With writer/director Declan O’Brien’s Joy Ride 3: Road Kill releasing to DVD and Blu-ray this Tuesday, June 17th, here’s additional coverage stemming from our set visit last summer to the same in Winnipeg, Canada.
Written and directed by O'Brien, whose previous horror entries include the Twentieth Century Fox Home Entertainment features Wrong Turn 3, Wrong Turn 4 and Wrong Turn 5 (as well as Syfy's Sharktopus), Joy Ride 3: Road Kill (review) originated with the 2001 Paul Walker-starring, J.J. Abrams-co-scripted film Joy Ride.
Produced by Kim Todd, this installment (which melds the worlds of tuner car racing and road-trip horror) stars Ken Kirzinger (Freddy vs. Jason) as the project's villainous truck driver 'Rusty Nail.’
Joining him are Kirsten Prout (The Twilight Saga: Eclipse) as tuner-car girl ‘Jewel McCaul,’ Jesse Hutch (Freddy vs. Jason) as racer ‘Jordan Wells,’ Benjamin Hollingsworth (of the television series “Cult”) as mechanic ‘Mickey Cole,’ Gianpaolo Venuta (of the series “Being Human”) as ‘Austin Moore,’ Jake Manly (“Hemlock Grove”) as ‘Bobby Crow,’ Leela Savasta (2006’s Black Christmas) as ‘Alisa Rosado,’ Dean Armstrong (Wrong Turn 4: Bloody Beginnings) as ‘Officer Williams,’ Sarah Mitch as ‘Candy,’ and J. Adam Brown as ‘Rob,’ among others.
Touching down in Winnipeg last summer, we joined the cast and crew for Days 13 and 14, which featured two evenings of practical effects-heavy night shoots outside the city. In addition to witnessing some rather gruesome gags involving vehicular-inspired mutilation (courtesy of FX artist Cameron Patterson and crew), we chatted with Canadian actress Prout, who stated of her attachment to Joy Ride 3 and her character of ‘Jewel,’ “I read the script and thought it was badass. My character is kind of the ‘cheerleader’ of the (Jordan Wells) racing team, and I think Gianpaolo (Venuta) and I provide a bit of the comedic relief in the film, which I don’t think was intentional, but sometimes you have a funny chemistry with (another actor).”
“It’s safe to say that I’m a horror fan,” continued the affable and striking Prout, who previously starred in the horror flick My Super Psycho Sweet 16: Part 3 and will appear in the upcoming genre features Stalker and Captured.
“In high school my friend and I would go and dig in the 99-cent bargain bins for the worst horror movies we could find. So I would say how my love for horror started out was through comedy, which is why every time I do a horror film I try and add a little bit of humor into it, because at the end of the day the best horror films have those terrifying moments combined with unintentionally weird, gross or awkward moments, and you just have to laugh. So my love of horror films kind of grew out of a place of camp.”
With director O’Brien nearby overseeing a FX gag involving a character’s grisly demise via radiator fan to the face, “What I love doing is running around, with blood all over the place, screaming and crying and out of control,” commented Prout. “How often do you get to do that in everyday life? So it’s nice to be on a show where we can just let loose. If I can just keep working in horror films, I’d be happy. They are incredibly fun.”
Look for our exclusive video interviews with actor Kirzinger and more from the set of Joy Ride 3: Road Kill here soon, and have a look at our exclusive photo gallery here.
We’d like to thank Fox’s Conor Sellers and Trailer Park’s Cara Mandel for their assistance.
I’m not sure how I missed its initial reveal, but Crytek Austin — a new studio that’s primarily made up of ex-Vigil (Darksiders) devs — debuted their next game earlier this month, and it looks like it’ll be right up our alley. It’s called Hunt: Horrors of the Gilded Age, and it’s a horror-themed four-player co-op shooter inspired by the works of H.P. Lovecraft. It’s also free-to-play, because that market is huge.
If you’d fancy a chance to play it yourself, you can apply for the beta here.
Last week I gave you a few bands that I’d been listening to and enjoying the hell out of. For this week’s suggestions, we turn to the man who’s always been behind Bloody-Disgusting himself, Mr. Disgusting! Below are a few suggestions from Brad on what you should check out and add to your playlist. There’s some metal, some grunge, and something…else.
Get on down and start listening!
Sepultura – Chaos AD and Roots
Musician Ron Graham (aka Giallos Flame) is back with Archivio Giallo Volume Two, the second edition in the Archivio Giallo series on Giallo Disco Records. This release hearkens back to the 70′s synths and stylings of grindhouse, horror, suspense, and noir. And with titles like “13th Precinct”, “NY Ripper”, “Night Train Murders”, “Analog Screams”, and “Requiem For A Vampire”, how is this not perfect for a horror fan? Head below to hear it for yourself!
You can snag a copy of the record here. The third and final installment of the Archivio Giallo series will be released this August.
If you fancy sharks and setting birds on fire, you may want to consider returning to The Forest. The game is still in Early Access, but it’s now a little less rough and has a few new features courtesy of patch 0.02, which adds a slew of features, bug fixes, and tweaks to what is, to me, already a very strong contender for scariest game of 2014. There’s nothing quite as unsettling as foraging for precious resources only to look up at the treeline and notice that you’re being watched by a tribe of cannibals. That’s deeply unnerving.
Oh, you want the full patch notes? Okay then:
New features and gameplay tweaks:
Simple raft now buildable via book (No Sail yet!)
Walls can now snap to form floors and roofs (experimental, can defy gravity)
New suprise item added to yacht
When being knocked out for first time you will now wake up in a random cave
Lowered fall damage amount
Birds can be killed with fire
Stamina recharge now takes longer
You can now block attacks with the red plane axe by holding down right mouse button
Timmy taken scene a little more dramatic, better lighting, sparks
Lowered intensity and range of fire light
Lowered health on turtle
Improved fish movement
Increased range of lighter
Enemies will drag downed friends out of danger again
Females will sometimes freak out at dying family members
Improved load times
Overall performance increases
Big memory optimizations, should help crashing on some pc’s
Improved cave wall memory usage
Dropped sticks and rocks are now pooled and shouldn’t increase memory over time
Optimized hud rendering (10% faster on cpu)
Improved lake water swim zones
Ocean swim zones now correctly rise and fall with tide
Underwater visuals improved
Improved terrain in some areas, reduced lumpiness in rocky area, fixed issues with caves poking through terrain
Fixed super deep ponds that could kill players by falling into them
Small old boat collision added
Plane exterior collision added
Improved balance on some grass textures (less bright)
Lowered top heavy pine tree to be easier to cut
Lots of small material/texture tweaks
Sunset/sunrise made brighter
Beach cave entrances made bigger and easier to enter
Improved world collision in some areas
Improved low resolution mountain textures
Improved terrain rendering and missing specular
improved cave lighting and details (caves 4,5)
Fixed countdown timer not taking different time zones into account
Fixed some spelling mistakes in tutorials and in survival book
Fixed shelter on fire spawning infinite logs
Fixed bug where day count was 1 more than it should be
Fixed issue where sticks,rocks and logs needed could go to -1
Fixed not switching back to default weapon after holding lizard, rabbit or fish
Fixed player not colliding with things tagged ‘Prop’
Fixed light leaking into parts of some caves
Fixed bug where you couldn’t cook multiple times on same campfire
Fixed spear being able to cut down trees
Fixed ponds flickering at certain distances
Fixed some items not being saved in inventory when game is loaded (some might still vanish, expect more saving fixes/improvements soon)
Fixed log holder not saving logs on load/save
Fixed twinberries not having eat icon and having wrong leaf texture
Fixed bloody tables in cave not being cut out of nav mesh
Fixed lizard and rabbit skin triggers not being connected to ragdoll body
Removed extra set of teeth and eyes appearing behind Timmy
Chopping dead bodies no longer results in player flying into the air
Animals no longer spawn multiple copies if on fire
Cannibals shouldn’t run underwater or follow player out to the boat (they might run a little bit into water however)
Fixed some bushes missing vertex colors when cut
Fixed birds landing in sky, improved bird a.i. and performance
You can grab The Forest here.
Cavity Colors has released a brand new limited edition painting by artist Aaron Crawford for their Neon Maniacs collection. It’s of the Necronomicon, the legendary grimoire first conceived by H. P. Lovecraft. I’m almost positive hanging one of these on your wall won’t open a portal to some otherworldly realm, allowing Cthulhu and a host of other horrors into this world, but even if it did, it’s still a damn cool painting.
If you’d like to take home one of these for yourself, act fast, because they’re only printing 100 of them. Each will be printed with archival inks on acid free velvet cotton paper before being signed and numbered by Aaron Crawford.
If getting a badass print outweighs the possibility of summoning the Old Ones into our world, you can get it here.
Casey Kasem, one of the most recognized voices in radio as well as being the voice of Shaggy, Scooby Doo’s partner-in-crime solving pal, has passed away at the age of 82. According to his daughter, Kasem, “…passed away surrounded by family and friends.”
The voice actor recently went through an ugly public battle between his second wife and his four children, which was connected to his suffering of Lewy Body Disease, a form of Alzheimer’s.
Kasem was the host of America’s Top 40′s, a show that I listened to with great frequency when I was growing up, and he was also the voice of Shaggy in the original Scooby Doo cartoons. He voiced Shaggy for 40 years, returning to voice the character’s father in Scooby Doo! Mystery Incorporated. He was known for signing off his radio broadcasts with the statement, “Keep your feet on the ground and keep reaching for the stars.”
Our thoughts go out to the friends and family of Casey Kasem. Rest in peace, sir. May you ascend to the stars you were constantly reaching for.
Last week I posed a question that effectively asked you to share how you became a horror fan: What was the first horror movie you remember seeing? Since that fateful first movie, we’ve all seen endless amounts of horror films, probably more than we’d ever be able to recollect. And there have undoubtedly been some amazing movies in there, some true gems that stick with us and demand several viewings to fully appreciate everything that it has to offer.
But some horror films are just downright awful. I’m talking so bad that you roll your eyes to the back of your head, moan and groan, and then, in the ultimate demonstration of critique, you either leave the theater or turn it off. These horror films are the ones that simply need to go far, far away, hidden in the warehouse at the end of Raiders Of The Lost Ark.
So I’ve got a few horror films below that I absolutely loathed that I want to share with you. Then, I want you to list several of yours in the comments below! Don’t be shy! If you hate a movie, state it and be proud about your distaste!
I don’t get why everyone finds this movie so funny. It’s the same joke told over and over and over and over and over and over and over and over again, which ruins any amusement a viewer gets mere seconds after they started laughing. I seriously wanted to leave the theater when I saw this. I almost broke the cardinal sin and pulled out my cellphone to check how much more I had to suffer.
Mick Taylor is back in all his glorious grit and gore with Wolf Creek 2! I really dug the first one back in 2005, so I’m happy to say that waiting nearly a decade paid off. The sequel is bigger, meaner, and funnier than the first.
For the most part, I agree with everything Brad said in his review of part 2. The set pieces in this one are tremendous and range from small farmhouse suspense to a massive big-rig chase through the outback. Mick Taylor even rides a horse, for chrissakes. Writer-director Greg McLean goes balls out action for lots of the film, then wisely tones it down for a creepy climax that’ll get under your skin.
As Taylor, actor John Jarratt delivers a boldly maniacal performance. As he explains in the Blu-ray’s behind the scene featurette, “Creating a Monster,” he has to go to some “dark places” to get into character. He’s a family man in real life, so playing a raping, homicidal redneck takes some single-minded absorption for sure. Taylor hams it up a bit more in this one too – delivering one-liners ala Freddy Krueger. He even makes a dick joke!
The fine line McLean establishes between rooting for Taylor and hating him is pretty damn impressive. The film kicks off with a hilarious prologue in which Taylor takes on two condescending prick cops. Of course we want Taylor to snuff these pigs out (there’s a lot of pig jokes here too), but later on, when he’s butchering a backpacker and preparing to rape another, you feel bad for rooting for this monster. Wolf Creek 2 definitely toyed with my sympathies.
Aside from all the spectacular action and stunts, I really enjoyed when things calmed down near the end so more suspense could be had. Without spoiling anything, there’s a long scene between Taylor and one of his victims that is amazingly tense. We never quite know what Taylor is thinking or when he’s being sincere. It’s a really anxious scene and the highlight of the film for me.
Image Entertainment and RLJ Entertainment’s Blu-ray of Wolf Creek 2 takes viewers deeper into the outback with the comprehensive behind the scenes look I mentioned before. It runs about an hour long and covers a lot of regular ground, such as casting, production design, and location scouting. Obviously the stunts are the most engaging parts of the doc. Watching them plan and pull off the truck scene is really fun. If you enjoyed the film, be sure to check out the doc.
There’s also 25 minutes of deleted and extended scenes. There’s nothing particularly juicy here, but if you wished you could spend more time with those lovable German backpackers, you’re in luck. There’s a lot more of them. The only really interesting deleted bit would’ve gone in the very beginning, when the backpackers are still in the hostel. In the deleted scene, another young traveler is warning them about the dangers of hitchhiking, talking about how hundreds of people disappear a year that way. Since we already know about the disappearances from the first film and from the titles that open the film, I can see how it’s an unnecessary scene.
Prepare to have you eardrums kicked in their hypothetical asses too. The 5.1 surround on this bitch is impressive, especially during the truck sequence. No complaints about the video.
Fans of the original Wolf Creek will not be disappointed with the sequel. Unfamiliar viewers will be able to follow along without having seen the first (though I highly recommend checking it out). Either way, make sure you get Wolf Creek 2 up in your eyeballs when it hits home video June 24!
In theaters June 20 from Oscilloscope Laboratories is James Byrkit’s feature directorial debut, Coherence (read our review).
“On the night of an astrological anomaly, eight friends at a dinner party become subject to a troubling chain of strange and puzzling goings-on.”
Part cerebral sci-fi and part relationship drama, Coherence is said to be a tightly focused, intimately shot film that quickly ratchets up with tension and mystery.
Check out some new stills below.
Coherence had its world premiere at Fantastic Fest in Austin, where it won the Next Wave Best Screenplay award, and has since gone on to play the Sitges Film Festival (where it again took home the Best Screenplay prize) and the Philadelphia Film Festival, receiving widespread critical and audience acclaim at every stop along the way. The film will continue to play at festivals in the coming months on its way to a traditional theatrical release in 2014.
Check out this cool international one-sheet for Nacho Vigalondo’s (director of Extraterrestrial and Timecrimes) high-tech suspense thriller Open Windows (read our review), recently acquired by Cinedigm for release late summer or early fall of 2014.
Starring Elijah Wood (Maniac) and Sasha Grey, “Wood stars as a fanboy of actress Jill Goddard (Grey), and as the winner of an online contest he gets the rare chance to have dinner with her. However, when dinner plans are cancelled someone named Chord says he can make up for it. Chord gives Nick (Wood) the tools to spy on Jill from his computer, in a way that no fan could ever dream of. After each demand Chord gives Nick, it becomes apparent that Chord set the whole thing up and Nick is a part of a much bigger, more sinister plan.“
Frank Grillo, Michael K. Williams, Carmen Ejogo, Zach Gilford, Kiele Sanchez, and Keith Stanfield star.
Returning alongside writer/director/producer James DeMonaco to produce the next chapter of the thriller are Blumhouse Productions’ Jason Blum (Paranormal Activity and Insidious), alongside Sébastien K. Lemercier (Assault on Precinct 13, Four Lovers) and Platinum Dunes partners Michael Bay (Pain & Gain, Transformers), Brad Fuller (The Texas Chainsaw Massacre, The Amityville Horror, A Nightmare on Elm Street, Friday the 13th) and Andrew Form (The Texas Chainsaw Massacre, Friday the 13th, The Amityville Horror, A Nightmare on Elm Street).
I must preempt my examination of the horror-noir comic by first taking a firm stance on one historically debated topic among critics: Is noir a genre or style? Here I must publicly state that I reside strongly on the side of…both.
Those arguing noir as a genre point to the abundance of conventions and tropes that establish it as such; the hard-drinking detective, the femme fatale, convoluted and often unresolved plots, smoking, cities, and so on. As the genre evolved these conventions remain intact as much as the conventions of any other bona fide genre have, so there is no reason not to categorize noir as such.
Editorial By: Epic Switzer
Noir as a style refers us to the multitude of disparate kinds of storytelling that maintain the noir sensibilities. Notably a dark, grimy, dreadful tone suggesting hopeless, nihilism, the gritty true fear of understanding the world is unforgiving, and that people are naturally selfish.
From this perspective noir is not a subcategory of fiction, but a pervasive feeling present in many genres. Marrying these two perspectives is as simple as invoking one particular theory of semiotics: the signifier and the signified, the finger pointing to the moon. Allow noir as genre to represent the signifier here; the sign that points to a bigger idea, the signified style or tone that is the emotional spine of the story. Let the conventions and tropes act as the finger pointing to the moon that is the feeling being conveyed. Now we can see the noir as both the genre and the style: a shadow of a man with a gun gives us the feeling of hopelessness. This becomes important as we examine the way in which noir has stuck its sticky black tentacles into almost every corner of the narrative landscape.
No other genre/style has exemplified the post-modern movement as naturally. As pastiche and amalgamation became the dominant mode of storytelling in film and literature noir evolved and invaded all types of genres. The Neo-noirs of the 60s and 70s (Chinatown, Body Heat) give rise to the Sci/fi-noir (Blade Runner, Alphaville) and eventually to our area of interest the horror-noir. These films and novels took the dark sensibilities of noir and combined the cultural fears exemplified by horror. The pairing of these genres is a match made in hell, but it may be of some surprise how rarely this narrative combination is produced by comparison. There are of course prime examples: Silence of the Lambs and Se7en in film and the Nightside series of books by Simon R. Greene as well as Jim Butcher’s Dresden Files are just a few. But works in the horror-noir genre are too few and far between.
In his recent article The H Word: Hardboiled Horror, Nicholas Kauffmann makes a case for the peanut-butter-and-chocolate-like tastiness of horror-noir. He says “This shared tone of darkness and pessimism makes the horror-noir hybrid inevitable. And why shouldn’t it be? The two fit together like perfect puzzle pieces. But I believe the overlap between them goes beyond tone. Most noir stories involve crime in one form or another, with the protagonist frequently being a hardboiled detective, either professional or amateur, trying to solve the central mystery. I would argue that at the heart of most horror stories, too, is a mystery waiting to be solved.”
Mystery is truly at the heart of the horror-noir. The fear and sense of dread stem from a core misunderstanding, something distant and uninviting that the protagonist can’t help but investigate. Despite the inevitably that they’ll learn something they certainly didn’t want to know. In essence, the horror-noir is a mystery you’re afraid to solve, because the truth is so much more horrible than anything you can imagine. The fear of the unfathomably real is the central conceit of cosmic horror, popularized by early 1900’s authors H.P. Lovecraft and Robert W. Chambers, who emphasized the psychological effects a horror would have on humanity over the horror itself (signified and signifier).
Noir has found a home in the cosmic horror genre. The pervasive hopelessness of in the face of a cold, uncaring world is now hopelessness in the face of a cold, uncaring universe. The thrill of solving a mystery is replaced by the maddening anxiety of unraveling the mysteries of the universe. The once tough-as-nails detective who solves the case at hand with his wit and swagger is replaced by a weaker protagonist, one who searches desperately for clues in an effort to save his soul before some unfathomable beast drives him to insanity. In the cosmic horror-noir, catching the bad guy may be the worst thing you can do. Escaping him (or more appropriately, “it”) for as long as possible may be the only course of action. Case in point: Ed Brubaker’s devilishly plotted “Fatale.”
The first arc of “Fatale” has all the conventions one has come to expect from Brubaker’s crime books and noir in general: corrupt cops, over-zealous reporters, violent murders to solve, a group of interesting characters with individual agendas and yet-undiscovered motives. What’s more we have classic horror elements: witchcraft, monsters, cults, and an unnaturally persuasive leading lady. The style, beautifully illustrated by Sean Phillips, depicts the bleak, sharp angled, chiaroscuro world of the noir, along with the horrific violence, inconceivable creatures, and visions of the cosmic horror. All of this adds up to a unique blending of genres in a novel way. What isn’t apparent at first glance, and what elicits cause to celebrate the genius that is Ed Brubaker, is how seamlessly these styles are entwined to the point at which you may have forgotten they were ever separate entities to begin with. Indeed Brubaker demonstrates the perfect semblance of the horror-noir.
It is not these signifiers that permit us to define this book as a horror-noir hybrid, but rather what they signify. The feeling of insignificance one gets from existing in the world of “Fatale” is difficult to overstate. Dread is pervasive; the threat presented to the protagonist Jo is unrelenting and insurmountable. As patterns emerge, Jo’s consorts are unceremoniously destroyed in any number of horrific ways, a sense of anguish is all that remains. Resistance to the design of the universe is beyond futile; it’s what the mad laugh hysterically about.
In issue #20 Brubaker quotes Nietzsche:
“What, if some day or night a demon were to steal after you into your loneliest loneliness and say to you: ‘This life as you now live it and have lived it, you will have to live once more and innumerable times more’ … Would you not throw yourself down and gnash your teeth and curse the demon who spoke thus?”
This sentiment, echoed (rather appropriately per our discussion) by Rust Cohle on HBO’s True Detective, perfectly illustrates what cosmic horror-noir is all about: truly there is no escape, nothing to overcome, nowhere to run and no mystery to solve. You’ve lived these horrors before and you shall live them again exactly the same way. Futility and hopelessness define this genre. Brubaker takes the ultimate existential crisis and creates a visual experience to approximate it in the most effective way possible, on the comic page.
The horror-noir has found its home in the comic medium for a multitude of reasons. Unrestricted by budget and runtime, Brubaker is free to tell the kind of sprawling story that a noir demands while maintaining the anxiety-building pacing of a strong horror tale. Phillips art perfectly balances the grotesque with the smoky, urban environments that characterize the noir. The effectiveness of this title in this format is rivaled only by the aforementioned True Detective series, hence here’s hoping for a “Fatale” HBO series in the near future.
“Fatale” exemplifies the horror-noir genre, but there are a number of really great reads if you find yourself consumed the darkness and hungry for more. Tim Seeley’s “Revival” is a rural noir (think Fargo) about a small town that’s got a problem with the dead coming back to life. There is of course Supernatural Detective John Constantine in “Hellblazer” with some arcs more noirish than others, check out Dark Entries for a start. Also let’s not forget Steve Niles’ excellent “Criminal Macabre” stories.
Epic Switzer AKA Eric is an aspiring filmmaker and screenplay writer living in Los Angeles. His work tends to focus on the lighter side of entropy, dystopic futures, and man’s innate struggle with his own mortality. He can be found on twitter @epicswitzer or reached via email at firstname.lastname@example.org.
What do you think of Fatale and the cosmic horror-noir hybrid genre? Am I off the mark? Leave a comment and join the discussion!
If you haven’t heard of Anthony Vincent, be prepared to see him everywhere. He’s the guy behind Ten Second Songs, a channel that takes a popular song and then covers it in various styles, each only for ten (approximately) seconds. He hit viral status with his video of Katy Perry‘s “Dark Horse”, which in three months has accrued over 8 million views (see it here).
Due to popular demand, Vincent took two of the most requested styles, System Of A Down and Type O Negative, in the song and put together full videos. You can watch them below.
Subscribe to Anthony Vincent right here.
Sad news as it is being reported by The Wrap that jazz singer Jimmy Scott, whose career spanned nearly six decades, including two presidential inaugurations, has passed away in his sleep at the age of 88.
Scott was known to many horror fans for his brief appearance in the series finale of Twin Peaks, where he sang “Sycamore Trees”, a song with lyrics by show creator David Lynch and music by composer Angelo Badalamenti. That track was featured on the show’s full length film Twin Peaks: Fire Walk With Me.
Rest in peace, Jimmy. You’ve led a long, amazing life and you will be missed.
Roadtrippers is reporting that Erika Stella, a student doing her dissertation on Naples’ Santa Maria la Nova Church, is convinced that a headstone on a grave belongs to none other than the 15th century Prince Vlad Tepes III, the man who was the inspiration for Bram Stoker’s Dracula.
According to history, Tepes’ cruelty and domination was very well-documented except for his final days. In 1476, all knowledge of his whereabouts ceases. Some say he died in battle while others say he was taken prisoner. Some scholars believe that Tepes was the ransomed to his daughter who lived in Naples, where he spent the rest of his days.
Researchers noticed that the tomb at the Santa Maria la Nova Church is covered with Transylvanian symbols, as noticed by Raffaello Glinni, a Medieval history scholar.
When you look at the bas-relief sculptures, the symbolism is obvious. The dragon means Dracula and the two opposing sphinxes represent the city of Thebes, also known as Tepes. In these symbols, the very name of the count Dracula Tepes is written.
So, what’s next for these researchers? Why, opening the grave, of course! These researchers are asking authorities for permission to open the grave to verify their findings.
Below are some photographs of the site.
We’re happy to host the exclusive preview of “Kill Shakespeare: The Mask of Night” here at Bloody-Disgusting. This series looks like a fine return to form and Andy Belanger’s pencils are razor sharp. Issue #1 launches this coming Wednesday and takes to the high seas. The world of pirates is about to hit comics with hordes of horror in toe. This is one to watch!
Kill Shakespeare: The Mask of Night #1 (of 4)—SPOTLIGHT Anthony Del Col & Conor McCreery (w) • Andy Belanger (a & c) The award-winning series returns with a high seas tale of pirate battles, vengeance and lost love. Hamlet, Juliet, Othello and Shakespeare become pawns in a deadly game of survival between the legendary masked pirate Captain Cessario, his first mate Viola, and the new terror on the water, Titus Andronicus’ forbidding war ship The Lavinia. FC • 32 pages • $3.99 Bullet points:
- An excellent companion piece to the new Kill Shakespeare board game released by IDW Games!
Figures.com reports that NECA continues to aggressively expand their 8″ Mego-style figure collection with today’s announcement of two new additions.
These include horror icon Leatherface from Tobe Hooper’s 1974 The Texas Chain Saw Massacre, as well as the mascot for the horror punk band The Misfits, “The Fiend.”
Leatherface and two distinct versions of The Fiend – black and red – are scheduled to arrive by this Halloween.
This week’s Twisted Music Video Of The Week hails from a country that has brought us some of the greatest horror films ever: Italy! That’s right, we’re heading to the land of Dario Argento, Mario Bava, Lucio Fulci, and more to bring you “Blood Shake”, a video from hip hop artist Salmo. The video, which was directed by Niccolo Celaia and Antonio Usbergo, takes place in what looks to be an abandoned decrepit insane asylum and, true to its name, features tons of fake blood. Check it out below!
Many thanks to Konstantin for sharing this video with me! Make sure to leave your suggestions in the comments below for future TMVOTW entries!
The Southern gothic supernatural musical Ghost Brothers Of Darkland County will tour N. America this fall. Written by horror author Stephen King, the act features music from John Mellencamp with musical direction from T-Bone Burnett.
The tour kicks off November 8th in Orono, ME (right outside Bangor) and wraps in San Francisco on December 5th. It will be performed by an ensemble cast of 15 actors and a four-piece live band, comprised of members of John Mellencamp’s band.
The story of the play:
The story goes that Joe McCandless saw his two older brothers battle over a girl which ended in the unfortunate deaths of all three. Now with Joe as an adult and two boys of his own, he’s watching an all too familiar scenario play out before his eyes. As the story continues, a malevolent Shape circles the stage, singing about heaven and hell. Joe McCandless lingers in the dream-land café, remembering the events of his life, and is urged to action by the friendly bartender. In 2007, he goes to his family cabin in Darkland County, Mississippi, where his brothers died in 1967, to tell his own sons Frank and Drake his tale of brotherly love gone sour. With his sons at each other’s throats, Joe’s story will either save or destroy the McCandless family. Will Joe bring himself to tell the truth in time to save his own sons? Find out whether the ghosts left behind will help him—or tear the McCandless family apart forever.
The full tour schedule is below.
NORTH AMERICAN TOUR DATES
Nov 8 Orono, ME Collins Center For The Arts
Nov 9 Orono, ME Collins Center For The Arts
Nov 11 Toronto, ON Massey Hall
Nov 13 Philadelphia, PA Merriam Theatre*
Nov 14 Durham, NC Durham Performing Arts Center
Nov 15 Washington, DC Warner Theatre
Nov 16 Baltimore, MD The Modell Performing Arts Center at the LYRIC
Nov 18 Red Bank, NJ Count Basie Theatre
Nov 20 Portland, ME Merrill Auditorium
Nov 21 Boston, MA Emerson Colonial Theatre
Nov 22 Providence, RI The VETS*
Nov 24 New York, NY Beacon Theatre
Nov 26 Detroit, MI Fisher Theatre
Nov 28 Chicago, IL Broadway in Chicago’s Oriental Theatre
Nov 29 St. Louis, MO Peabody Opera House
Dec 1 Denver, CO Temple Hoyne Buell Theatre
Dec 3 Phoenix, AZ Orpheum Theatre
Dec 4 Los Angeles, CA Saban Theatre
Dec 5 San Francisco, CA SHN Curran Theatre
* Providence goes on sale June 19
* Philadelphia goes on sale June 27