to hype up this new album, the band has released a music video for their track “Barbarian”, which is as ridiculous yet awesome as you’d expect.
The video plays out like pages from a comic book and tells the tale of viking battles, pillaged villages, and shows more than a few severed limbs.
Frontman Justin Hawkins describes the song as having:
…not one but two dramatic monologues, a guitar solo that has been declared ‘irresponsible,’ a riff that weakens lady-knees and a chorus that makes grown men shit directly into their pants. The lyrics describe the Viking invasion of East Anglia which culminated in the decapitation of Edmund the Martyr. So yeah, classic Darkness.
You can watch the insanity below.