“Runaways” shows that The Strain has finally found its legs. The chemistry between the Ephraim and Abraham results in some fantastic exposition about the nature of this new type of evil, and even results in a couple of great laughs. I just never want their Van Helsing excellent adventure to end.
Sadly it comes to a close far too quickly but that’s not before showcasing some of the best imagery the series has offered up thus far. The two of these men sharing breakfast was sweet and a little strange. I get your tired after all of that Highlander head lopping, but you’ve just killed some “people” and you’re just chilling in their house cooking their eggs? I digress, the scene was fun and added a lot of history to these vampires, thanks to Abraham’s empowered monologue, reminding us to check everything we know about vampires at the door.
I don’t know if it’s because I carry Dario Argento in my heart with me everywhere, or if the show’s cinematography is really that good, but I couldn’t help but seen a nod to his films in Bolivar’s cold open. The lighting was exceptional, and the actor behind Bolivar makes for a really great vampire.
The only survivor still really kicking is the lawyer, and it shows that the virus can really take hold at incredibly different rates. Her scenes were designed to be the perfect representation of what Abraham said at the beginning of the episode. I love the small moments with her staring at the neck of her son, and smelling her children as they go out the door. I do wish she dug into their necks though, if only to rid us of their atrocious child acting.
The flashbacks to Abraham’s past at first felt a little disjointed. The main weakness of the series thus far is its inability to feel truly rooted in anyone’s story from week to week. It never feels tightly plotted, and that was even more clear this week as the flashbacks hardly felt like they related to the present other than the occasional line of dialogue that allows David Bradley to wink at the viewer. That said, holy fuck The Master moves like a badass. I couldn’t take my eyes of the screen as he moves through the bunks, feeding on the weak and snapping their necks. It begs the question as to why the Nazi’s are harboring The Master, and I’m sure we’ll learn more thanks to that bastard Herr Eichorst kicking around in full Nazi garb.
Let’s talk about Ansel’s wife hanging from the ceiling. Definite Argento vibes there with the pattern on the window contrasted against the lime green walls. It was such a treat. The footage of Ansel’s demise in the barn was pretty great, and I saw Eph’s damnation from it before he even opened that barn door.
I keep saying it each week, but I’ll say it again, Vasily is a fucking badass. He’s the only one close to the truth of what’s going on, and his scene in the sewer tonight was nothing short of the scariest this show has churned out. I love how the vampires move around him, the shot of the black pupils against the flashlight gave me chills, and his narrow escape shows more excitement in the future for this lowly rat exterminator.
The last scene functioned as a slow introduction into the most heightened point of frenzy for the story. I know they could have handled it better but I loved Corey Stoll’s performance as he delivered his impassioned speech about the nature of the virus. Even still it’s a great device to raise the stakes of the show to a near volcanic level and give Jim a much needed redemption.
- Sweet leather daddy fixer in Bolivar’s loft was too cool for school, glad he died rather quickly but I could see it a mile away.
- The stinger was on full display this week.
- Loving how the virus brings the infected back to what they love the most. By far my favorite element of this new take on the old beast.
- Nora was better this week, her scenes had some emotional weight and depth that she so sorely lacked in previous weeks.
Next week is the occulation, expect full scale insanity in the streets of Manhattan.
With Mortal Kombat X, developer Netherrealm Studios is looking to build on the phenomenal success of the last game, which successfully rebooted one of gaming’s most iconic franchises. It’s not due until 2015, but that hasn’t kept them from showing off the game and its impressive roster of fighters. The latest fighter to step into the spotlight is Raiden, a character that’s been a part of the Mortal Kombat series since the very beginning.
In Mortal Kombat X, every fighter comes with three different variations so you can choose one that best fits your play style and master it. For Raiden, the three options are Displacer, Thunder God, and Storm Lord/Master of Storms (the trailer and screens say two different things, maybe they haven’t decided). You can get familiar with them all in the video below.
Mortal Kombat X is slated to release on PC, PS3, PS4, Xbox 360 and Xbox One in 2015.
Right now, as you’re reading this, Sony is busy working on bringing developer Naughty Dog’s post-apocalyptic hit The Last of Us to the big screen. As a huge fan of the game, I have high hopes that this could very well be the first good video game adaptation. Don’t get me wrong, I’ve enjoyed the Resident Evil and Silent Hill films to varying degrees, but even I can recognize they’re not particularly “good” movies.
I have hope because I know that Sony wants this film to be successful as much as the fans do. After a massively successful start, The Last of Us is poised to become a huge new franchise for them that spans games, films, and everything in-between.
At Comic-Con last month, it was revealed that Maisie Williams, known by geeks around the world as Game of Thrones’ Arya Stark, is in talks to play Ellie. Williams is the best option, in my humble opinion, outside of their going back in time to abduct a 14 year-old Ashley Johnson. The film is a collaborative effort with Sam Raimi (Spider-Man, Evil Dead – but you already knew that), proving again that this is something they’re taking seriously.
Because turning a 15 hour game into a 2 hour movie is no easy task, writer and creative director Neil Druckmann has revealed that the film will differ substantially from its source material. “In two hours you can’t tell the same kind of story that you can in a game like The Last of Us, which is 15 hours,” Druckmann told MCV. “I’m in the middle of it now, and it’s been super difficult because there’s so much that happens in The Last of Us – even just in the cinematics – that can’t fit in a film, let alone all the gameplay in-between and dialogue.”
Their interactive nature means games can meander a bit, because the audience is always actively engaged, but a film has to be more focused. So to remedy this, Druckmann needed to find the most important aspect of its story — the relationship between Joel and Ellie — and focus on that.
“It’s been really difficult to cut certain things out, but what I’m starting to get this is really focused narrative that’s about these two characters. Some parts will be similar to the game and some parts will be quite different, but it’s kind of interesting in helping me understand this other medium and its strengths compared to video games.”
I’m glad it won’t be a copy/paste of the game, because I’ve played it. I want a new experience, and it sounds like that’s exactly what Druckmann and company are looking to accomplish with this.
Last July, I wrote about an indie zombie survival game called 7 Days to Die. Now here we are a year later and there’s been nary a post about it since. That’s my fault, as I had plans to preview it on our YouTube channel, but I never got around to it. In an effort to escape the boredom that usually comes during the void of new game releases that is August, I finally gave in and bought 7 Days to Die. A week later, and I’ve spent nearly 30 hours in it.
The time I’ve spent in this game comes alarmingly close to becoming a full-time job, and it’s all because of how ridiculously addictive it is.
The concept is simple. Just combine the harsh survival conditions of Rust and DayZ — also, unfortunately, bringing with it the asshole players that tend to populate those kinds of games — with the zombie hordes, resource gathering and deep crafting system of Minecraft. Zombies are an ever-present threat, but it’s your fellow players, the folks who make it their singular goal to ruin every other player’s good time, who you usually have to worry about. That changes when the sun sets, because that’s when the hordes randomly appear and the undead, who during the day are limited to shambling, are gifted with the ability to run.
The crafting is very similar to Minecraft, only you don’t have to learn recipes because they can all be found in-game. That’s great for people like me who have terrible memories or just don’t want to spend an inordinate amount of time learning how everything is made.
So if you happen to be in the market for something fun and new to play, I highly recommend you check out 7 Days to Die. It’s in Steam Early Access right now, so it’s unfinished, but they’re doing a fine job providing regular updates that consist of bug fixes and new content and features. If you have $24.99 and don’t mind adding a crazy addictive game to your games library, you can grab 7 Days to Die on Steam.
Indie developer Killmonday Games, a husband and wife team based in Sweden, have released a behind-the-scenes video that shows off how they’re going about creating the music and sounds for their upcoming psychological horror game Fran Bow. I’ve always been fascinated with foley work, because it’s an incredibly important aspect of filmmaking and video game development that goes largely underappreciated. If it’s not done right, it can ruin the immersion, and for horror games in particular, immersion is a key component in how effective they are.
For more Fran Bow, I recommend you check out Tyler’s interview, because it’s a great read that offers a bit more detail on what Killmonday is looking to accomplish with the game. If you prefer something a bit more visual, you can watch me playan early version of the game’s demo.
I’ll be honest with you. I don’t get the sports. The football sports, the soccer sports — I don’t understand the appeal of any of it. About a month ago I found out there’s a position in football called a tight end, and I’m still getting over it. I’ll be writing up a post about The Last of Us when it’ll suddenly hit me. I’ll have a good laugh as I think about all those manly men, men’s men, who are hootin’ and hollerin’ as someone who has ‘tight end’ on their resume attempts a 360 degree snapshot barrel roll. Or whatever.
All that is a long-winded way of my saying that despite its dumb name, #killallzombies — that’s right, if you disliked numbers replacing letters in some titles (F3AR, Se7en), hashtags may be the next annoying trend coming our way — shows a world where mowing down the undead hordes is a sport. Like, one they telecast and everything. Finally, a sport I can get behind.
The coolest thing about this game comes when it’s being live-streamed. On Twitch, viewers will be able to vote on in-game events that can spawn more hordes or trigger arena events. They can also enter chat commands that affect gameplay in various ways, like temporarily reversing the game controls, making this a true spectator sport.
No word on a release date, but when it does arrive, #killallzombies will release exclusively on the PS4.
One of the more intriguing features The Last of Us Remastered brought with it when it arrived on PS4 last month was a new Photo Mode. With the press of the button, the world Naughty Dog created is frozen, giving players all the time they need to frame the perfect shot. YouTuber Grant Voegtle has used this nifty feature to create a beautiful new trailer for the game that, through still images and a haunting track from the game’s OST, manages to be more effective than most trailers we get today.
Something we can all agree on is that horror movies tend to fall on familiar tropes to move the story along. Sometimes those tropes are done in unique, interesting ways, so much so that we don’t even realize that it’s a trope we’re viewing.
But sometimes those tropes are so blatantly obvious that we can’t help but groan and facepalm. These clichés stick out like a sore thumb and drive me insane, almost to the point that I want to turn off a movie when it happens.
So I put together a few of my most hated clichés for you to check out below. Then, if you’re up for it, put together a few of your own in the comments! Let’s hear what drives you batty when it shows up!
No Cell Phone Signal (Or Other Issues)
Sorry, I’m just not buying this one anymore. If you were in the middle of the desert, a lá The Hills Have Eyes remake, I’d be okay with it. But when you’re at a motel or a cottage or a camp, I’d expect there to be service. In fact, I’d almost guarantee that it’d be there.
Sometimes a Tumblr comes around that really nails an idea, even if that idea is completely and utterly insane (see Metal Albums With Googly Eyes). Such is the case with Slug Solos, a Tumblr dedicated to taking guitarists in the midst of their solo and replacing their guitar with a giant slug. I honestly can’t tell you why it works so well but it just does. Seriously, look at some of those photos below and then tell me that you’re not entertained.
These are the kinds of things I wish Lego would release a box of. If they had these sets when I was a kid now, I’d be playing with them pretty much all the time.
Artist Mike Doyle is a guy who doesn’t mind spending countless hours upon hours in his endeavor to create amazing art using only Legos. And one of his projects was to create abandoned houses using only white, gray, and black blocks, ending up with creations that look like they’re haunted, infested with the most terrifying apparitions imaginable.
But what’s most impressive about these sets is just how detailed they are. Considering their massive size (some are measured in feet, not inches), you really begin to lose sight of the fact that they’re created with Legos and, instead, think that they are made of something else entirely. It’s seriously impressive.
Check out the small gallery below and then go to Mike’s website to see more incredible builds.
Article by Bloody-Ian
While the celebrity guests take up much of the attention at Flashback Weekend, what would it be without the tireless toils of the vendors’ room? A big empty room. If it’s horror you can get it here; from horror-themed ties, to guitar pick earrings, to vintage horror comics, to original horror art.
Often unnoticed is the effort these vendors go through to make a living off these events. It’s blood, sweet, and rolling carts that transform these drab folding tables into a mobile store front usually no more than eight feet by four. It’s all about getting the fan to stop and look be it huge posters, videos playing, racks with their most collectable items, or just good old fashion sex appeal.
Larry of the MOJO RESIN table has a wide array of classic magazines stacked in front of model kits. His passion for model kits started when he was stationed in Japan and over the decades he has gone to countless conventions. While several comic-cons have become multi-media spectaculars, “…horror conventions have remained grass-roots.” He comes year after year, because he enjoys meeting with people and the celebrity’s are still approachable.
Next to his table is VOODOO COMICS table run by Jim and Griff (pictured above). Box after box of just horror comics overflow their table as they preside over the collection like demented genies granting any request they can.
Jim shared that the vendors (fans, themselves) often barter with each other; be it simply trading collectibles, to logo designs and graphics printing. They are a community within a community, spending their days in the hustling Dealer’s Room and their nights hanging out in somebody’s hotel room. Each event is like a convention within a convention for the vendors. They catch-up, share information, and just have a lot of fun…all while trying to pay the bills.
New this year is a slightly smaller table full of tiny delights. It’s BENT METAL CRAFTWORKS run by John and the artist Stacey. Glittering in the florescent lights is a wide variety of jewelry, row after row of guitar pick earrings featuring Freddy, Jason, and KISS.
Stacey’s (the artist) has been growing Bent Metal online for 5 years but just recently realized how big Chicago’s appetite was for horror. She’s very pleased the convention-goers and the Flashback Staff and expects to do more conventions.
It’s thanks to the efforts of these fans, craftsmen, and artists that a typical hotel ballroom is transformed into this dark caravan of macabre delights.
There’s a handful of developers who are using virtual reality in some really cool ways right now. One example is a game called Don’t Let Go, which conjures most of the major phobias from spiders to a fear of the dark — no clowns! — and throws them at you in an attempt to get you to let go of the Control buttons on the keyboard. If virtual reality is a part of the exciting future of horror, I feel like The Corridor: On Behalf Of The Dead is one of a growing list of reasons to be excited about that.
The premise behind this game is fantastic, as it puts you in the mind of a suspected murderer. That alone has my full attention, as my imagination immediately starts racing, wondering what the mind of a killer is like. Your goal is to use an experimental program called the The Corridor to find out the truth. I imagine it won’t be as easy as it sounds.
The developer is currently seeking £37,500 on Kickstarter, and with just 23 days to go, they’re still woefully short of that goal. Get familiar with it in the video below.
If I had an Oculus Rift, I’d be all over this. It’s games like this that get me very excited for the possibilities that virtual reality offer developers, and particularly those who are working on horror games. For more on The Corridor, feel free to follow it on Steam Greenlight.
In less than two weeks, the armies of hell will march their way to consoles with the release of the Diablo III Ultimate Evil Edition, the ultimate iteration of Blizzard’s dungeon crawler series. Just last month, Blizzard revealed they were unsure as to whether or not Diablo III on consoles would see any support post-release. They seem to have made up their minds now, as it’s been confirmed that everything the PC version gets will come to consoles, albeit with a slight delay.
This is great news. I own the game for PC and Xbox 360 already and I plan on grabbing the Ultimate Evil Edition when it comes to Xbox One later this month, because I’m a massive Diablo nerd who spends way too much time scouring dungeons for their sweet, sweet loot.
I was a bit confused when Blizzard said they weren’t sure if they’d support the console versions, not just because it makes no sense to not support every platform, but also because that was an extraordinarily odd thing to say a month before the release of the game you’re saying you might not support. Now that that’s been cleared up, I can look forward to returning to the game for the third time, because there are demons that need slaying and my level 60-something Monk is the right woman for the job.
Diablo III Ultimate Evil Edition arrives on PS3, PS4, Xbox 360 and Xbox One on August 19.
Guardians of the Galaxy is way better than people are giving it credit for, and it’s starting to wear my patience thin.
Thin is one of the major issues Guardians has, if any, and people on my personal Twitter feed are blasting it for being a touch trite, and also being incredible similir to Star Wars (from the characters to the arc). The fact of the matter is, Star Wars isn’t original, either. In fact, the work of the mythologist Joseph Campbell, especially his book “The Hero with a Thousand Faces,” directly influenced Lucas, and was what drove him to create the ‘modern myth’ of Star Wars. (Wiki)
This isn’t a problem for me, mostly because a film’s structure being similar to another isn’t a strike against it. These days, nearly every film is pitched as “so and so meets so and so.” It’s wholly impossible to be 100% original; everyone’s a poser (sorry, kids).
Now that you understand Guardians IS thin on story, and carried many similar themes and structires to Star Wars, it’s time to get over it. What’s most important to me, an extremely harsh critic (in other people’s eyes, at least), is that I’m entertained. There’s nothing worse in entertainment than feeling like you have to skip a song, or fast forward a movie. If a theater starts lighting up with cellphones, that’s a sign that the filmmakers are losing their audience. Personlly, when I’m bored, I start thinking about how badly I want to start tweeting about it. The second I think about my phone, I’ve been lost, at least until something interesting pulls me back in.
Guardians is one of the best – if not THE best – superhero movie in the past decade. It’s impossible to measure it against films like Tim Burton’s Batman or Blade because that was a different time that had an extremely different kind of storytelling. Now, we expect something grand, exceptional, and me personally, I want my films grounded in reality. Even fantasy flicks should have some sort of anchor in the real world to tell our mind, “hey, this is on Earth, and it’s happening for real!”
James Gunn, who wrote the final draft of Guardians, and directed the Marvel Comics adaptation, brilliantly opens with Star Lord’s (Chris Pratt) origins. It’s a tearjerker moment that easily broke the record for how quickly it had the audience weeping. When Star Lord’s mother dies of cancer, its a heartwarming/crushing moment that the entire audience can relate to; everyone has lost something/someone imprtant to them. This entire prelude takes place on Earh, clearly, until he’s abducted by aliens. Now, when Gunn heads to space, the film is already grounded in reality, and our brains can move forward subconciously thinking, “hey, Star Lord is human. Cool.” It’s the kind of thing you wish took place in Star Wars, especially considering how many human-like Lucas’ characters are…this is one of the major issues with modern Star Wars sequels, not to mention the awful, bloated visual effects work.
On a technical level, Guardians avoids this by not allowing the visual art department to overdo it; there’s serious restraint shown. The alien worlds have a human-like structure to them, adding to our believalilty to the situation. And the fact that Gunn took the time to populate these different set pierces with extras is what truly adds to the realism (see Sky Captain and the World of Tomorrow for an example of poor polulation in an CGI environment). Even the character’s costume design – which better be nominated for an Oscar or I’m coming for someone’s head – was far superior to any film of its ilk. Suprisingly, a movie about an intergalactiv battle, didnt look cheesy. Probably for the firt time since Star Wars.
All of this works together to make Guardians a technically sound movie, but it’s not what makes it tick. Gunn has put his mark on the film, injecting it with strategically placed humor and payoffs. He clearly understands what an audience want from a movie – escapism. I’m so sick of all of these movies, spawned by the success of Batman Begins, that take themselves too seriously. There’s a bit of 90′s in Guardians, which isn’t all worked up about the science of space, and more focused on how it’s going to make you smile (whether it’s from Rocket Racoon adjusting his crotch or a dancing baby Groot). The soundtrack is the most import device in Guardians as it’s a constant callback to Earth, a cue to our brains to accept this realism, and also an instant mental ejeculation of endorphins.
There’s never a dull moment in Guardians, a masterpiece, yes, a mother-fucking masterpiece of sci-fi/comic cinema. From the moment Star Lord is introduced to the hilarious and uplifting end credit sequence, the audience will be continually engaged with a fury of action-packed fun that, by the final crawl, should have you emotionally locked in to these characters for life. If most films are about entertainment – at least that’s why I go to the theater – Guardians of the Galaxy is cinematic nirvana.
Nope, you read that headline correctly — because the world is a strange and wonderful place, someone has gone and made the original Doom playable in an ATM. If you’re wondering why someone would do such a thing, especially since it looks incredibly frustrating just to control the thing, the answer is simple: because no one else had.
Another possibility is that they were looking for a project that would keep them busy while we wait for Bethesda to show off the next Doom. But if that’s the case they may want to be a bit more ambitious with their next project, because we won’t be hearing from that game for some time.
Article by Bloody-Ian
Flashback Weekend 2014 kicked off in Rosemont, IL…and it did not disappoint.
At check-in, the line stretched through the hotel; a motley parade of all types came out. Metal shirts were standing next to polo shirts, next to others in that all too distinct red and green stripped shirt. Young and the ‘young at heart’ all congregated here in this Chicago suburb to pay homage to icons of horror such as Lance Henriksen, Angus Scrimm, and Caroline Williams. However, there was one name hanging in every conversation; like the halls of Springwood High, everyone was talking about Freddy Krueger.
As the first photo-op got underway (see some samples below, courtesy of Ryan Looney) the crowds were anxious for Freddy. Something magical happens in the makeup when one goes from unassuming Robert Englund to the icon of Horror Cinema, FREDDY.
While Englund works the photo-room for hours in make-up (created by Robert Kurtzman), every photo comes into the hands of a delighted fan and, if for a moment, they forget all the concerns of everyday life. The table where they pick-up the souvenirs has the air of Christmas morning, and of course, Freddy’s there.
It’s important to note that this is NOT a Freddy Convention. Fans of all horror can come and see artists work celebrating everyone from Bela Lugosi to foreign horror of today to independents.
Truly, in the winding neutral walls of this Crown Plaza there is something for every horror fan.
And just when you think it’s dying down, Svengoolie (Chicago’s own horror icon) walks by swinging a rubber chicken…
The opening night capped off with Charles Brand’s “FULL MOON’S 2014 SHOCK-O-RAMA ROADSHOW.” it was a fun time with a lot of audience participation, stories, and several trailers. He shared stories about working with some major actors, distributing GHOULIES and (my personal favorite quote) “Someone stole the Boner-Meter.” It’s truly a show worth staying till the end for.
More coverage tomorrow.
FLASHBACK WEEKEND runs through Sun, Aug 10th.
John Squires wrote me last week pining, "Aw, man! I wanted to do that Hellyfish story!" It is now with a great deal of spite and spirit the we do not let him write this one either. Why? Because he refuses to nut up and get a PS4 so we can smack each other around next gen style! Where was I? Oh yeah! A new Hellyfish poster!
From the demented minds of Pat Longstreth and Rob MacLean comes Hellyfish... yes, Hellyfish, a film that will no doubt be either released by The Asylum or mockbusted by The Asylum. Doesn't really matter which.
America’s only missing nuclear weapon is leaking radioactive material into the ocean just off the coast of Tybee Island, GA. The trifling existence of a hapless cast is disrupted by a vicious force of nature that shows no mercy.
Director Kimani Ray Smith's gore-laden horror comedy Evil Feed hits On Demand and digital outlets in the UK this August 25th courtesy of Solo Media, and to celebrate we have a THOROUGHLY NSFW trailer right here that's sure to whet your appetite for more. Bon appétit!
Evil Feed stars Laci J. Mailey ("Arrow," "Falling Skies"), Terry Chen (Cabin in the Woods, Snakes on a Plane), Shirleyanne Mason (Zalman King’s Body Language), Alain Chanoine (Punisher: War Zone, Blade: Trinity), Carrie Genzel (Jennifer’s Body, Watchmen), and Derek Gilroy (Elysium, "Supernatural").
The film is directed by Kimani Ray Smith.
The Long Pig Restaurant, known in the underground world for its cannibalistic cuisine, has a new star attraction, the “Pit of Gore,” where bloodthirsty customers get to watch their prospective meals being tenderized as captured elite fighters are forced to battle to the death as their “Tendertainment!”
In the vein of Grindhouse cinema, EVIL FEED is an over-the-top, laugh-out-loud, action gore flick that’s guaranteed to make you cringe.
Tee Villain just won the internet today with their limited edition “Horror Skull” T-shirt, created by Yannick Bouchard, available today (8/8) only.
The best part? It’s available in various colors for only $11.
“I love drawing skulls, and I had this idea, I wanted to make a mosaic of smaller images to create the illusion of a skull,” said Bouchard, “and I just thought a montage of all the most iconic horror movie villains would be perfect.”
Perfect is an understatement. How about EPIC?
DreadCentral is reporting that Jeff Buhler is the latest to take a stab at Paramount’s Pet Sematary reboot.
Buhler, who writer Insanitarium and The Midnight Meat Train, spoke to the site about his faithful adaptation of the Stephen King novel to be directed by Juan Carlos Fresnadillo.
“Paramount had a script from Matt Greenburg and then brought Juan Carlos on, and they were looking to do some work on the script, and then I came in. Juan Carlos and I collaborated on a new outline for the film, Paramount loved our pitch, and I’ve been writing the first draft of the script. It’s very exciting.”
Commenting on the original 1989 horror classic, which was directed by Mary Lambert and based on the novel of the same name by horror legend Stephen King, “The original has a very special place in my heart,” said Buhler. “The film fits perfectly in the time period [in which it was produced], and the source material is one of the Stephen King books that I read as a teenager that made me flip out, and I’ve read it more than once since then. It’s a fantastic book and a fantastic story.”
With the narrative revolving around a family that moves into a new home next to a cemetery with powers that allow the creatures buried in it to come back from the dead, Buhler stated of his approach to the remake, “Now that I’m a father and I have a six-year old and a two-year old, all of the horror within that story that comes from losing a child is suddenly very real and tangible and utterly tragic [to me]. I think the one element that we are trying to bring to this version of Pet Sematary is a sense of truth and honesty in the horror and really take it back to the original material. I think that in the 80’s movie it’s a little campy in places, and we are trying to get away from all of that and really get back to the core of the story, which is that of the family dealing with grief from the loss of their child and the horror of breaking the laws of nature as a result of that. Juan Carlos in particular is very focused on the emotional elements and how they could be represented in a visual context that is compelling.”
“We are being very respectful to the book,” he continued, “and we are not tying ourselves to anything in the first two films at all. We are [also] bringing in some fresh elements that speak to the spirit of the story that aren’t in either one.”
“If you look at the core of it, of what’s going on with the family, it’s an absolutely disturbing story,” Buhler offered. “I think the heart of the story has to do with Louis and his relationship with his kids and grappling with that dilemma when kids ask you what happens when you die and what you believe in. It deals with these big questions in such a personal way, and that is classic Stephen King. They are huge ideas, but they are told through a very identifiable, close-knit family unit, and that’s so powerful so we are just immersing ourselves in that – the loss, the grief, and the horrific results of people making really, really bad decisions.”
As for the tone of the script as it pertains to the eventual film’s intended rating, “I try not to get too hung up on that while writing, especially because this isn’t like a Texas Chainsaw where there’s going to be a lot of ripped open abdomens and people chewing on intestines or anything like that,” he said. “It’s already going to exist somewhere on that line between R and PG-13. If the studio feels like they need to market it as PG-13, then it will be the most hardcore PG-13 movie you could get away with. There are a couple of deaths, but with this one the horror is a little more atmospheric. The big concern of course is that you are killing children, which studios are always loathe to do, but it’s a King story and that’s at the center of it so Paramount knows what they are getting into. There’s no question that kids are gonna die.”
“We’ll be done with the first draft by the end of the summer,” Buhler said of the current status of Pet Sematary, which is being produced for Paramount by Lorenzo DiBonaventura and Mark Varhadian.
“Juan Carlos and I have been working very closely from the beginning so I think the process will be very quick. It’s not going to be one of those situations where there’s a script that the studio likes but then they bring on a director who has a bunch of new ideas and then it goes back into the scripting process for another six months. Because we are doing everything with the director from the beginning, hopefully we won’t be far from where we need to be [with the first draft] when we are done.”
The 1989 Pet Sematary scored up a 1992 sequel where t he ancient Indian cemetery with the power to raise the dead returns and influences the lives of new residents.