Shock rocker Marilyn Manson has take to twitter to leave a little message regarding his appearance on the TV show Sons Of Anarchy, stating, “Making more mayhem on SOA…” The musician has been a guest star on the final season of the show.
Oh, and did I mention that he added a little blurb about his new album, saying, “And…the new album is prepared for landing. Fasten your seat belts.”
Looks like we can expect the follow up to 2012′s Born Villain to come sooner rather than later, although this does not confirm any kind of release date.
Making more mayhem on SOA. And…the new album is prepared for landing. Fasten your seat belts.
— Marilyn Manson (@marilynmanson) September 2, 2014
Universal Pictures’ Dracula Untold, the Gary Shore-directed version of Bram Stoker’s novella, will now open in theaters October 10, 2014, one week earlier than originally planned.
In the film, “Luke Evans is starring as the most famous of vampires in an origin story that sees a Transylvanian prince risk eternal damnation in order to save his wife and son from a Turkish horde. Barks will play a figure in Eastern European folk tales known as a baba yaga, a beautiful young woman who turns into a savage witch. Kristjansson will play Bright Eyes, an Eastern European taken as a slave as a young boy and now a vicious assassin in the Ottoman Army. Parkinson will play Dracula’s son, named Ingeras.“
Starring Luke Evans, Sarah Gadon, Dominic Cooper, Zach McGowan, Samantha Barks, Thor Kristjansson and Art Parkinson, the film was shot in Belfast last year.
Here’s the newest trailer from yesterday…
British actor Douglas Booth (pictured in Noah) is joining the cast of the classic lit mash-up Pride And Prejudice And Zombies, adapted from Seth Grahame-Smith’s parody novel, Deadline reports.
The send-up of Jane Austen’s 1813 book tracks the adventures of heroine Elizabeth Bennet but adds hordes of the undead to her Regency-era English existence.
In the Burr Steers-helmed Pride And Prejudice And Zombies Booth will play Bingley. L, the good-natured and wealthy pal of Mr. Darcy. Lily James, Sam Riley, Bella Heathcote and Jack Huston also star in the film produced by Brian Oliver, Allison Shearmur, Sean McKittrick, Natalie Portman, Annette Savitch, Tyler Thompson and Marc Butan.
In just two days Tusk, Kevin Smith’s toothy horror film about a man (Justin Long) who is surgically turned into a walrus by a mysterious seafarer (Michael Parks), will have its World Premiere at the Midnight Madness portion of the Toronto International Film Festival running from September 4 to 14, 2014.
Released today are the above piece of concept art, showing Long realizing he no longer has legs, as well as a the below production video taking you behind-the-scenes.
A24, who has been on fire as of late, is releasing The Human Centipede-inspired horror in theaters September 19, 2014.
— Tusk (@tuskthemovie) September 2, 2014
It’s starting again…
Bloody landed an exclusive first look at the elevated new poster for The Pact 2, which IFC Midnight will be releasing on VOD September 5 with a limited theatrical run set for October 10.
The film is, “ a truly terrifying new film set just weeks after Annie Barlow’s deadly confrontation with the Judas Killer. In this elevated sequel, we meet June, a woman whose carefully constructed life is beginning to unravel due to lucid nightmares so awful they disturb her waking life.”
Camilla Luddington (“Grey’s Anatomy”), Patrick Fischler (“Californication”) and Scott Michael Foster all star in the sequel to the Nicholas McCarthy written and directed 2012 movie. The film was directed by Dallas Hallam and Patrick Horvath.
Devoured past participle, past tense of de • vour (Verb)
1.Eat (food or prey) hungrily or quickly.
2.(of fire, disease, or other forces) Consume (someone or something) destructively.
3.To engulf or swallow up.
Gravitas Ventures’ Devoured, directed by Greg Olliver and written by Marc Landau, is now available on VOD platforms everywhere.
Bloody Disgusting takes a peek at a clip from the film starring Marta Milans, Kara Jackson, Bruno Gunn and Tyler Hollinger.
“Immigrant mother (Marta Milans, Killer Women, Mala Hierba) works as a cleaning woman at an old New York City restaurant in order to make enough money to pay for her sick son’s operation. With no friends or family, she lives a lonely, desperate existence, saving every penny and sending it home for her son. As his condition worsens malevolent forces living within the walls of the restaurant begin to torment her. She struggles to escape, and return to her son before the evil within the dark walls drives her completely mad.“
It’s been well over a year since Aliens: Colonial Marines landed with a rather spectacular flop, stirring up a storm of controversy that continues today. It’s still making headlines thanks to the ongoing class action lawsuit filed last April regarding the misleading advertising campaign used to market the game. Now, Sega and Gearbox Software, the game’s publisher and developer — Colonial Marines was actually co-developed by five different studios, one of which (TimeGate) has since shut down — are at war over who’s to blame.
The lawsuit was filed because of the misleading advertising campaign — including the E3 2011 demo for Aliens: Colonial Marines, which shared little resemblance to the retail product — that was used to market the game. The retail version we got looked significantly worse than the E3 demo, despite it’s being shown off nearly two years before the game would release.
According to Sega, the fault lies with Gearbox, which they claim to be solely responsible for the demo. In court documents filed this week, the publisher details an agreement both companies had to agree to regarding the “precise particulars of marketing assets” for Aliens: Colonial Marines. Gearbox told Sega the demo was representative of what would eventually become the final product.
Clearly, that wasn’t the case.
The demo is only part of the problem. The filing also lists eight instances where Gearbox made public announcements without their approval.
It would seem Gearbox CEO Randy Pitchford is also partly to blame. “Effectively–it’s Randy [Pitchford] doing whatever the f**k he likes,” a Sega rep wrote in an email sent in October 2012. “Apparently he did it twice on [Borderlands 2] also, against, against all plans and despite the fact they asked him not to. I think our best result here is that we have no more panel sessions …”
There’s nothing good about all this, and it’s far from over. The next hearing is on October 29, a few weeks after the release of Alien: Isolation, which I’m sure Sega doesn’t want associated with Colonial Marines.
I’ve seen you’ve been pretty busy with all the New 52 stuff and and I gotta say, I have a love/hate relationship with most of your titles. But that’s neither here nor there, I have a different thing to discuss with you, and that is the matter of Lobo.
An Editorial by Pablo Arriaga
What you’re doing to him hurts me. I can almost forgive what happened with his first appearance in the New 52 with Rob Liefeld and him ending up looking like a roided-out, Jersey Shore reject. After all, it’s Rob Liefeld. But then you had Villains Month and showed us the images of what he would look like.
I can’t believe it. You’ve taken away the badass metal Lobo I know and love. I still bought that issue, I figured I might as well give it a chance. It was a gut punch. You told me that everything I knew and loved about this character was a farce. Instead there was this new skinny guy who says “Sorry. Not sorry,” (seriously, he’s not a teenager) to replace him. Now you’re gonna give us the continuation to that story with a cover that hits me right in the metalhead feels.
What are you doing to him?
Why such a drastic change to the character?
I think you’re missing the point of why this character was so loved. It was created right for the metal audience, from the very beginning I could see him rocking out somewhere with KISS, Alice Cooper, or another Shock Rock band. Then you switched his character to represent this overt machismo and complete insanity attitude towards life. He was still a parody, but one that us metalheads could relate to. He was loud, obnoxious, loved to drink and party, and enjoyed a good brawl the same way a metalhead would enjoy a moshpit.
You’re taking all that away from us. And this new image wipes away everything that’s great about the character. I couldn’t see Simon Bisley drawing this version of Lobo. This is not the badass motherfucker who’s banned from both Heaven and Hell. I’m not sure Scott Ian would write a story for this version of Lobo and this isn’t the Lobo who would drag the mighty Hal Jordan on his tailpipe like he was a dirty ragdoll.
And subsequently control a Red Ring from Atrocitus. All our Lobo needs his Spacehog, his Dawg (whenever he feel like hang out), and his hook. No fancy lasers or trickery; he faces those bastiches front and center, because the more they struggle and fight, the more he enjoys the bounty.
DC, you’re in the business of creating gods, Superman, Batman, Wonder Woman, Green Lantern. We’re not supposed to relate directly to them, but to aspire to have their innate qualities and unbreakable sense of justice, protection for mankind, and overcoming fear. Lobo is also a parody of that. He’s a relentless anti-hero who stops at nothing to be the best, the “Main Man,” and with this comes his attributes that make him a metal god; love for debauchery and destruction, addiction to ultra-violence, and obviously, the joy of heavy metal.
Pablo Arriaga has been bringing the gospel of The Slacker Nerd to countless people the world over with Juatcast.com. He also writes the most metal rants on the web and knows a better recipe for tacos than you do. For more writings or to be baptized in the arms of Matthew McConaughey follow Pabby on Twitter and Facebook.
From now through Sept 8, Xbox owners with Gold memberships will be able to get some solid games on the cheap, including HD ports of Resident Evil: Revelations and Resident Evil 4 for $13.59 and $6.59, respectively. If you haven’t played the former, I would recommend getting on that before its sequel arrives early next year.
A majority of the deals are on Xbox 360 since it has a significantly larger library of games, but the Xbox One isn’t being left out. If you’ve made the jump to current-gen, you can take advantage of the newly discounted Lococycle for $5.99 and Child of Light for $9.99.
You can find the full list of deals on the Major Nelson blog.
Open wide for this exclusive new teaser for FX’s “American Horror Story: Freak Show”, premiering Wednesday, October 8 at 10 PM ET/PT. In it, we see a terrifying clown reminiscent of Pennywise from Stephen King’s “IT”!
“American Horror Story: Freak Show” begins its tale in the quiet, sleepy hamlet of Jupiter, Florida. The year is 1952. A troupe of curiosities has just arrived to town, coinciding with the strange emergence of a dark entity that savagely threatens the lives of townsfolk and freaks alike. This is the story of the performers and their desperate journey of survival amidst the dying world of the American carny experience.
Jessica Lange, Kathy Bates, Angela Bassett, Frances Conroy, Sarah Paulson, Emma Roberts, Gabourey Sidibe and Evan Peters return. New cast includes Michael Chiklis, Wes Bentley, John Carroll Lynch, Finn Wittrock, Patti LaBelle and the world’s smallest living woman, Jyoti Amge.
In the final issue of the first arc of “Southern Bastards”, Earl Tubb is pushed to his breaking point; He has seen a young kid murdered, another beaten half to death, his house has been vandalized his truck and property destroyer, and his Daddy’s tomb stone broken in half. Tear-filled, Earl calls his daughter one last time to tell her he loves her before laying siege to the diner. This is the issue you read with a glass of scotch and a box of tissues.
WRITTEN BY: Jason Aaron
ART BY: Jason Latour
RELEASE: September 3. 2014
Reviewed by Epic Switzer
You gotta love Earl. As stubborn and idealistic and lacking in self-preservation as he might be, the man is a god damn hero. Earl came to Craw County with every intention of packing up the old house, minding his own business, and being on his way. And maybe it is the case that something we don’t yet know about Earl is that he causes trouble wherever he goes, but the bottom line is that Earl saw some shit going down that he couldn’t abide, and he did something about it. With fists and insults and some of the most violent southern language you’ve ever heard, he did something about it. You gotta love Earl for that.
Every man has his limits though and these Bastards, though they encouraged Earl to mind his own business and leave Craw, take great pleasure in breaking this man. Here, in issue 4, we have the showdown we’ve been waiting for. Without getting into the horrible, stomach turning, beautiful, tear-jerking details: Earl approaches the diner and finds the whole town there waiting for him.
He fights his way through every one of them and enters the diner to showdown with Coach Boss. They have it out, throwing accusations back and forth, until Earl lunges, and Coach beats him to death with his daddy’s stick. It is difficult even know to relive the scene and discuss it. This is one issue that will certainly stick with me for a long time.
For me, this book represents an ideological struggle; the futility of progress. It specifically deals with culture in the American South but the ideas are in no way limited to those people. Change isn’t something these people were interested, and Earl, no matter how noble, was never going to change anything. He was only a man, and his power was physical, he tried to overpower minds with strength. I don’t imagine Earl ever thought he was going to kill every single person in Craw, but it was the only tool he had, the only way he ever knew to deal with conflict.
It going to take a lot more to deal with these people, and, without spoiling the last page, Aaron is setting something up that I think will be pretty profound, if not more horrible than anything that has happened yet. I love this book. I think it can be appreciated on a social level even if you have no exposure to this particular culture. It is an archetypal story, I can’t wait to see how fucked up things can get.
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 email@example.com.
So this is a new article for me. But something I’ve gotten pretty passionate about over my last year in the comic book world: preordering. It’s an important part of the comic book process that shows your invested in a book before it comes out. It’s important to show retailers what books you’re interested in before they hit, and this is an effort in my infinite wisdom to steer you in the right direction.
If you dig dark fantasy then you’ll love BIRTHRIGHT it’s a love letter to movies of the 80′s like The Goonies, The Dark Crystal, and Dario Argento’s Phenomena. The colors evoke an 80′s fever dream, the art is simply astounding. It’s dripping in tribute, but manages to be completely original. I’ve since taken in the first two issues and cannot recommend them enough. The first issue is a fast paced character study that functions around the hole a missing person can create, but operates on the dream of every little boy: what if you were whisked away to a fantasy land to become the ultimate hero?
That’s the main conceit of “Birthright” but it’s so much more. It’ll blow you away with the last page and just dare you to read issue two. Don’t miss it, and preorder the first issue with this handy form.
Creator/writer Joshua Williamson (NAILBITER, GHOSTED), artist Andrei Bressan and colorist Adriano Lucas present BIRTHRIGHT, a bold new fantasy adventure from Skybound/Image Comics, debuting this October.
What started as a game of catch in the park between father and son turned into a parent’s worst nightmare. For the Rhodes family, losing their son was the most devastating thing that could’ve ever occurred… but it couldn’t prepare them for what happened when he returned. Skybound’s newest original series will turn fantasy into reality in this oversized debut issue.
Williamson explained BIRTHRIGHT’s origin predates both his current hit horror series: “People have asked me if I get worried about being typecast. But I knew BIRTHRIGHT was coming. Even though it opens with what I think is one of the scariest things imaginable in real life… it’s a fantasy adventure book at heart. And one Skybound and I have been working on for a long time. Before GHOSTED even came out.
“As a fan of adventure and fantasy stories as a kid… it was always great seeing these young kids going on amazing journeys to far way magical lands. The Lion, the Witch and the Wardrobe, Peter Pan, Explorers, The Neverending Story, Wizard of Oz, Flight of the Navigator. But there were never any real consequences to those adventures… What happens when you come home from this great adventure? What do you do next? How do you go back to normal life?
“Those thoughts lead to my obsession with the idea of destiny. If your whole life has been about one moment… one thing that you had to accomplish… what do you do after it is over? How do you go on knowing that the main reason you were born is finished?
“That’s what Birthright is about: what happens after the adventure.”
BIRTHRIGHT #1 arrives in stores on 10/8, as an oversized 40 page issue, available for only $2.99. It can be pre-ordered with Diamond Code AUG140536.
How confident would you feel if the fate of the entire planet and humanity itself rested in the hands of a violent, sexually-abused vigilante? Yeah, me too. That is exactly what makes “The Victories” #15 the exceptional finish to a truly inspired series. How else can celestial deities judge us a species if not through one of our most damaged souls.
WRITTEN BY: Michael Avon Oeming
ART BY: Michael Avon Oeming
PUBLISHER: Dark Horse Comics
RELEASE: 3 September 2014
Reviewed by Your Friendly Neighborhood Brady
From the beginning, this series has done nothing but surprise and surpass each previous issue. The team of champions, The Victories, has battled all forms of evil and corruption to protect the rest of the world. As this saga has gone on, there have been significant moments and casualties for the good guys as well as the population at large. Losses have mounted and worn down our heroes.
No one save Faustus, the last surviving member of the team, is left to oppose the would-be world manipulators. Then people start exploding. Mastermind creator Michael Avon Oeming has completed his opus to superheroes in this final installment with such heft and simplicity at the same time. Can someone who has suffered as Faustus has be the right person to run everything? It’s such a fascinating question to ask at the end of it all that I really don’t know what to think.
What would you be willing to sacrifice to make the world better?
Your humanity? Your freedom? Your own moral code? Your right to choose?
These are just some of the fascinating things to ponder as the big decision comes about and…you should really read it yourself. No amount of adjectives or superlatives can express the sheer originality Oeming has poured into this series. The Victories was raw, fresh, original, and brutally honest about how superheroes would cope with doing what they do. Pick up this series any way you like.
I guarantee you will be hoping for more even at the end.
After many years in development, the newest feature film from genre favorite Joe Dante (Gremlins, The Howling) is finally hitting the big screen – one particular screen, that is, as the film is slated to premiere at the prestigious Venice Film Festival this Thursday, September 4th. The horror comedy Burying the Ex is Dante’s first theatrical feature as director since 2009′s The Hole, and explores the niche subgenre of zombie-themed romantic comedy (Rom-Zom-Com), one that previously achieved a great deal of cult success with Edgar Wright’s Shaun of the Dead and most recently last year’s Warm Bodies.
Based on a 2009 short by Alan Trezza – who expanded his own story to feature length – the film stars Star Trek‘s Anton Yelchin as Max, a horror fan and proprietor of a movie memorabilia shop who falls for and eventually moves in with the lovely Evelyn (Twilight‘s Ashley Greene), only to discover that his new beau is more than a little bit psycho… but that’s nothing compared to her behavior after she’s dead.
Prior to the Venice screening, I got a chance to chat with Dante about the project’s long road to release, and along the way we took a quick breeze through zombie cinema history. Of course, you know I also had to ask him about the status of the upcoming Gremlins reboot…
Bloody-Disgusting: It’s great to see you back in features after doing quite a bit of television recently. Apart from the technical and financial aspects, what are the creative differences between how you approach a feature and how you shoot an episode?
JOE DANTE: Well, the main thing is that when you’re doing TV, you’re always answering to somebody else, so you have to follow the strictures, rules and styles that are laid down for that show; the show’s rules may not allow for certain kinds of shots, or a certain style of editing. Whereas if you’re doing a feature, it’s all yours, and you can usually approach it however you want. Of course, the result is much more personal than any of your TV work.
BD: What first brought Alan’s story to your attention? Did you see the original short?
DANTE: Actually I’d never seen it… in fact, I’ve still not seen it. Alan just showed me the script, and told me after I’d read it that it was based on this short that he’d done. I liked him, and I liked the script, and it was a situation where we said, “Let’s see what we can do with this.” That was about five years ago, and over that time several opportunities came and went. But we persevered, and suddenly, with really no warning at all, a situation presented itself whereby if we could make it within a certain time-frame, we could probably get the money. So we just geared up and got it made.
BD: Did you and Alan make any changes to the original concept in the process?
DANTE: We did work together on the script – I had some ideas that I thought would make it better – but Alan really did most of that himself. It was a sold script when I read it, and he had already fleshed out the main ideas completely by that point. I don’t think the movie we ended up making was really that much different from the original script I read five years ago.
BD: Zombie features come in and out of vogue, but they’re seeing a resurgence at the moment. Do you think the success of films like World War Z helped you get this project financed?
DANTE: I have a feeling that World War Z‘s success was the one thing that finally put this thing over, because it really wasn’t being taken too seriously before that picture came out. As you said, the zombie genre has a pretty checkered past. It goes all the way back to the 1930s with White Zombie and King of the Zombies, which were basically considered junk; even I Walked with a Zombie, which most of us hold up as a classic now, was considered junk back in the ’40s when it was made. The same goes for Zombies of Mora Tau in the ’50s. It wasn’t until 1968 when Night of the Living Dead became a big cult hit, and the name “zombies” started to be associated with what would really be considered “ghouls,” that the genre started to pick up steam – especially after the Italians jumped on board with their own movies. Who would have thought in those first few decades that a studio would spend as much money on a zombie film as they did for World War Z? It’s a huge change of fortune for the genre.
BD: You clearly have an encyclopedic knowledge of horror, and from what I’ve seen of Burying the Ex, it looks like that knowledge and affection for the genre is going to be a big part of the story.
DANTE: It is, it’s definitely what I’d call a “monster kid” movie. But it’s for monster kids who have grown up a little, and by that I mean it’s a little sexier than usual. The hero of the film works at a movie memorabilia store, and he’s basically the stand-in for all the people like us, who grew up watching this stuff and loving it. Anton is a big film buff himself, and he’s was constantly watching movies and discussing them while we were shooting the picture.
BD: So are we going to see a lot of those knowing winks to classic horror that were scattered throughout films like The Howling?
DANTE: Oh yes… horror fans will spot a lot of things they recognize.
BD: I was living near Hollywood Forever Cemetery when you were shooting some scenes there. Is that the first time you’ve filmed at that location?
DANTE: Oddly enough, I’d never even been there at all before, even though I’d heard about the outdoor film screenings they have there in the summer, and I’d always wanted to know what it was like. We shot there for a night or two, and it’s a very cool place. I think this is a very L.A. movie; at one point we thought about shooting it in New Orleans or Seattle to save money, but I think that wouldn’t have captured that L.A.-centric feel that we needed for this story.
BD: I read that at one stage you were considering online crowd-funding to get fans involved in the development of the film. Did that plan come into play?
DANTE: That was a very late development. We were actually shooting at the time that they decided they wanted to try crowd-funding. I did something similar a couple of years ago for Trailers from Hell, and I know that you can’t just wake up one morning and decide you’re going to take that approach; you have to plan it vigorously. There are some people thanked in the credits who donated funds to the production as a part of that, but I’m not sure I’d call it entirely successful.
BD: Do you have any distributors interested yet?
DANTE: We’ve had some nibbles, but I think the producers are waiting for the premiere in Venice to figure out what to do.
BD: One thing I’m sure fans are dying to find out is if there’s any news about the new Gremlins film. Have you been involved with the development of that project?
DANTE: Lots of people have asked me, but honestly I don’t really have much to do with it. There are two major entities involved – Warner Brothers and Amblin – and various people have been trying jump through the hoops with the studios to get this picture off the ground for years. Although some very well-known people have come up with a concept and some good ideas over that time, for whatever reason they were not seized upon until recently. I’m told they’re finally working on something now, but frankly I have no idea what it is! [laughs]
BD: What’s next on your agenda?
DANTE: I’m doing more television right now, which helps pay for the time it takes me to raise funding for these film projects [laughs], of which Burying the Ex was one that took a number of years to get made. It’s just one of the many pictures that you pull out of your pocket and they say, “Okay, what else have you got?”
BD: You have to have so many irons in the fire to beat the odds.
BD: Yeah, you really can’t exist in this business with just one movie that you’re trying to get made; you have to have a lot of them, because the chances of any one of them happening are fairly remote. For example, this one was almost a fluke, and you have to be able to strike when the iron is hot. If you’d asked me two years ago if I’d thought this particular film was going to be made, I would’ve had my doubts, because it took such a long time to make it happen… but then, all of a sudden, there it is. If there’s one certainty in this business, it’s that you just never know.
In news that should make our European readers happy, Bethesda has decided to push forward the release date for The Evil Within four precious days to October 14. This means the game will arrive in Europe, India, South Africa and the Middle East the same day it does in North America. The publisher also confirmed that the previously announced release dates for Australia (Oct 16), New Zealand (Oct 17) and Japan (Oct 23) remain unchanged.
Its latest trailer focused on the game’s voice cast, which includes Anson Mount (Hell on Wheels) as Sebastian Castellanos, Jennifer Carpenter (Dexter) as Julie Kidman, and Jackie Earle Haley (A Nightmare On Elm St.) as Ruvik.
The Evil Within arrives on PC, PS3, PS4, Xbox 360 and Xbox One on October 14.
Watch where you’re walking…
XLrator Media released the first clip from their sci-fi action-thriller The Scribbler, which is set to open September 19.
“The Scribbler follows Suki (Katie Cassidy), a young woman confronting her destructive mental illness using “The Siamese Burn,” an experimental machine designed to eliminate multiple personalities. The closer Suki comes to being “cured,” she’s haunted by a thought… what if the last unwanted identity turns out to be her?”
The film is based on a 2006 graphic novel by Daniel Schaffer, who also penned the screenplay for director John Suits.
There’s also an impressive cast, which include Katie Cassidy (A Nightmare on Elm Street), Michelle Trachtenberg (Black Christmas), Eliza Dushku (Wrong Turn), Gina Gershon (Bound), Sasha Grey (Open Windows), Garret Dillahunt (The Last House on the Left, Winter’s Bone, The Road), Michael Imperioli (The Sopranos) and Billy Campbell (The Killing).
Today, Capcom released two new pieces of concept art from Resident Evil: Revelations 2 confirming that at least part of the game will be set on an island, which looks to have been outfitted with a prison. When we first revealed the possibility of an island setting, one BD reader mentioned its resemblance to the Rockfort Island from Resident Evil Code: Veronica.
Both islands have creepy, dirty prisons and they’re about the same size, but lots of islands look alike so it’s hard to tell. As cool as returning to Rockfort Island sounds, this may just be Capcom’s way of paying homage to Code: Veronica. What do you think?
Resident Evil: Revelations 2 arrives on PC, PS3, PS4, Xbox 360 and Xbox One in early 2015.
It’s no secret that the hit TV show South Park has its fair share of horror-inspired episodes, not to mention the plethora of gruesome moments contained in its episodes. And back in early 2011, we ran a feature on several horror-inspired South Park episodes, which you guys seemed to love.
Now, we’ve got a different list, this time from bassist/vocalist Rich Hinks of Cambridge progressive metal band Aeon Zen.
Today, I, Rich from the band Aeon Zen, will be giving you a guide to some of the most comically gruesome moments in South Park history. Aeon Zen have just released a South Park styled music video for our new track “Unite” to support our upcoming album “Ephemera”, and have become rather intimately acquainted with all things Cartman & co.
Aeon Zen have just released their new album Ephermera, which you can purchase via iTunes.
Head below for the list!
5. Good Times With Weapons – Season 8
Any episode that features more substantial scenes of Butters is always going to fare well in my book, but it had to be included in this list purely for the gruesome appeal of the aforementioned character taking a ninja star to the eye, where it remains for the majority of the episode. An Eric Cartman “wardrobe malfunction” is always going to be enough to make it onto the South Park horror list regardless of any of the other contents anyway!
Gearing up for a the Venice Film Festival competition, check out this first clip from Gremlins director Joe Dante’s latest horror pic, Burying the Ex. I’m in love with this clip, which channels Robert Zemeckis’ classic 1992 Death Becomes Her!
It stars Fright Night‘s Anton Yelchin, Texas Chainsaw 3D‘s Alexandra Daddario, and The Apparition‘s Ashley Greene. Check out our report from the set here.
“Burying the Ex follows Max (Yelchin), an all-around nice guy, and his overbearing but incredibly beautiful girlfriend, Evelyn (Greene). Their relationship takes a nosedive after they decide to move in together and Evelyn turns out to be a controlling, manipulative nightmare. Max knows it’s time to call it quits, but there’s just one problem: he’s terrified of breaking up with her. Fate steps in when Evelyn is involved in a freak accident and dies, leaving Max single and ready to mingle. Max eventually meets Olivia (Daddario), a cute and spirited girl who just might be his soul mate, only to learn that Evelyn has risen from her grave and is determined to get her boyfriend back…even if that means turning him into one of the undead.”
Dante previous directed The Hole, which is actually a really great children’s horror film.
Killian’s master plan to bring guns back into the city, as well as his backstory, are revealed in this issue while Murphy gets closer to discovering his plan. He shares a tender moment with Officer Lewis before being hit wiped out by a monster truck. “Robocop”#3 is one of the most tonally and qualitatively consistent book out today.
WRITTEN BY: Joshua Williamson
ART BY: Carlos Magno
PUBLISHER: BOOM! Studios
RELEASE: September 3, 2014
Reviewed By Epic Switzer
Writing about “Robocop” every month is like trying to find new ways to describe a sunset; there is only so much hyperbole and beautiful language I can use to talk about something that is so perpetually fantastic. I can say that this issue in particular favors plot of action, taking time to show the Killian getting arrested and then catching us up on the cities failed attempt to control gun ownership.
I really appreciate how little time was spared in the actually investigation of it all. No doubt Killian is the villain, and Murphy pretty much immediately guesses where his stash of weapons is going to be. The book, like the movie, lets the plot serve the action and Killian, like Clarence Boddicker and Cain before him, is a despicably appropriate antagonist for Murphy. Everything is pretty cut and dry here, and I just can’t get enough of it.
Carlos Magno’s art is already beginning to feel like home. Opening this issue to the first page requires a sigh of relief, as if I’ve been wondering around for the last month trying to remember my own name. But here we are once again and issue 3 delivers, big time. I suspect some pretty disturbing and serious carnage in this book’s future and Magno is just the man for the job.
This book continues to earn top marks for consistently delivering on its promises. Not a line of dialogue is out of place, none of the characters ever do anything to to act like anyone other than themselves, the art never feels rushed or less than meticulously constructed. This book has a well defined style and genre and fits it to a T. It may not be for everyone, but it sure as hell is for me