Anchor Bay Entertainment has unveiled the first theatrical trailer for Muck, as well as new poster art shown below.
Horror and gore fans alike should feast their eyes on this freshest take yet on the Muck trailer, viewable on the main page of the Muck Kickstarter.
Speaking of Feast, the Muck Kickstarter campaign to fund the prequel, Muck: Feast of Saint Patrick, is still under way, and recently surpassed the $200,000 mark on the way to the goal of raising a quarter of a million dollars. Just like the original, the Muck prequel will “boast death-defying stunts and practical effects, shot without the use of CGI – all in 4K Ultra HD.”
As a production company, WithAnO wanted to give fans and Kickstarter backers alike an insight into what they’re supporting, and so recently released this exclusive, behind-the-scenes footage of one of Muck’s incredible stunts:
The daring stunt-woman in this case is Alexa Marcigliano, and her courage is palpable in the clip, sprinting O.S. through the pitch-black living room before bouncing on a trampoline, then hurling herself through the 4 x 6 picture window, out into the night. To say that hitting her mark was highly important is obviously an understatement. Jump too short, and Alexa would land head-first on the edge of the porch outside; too high, and she would hit window frame; too long, and she would overshoot the padding buried beneath the grass outside. And, since there was only room in the budget for one window, it had to be done in a single take.
These are the kinds of stunts that Steve Wolsh lives to shoot as a writer/director, but these kinds of stunts take time, money, and not least of all, the ultimate creative control that can only be afforded by independent financing. So remember, any mention or write-up on the Muck Kickstarter campaign directly furthers our goal of making another epic, independent horror film for true horror fans. The Muck franchise is so close to this goal – a goal that at one time seemed insurmountable! – and we have all of you, our loyal supporters to thank.
Muck stars horror legend Kane Hodder (Friday the 13th Part VII, VIII, Jason Goes to Hell, Jason X), Lachlan Buchanan (Pretty Little Liars), and Bryce Draper (Bound), and co-stars 2012 Playboy Playmate of the Year Jaclyn Swedberg, Puja Mohindra, and Laura Jacobs. The middle chapter of an independently financed horror trilogy, Muck will be unleashed in theaters on Friday the 13th, March 2015.
A common complaint about this series of editorials is that we are apparently defending movies that don’t need a defense. I would just like to point out that we are writing these “In Defense Of” pieces not because we think they are bad movies, but because we really enjoy them and have had personal experience with people bashing them to our faces (or in the comments section of a message board). So today I will defend Sorority Row, a movie that is not beloved by even those of us in the horror community. It received a slightly above-average review right here on Bloody-Disgusting but it currently stands at a paltry 22% on Rotten Tomatoes and a 24 score on Metacritic. And I love it. So let’s dive right in, shall we?
Sorority Row has a pretty generic plot that has been use several times before (think I Know What You Did Last Summer), but the plot isn’t really the point of the film. This is a funny, bitchy and gory film that exists solely to entertain and I would argue is better than about 80% of the slashers that have come out in the past decade. I know the whole “it’s not trying to be good” is kind of a lame defense but hear me out: if you think of this movie as a cross between Mean Girls and Scream I think you might be able to see it in a different light and really enjoy it. I believe Sorority Row suffers from the same issue that Drag Me to Hell suffered from upon its release earlier that year: being marketed with a trailer that made it look like a legitimate horror film. Also, The Hills alum Audrina Partridge was in it (although she dies about 15 minutes into the film).
I really love the trailer, but it definitely makes it look like more of a straightforward slasher than it actually is. Like I mentioned in my defense of Drag Me to Hell, Sorority Row is a horror comedy that was marketed as a scary movie. Studios need to learn that you cannot do that because, while the horror fans may get it (though clearly they didn’t make it to the theater for this one), the mainstream does not. At least DMTH made some money. Sorority Row only made $11.96 million domestically on a $12.5 million budget (international box office was $15.24 million which is something, I guess).
I only happened to catch Sorority Row in theaters because I got free tickets for it. I took two of my friends and we pretty much all went in with zero expectations. Once the credits started rolling I looked at one of my friends and asked him if he thought it was as much fun as I did. His response was a very reluctant (but equally enthusiastic) “YES. But no one is going to believe me.” True story. The film never caught on and it has yet to become a cult hit (and I don’t think it will).
The cast is mostly great, thanks to all of the female actresses involved (they certainly look the part of sorority girls). The male characters in the film are reduced to horny douchebags but the girls all have their own distinct personalities (or stereotypes if you want to go negative) and none of them got on my nerves (except maybe Rumer Willis’ Ellie, but at least the movie makes fun of her constant whining). I get that self-aware films are not to everyone’s taste but I think it’s better when a movie can take the criticisms that an audience member would throw at it and lampoon them. Sorority Row does just that.
Leah Pipes is a revelation in Sorority Row and I’m kind of bummed she hasn’t gotten more steady work. She channels her inner Heather Chandler/Regina George to play Jessica and delivers most of the film’s acidic one-liners. My personal favorite being this exchange when her and Cassidy (Briana Evigan) are hiding in a bathroom only to find Megan’s (Audrina Partridge) rotting corpse in the shower:
Cassidy: Oh my God it’s Megan!
Jessica: Oh she looks terrible…
That doesn’t really do the scene justice but I busted out laughing the first time I saw that. The dialogue is fantastic in this movie and there are SO MANY biting quips that I don’t know how anyone is not entertained by it. Then again, that may be part of the reason why people weren’t such huge fans. I actually thought the dialogue was really witty and clever, but maybe I’m just easy to please.
One thing I would like to suggest all of you do (if you like the movie) is watch the commentary with director Stewart Hendler and actresses Briana Evigan, Leah Pipes, Rumer Willis and Margo Harshman (Jamie Chung was unable to attend because she was filming Grown Ups, of all things). It’s very conversational and shows that the crew had a good time working on it. I just think it’s refreshing to see the actresses be so down to earth and really into the film.***SPOILERS***
Oh and the KILLS! One thing that I’ve found in a lot of post-2000 slashers are that the deaths aren’t really that creative (excluding the Final Destination series, of course). While the deaths in Sorority Row aren’t the best ever, they at least show some imagination. Also, since it’s R-rated, they can actually show some gore (though the film isn’t really what I’d call super gory). Sadly, the film does peak early with Chugs’ death, involving a Riesling bottle being shoved down her throat. It’s shame this moment was ruined in the trailer (and that Chugs was the funniest character in the film). That aside, there are flares in mouths, axes in heads and tire irons blades in mouths and shoved up chins. They didn’t hold back on this one.
As for the ending, I can honestly say that I did not see the reveal of the killer coming. The entire time I was in the theater I thought it was going to be Kyle, Jessica’s politically-motivated boyfriend who had clearly been set up to be the killer. Looking back, this was obviously a red herring, but because I went into Sorority Row thinking that it was going to be another dumb slasher I thought that was all the ambition the filmmakers had so they were just going to take the obvious route. They even have a whole bit at the end with Kyle actually having a mental breakdown and chasing Jessica and Cassidy with an ax. When Cassidy’s boyfriend Andy “saves the day” and kills Kyle with said ax, I was really let down and kind of bummed that that was the big reveal I had spent the whole movie waiting for. Then BAM! Andy’s actually the killer and his motive is that he wants to get rid of all the people involved in Megan’s murder so she can have a bright future with him.
It is completely ridiculous makes no sense but I think it’s fantastic. It’s not the best motive or reveal ever but I think that because I was really expecting something predictable, I had the rug pulled out from under me. I read a lot of reviews and comments saying that the movie was predictable and I just didn’t feel that way. But maybe it’s just me? I hope you don’t think I’m a fool for falling for Sorority Row’s trick, but I confess to being taken completely off guard.
So what say you? If you have seen the Sorority Row but weren’t that impressed, feel free to tell me why. And if you saw it and were as surprised as I was at how much fun it was, feel free to offer me some validation in the comments. Let’s try to be nice and avoid any rudeness or sarcasm though, because:
Here’s a really, really cool new poster for The Woman In Black 2: Angel of Death, the sequel to the hit 2012 haunted house film that starred Daniel Radcliffe.
The fright sequel, directed by Tom Harper and stars Jeremy Irvine and Helen McCrory, takes place in the same house 40 years later when a group of children who are evacuated from London during World War II come to stay and awaken the house’s darkest inhabitants.
It opens in theaters January 2, 2015.
“During the London bombings of World War II, school teachers Eve Parkins (Phoebe Fox) and Jean Hogg (Helen McCrory) lead a group of children in evacuation to Crythin Gifford, a remote village outside of the city. When the group takes up residence at the Eel Marsh House, 40 years after Arthur Kipps (Daniel Radcliffe) investigated the first haunting, Eve soon realizes they are not alone. The longer they stay in the house, the more the awful past of the residence unravels itself and the evil spirit that lurks around them threatens the well-being of the children. With the help of a pilot (Jeremy Irvine), Eve does all that she can to protect the children and discover the truth behind the Woman in Black.”
Time to kick off the week with an exclusive for you horror loving cats! Check out this exclusive one-sheet for Christopher Denham’s survival horror flick Preservation (review). The film is set to hit both limited theaters and VOD outlets on January 9, 2015, via The Orchard.
Written and directed by Christopher Denham, Preservation stars Wrenn Schmidt (“Boardwalk Empire”), Pablo Schreiber (“Orange Is The New Black”), and Aaron Staton (“Mad Men”).
Preservation follows brothers Sean (Schreiber), a recently returned veteran, and Mike (Staton), a hedge fund manager, who head out of town to hunt in a closed nature preserve with Mike’s wife, Wit (Schmidt) – a brainy anesthesiologist – in tow. With Sean unhinged from his stint in the military and Mike distracted by career ambition, this was not the romantic getaway Wit was hoping for. But soon the trio are threatened by an unseen menace, and the hunters become the hunted. A camping trip in the woods turns into a contest for survival. When the brothers are stalked and ensnared, Wit must unleash her own animal instincts or else end up a trophy.
Bloody-Disgusting has teamed up with LA industrial electronic rocker Blue Eyed Christ to bring you the exclusive music video premiere for “Freakshow”! The video is, “…optical narrative of John Norten’s observation of The Santa Monica Blvd Halloween Party interspersed with fan submitted footage.”
Head below for this exclusive video premiere!
Blue Eyed Christ states:
As to be expected the Feakshow Video Shoots in Los Angeles were Epic and Chaotic. We started at a big Goth Club’s party the week before Halloween shooting renegade style from the inside. The director, Eric Zimmerman (NIN, Ministry, Soundgarden), got kicked out pretty quickly cause someone complained he was shooting up girl’s skirts, which I’d love to say was true but it wasn’t. Then he got attacked by a hipster on drugs in a Jockey costume outside the club.
This was just the beginning cause all the Freaks came out for the Halloween Video Shoot at one of the largest public gatherings in the world, The Santa Monica Blvd Halloween Party. They shut off the streets of Hollywood for the Freaks and we captured it all! Everything from Real Girl Fights, to Fetish Goth Freaks, to Transexuals is packed into this video. Welcome to the Freakshow!
Phobias are a safe go-to for horror films. Capitalizing on people’s irrational fears has worked for a lot of directors in the past, even though the concept has gone by the wayside in favour of other trends. As such, in the case of Rory Douglas Abel’s low-budget Phobia (formerly known as Alone), throwing in a ghost haunting mechanic seems like a smart way to go. The character is essentially trapped inside their own home, which is no longer considered a safe refuge. Sounds like a promising start, but what about the execution?
Jonathan (Michael Jefferson) is a man suffering from agoraphobia brought on by the death of his wife Jane in a car accident. A year on, and he still can’t bring himself to leave the house, forcing his therapist, Dr. Edmondson (Peter Gregus) to make house calls, and his friend Taylor (Andrew Ruth) to bring him groceries. Things aren’t made easier when Jonathan starts seeing visions of his dead wife, mixed with visions of another woman dressed in black (Sandra Palmeri). Things really start getting hairy when Taylor goes on a trip, and leaves him with Bree (Emma Dubery). Bree manages to get Jonathan to open up, but in doing so, causes his visions to become stronger and deadlier.
Having almost the entirety of a film shot within within one location is often a difficult thing to do, especially with very few characters. Of course, it works in the film’s budget, but that’s not why you’re watching the film. The one location not only creates the sense of isolation, restlessness and a sense of going crazy that Jonathan feels, but Abel is also able to impart those same feelings to the viewer. Honestly, the idea is pretty terrifying to not only fear what would happen if you leave your home, but also the fear of going stir-crazy and having no safe place to go. What makes it even better is that we’re not entirely sure if Jonathan’s sane, and if this is all inside his head.
As far as the acting goes, it’s a mix of amateur talents. Admittedly, Michael Jefferson has a lot on his plate to be carrying the film by himself, and he succeeds in being a sympathetic character, even if the delivery is kind of flat. The same can be said for Emma Dubery, who is also suspect with her delivery. Also, Debbie Rochon in a cameo? Bonus. In terms of the gore, there’s a some light blood with a couple of creepy makeup effects, but it’s just ‘meh’, which ultimately describes Phobia.
Despite what seems like the potential to be a good indie horror film, Phobia fails to capitalize on it’s opportunities. Despite the premise, the film just doesn’t bring anything new to the table, and instead just presents all of these elements and hardly does anything with them. The film just has the persons in his apparitions appear at random, with no reason for them popping up. Worse, the tension suffers because of this, and while it isn’t nonexistent, it does dip into the territory when you start thinking of doing the dishes instead. The last swerve is the cover for the film. While it harkens back to those cool 80s VHS covers, it’s all a lie: it has nothing to do with the film at all. It’s a bait and switch that many low-budget movies have gone in order to grab viewers’ attentions, and it’s really annoying when it does happen.
Phobia is not a bad film. It’s not a great film, mind you, but it falls somewhere in the middle of the road. There were some good ingredients for a spooky haunted house/psychological horror film, but Phobia just goes through the motions that we’ve all seen before and from which we’ve all moved on. It’s a fire-and-forget type of film out of which you’ll get some enjoyment, but you won’t be wanting to watch it again.
Presented in 1.78:1 widescreen, the image looks good for a film of this budget. Details are adequate, with the overall colour palette being subdued and not overly bright (a directorial decision). Black levels aren’t as strong, and as a result, details in the lower-lit scenes tend to be swallowed by the background.
The Dolby Digital 5.1 track is again pretty standard, although there were some instances of the actors’ dialogue not coming through as clear as it did in a previous shot. Surrounds do an adequate job for certain ambient effects and offscreen characters.
First up is an Audio Commentary with Producer Elias Ganster and Director Rory Abel. The duo’s friendship certainly comes through with an energetic track, covering things like the origins of the project, never actually meeting the co-writer of the film, Matthew Barnes (he lives in New Zealand), reshooting specific scenes, how to make your dick bigger when it comes to nude scenes (yeah, I don’t know, either), and other production-related tidbits that make the commentary far more interesting than the actual feature.
Following that is a collection of Deleted Scenes. Nothing too exciting, unless you like watching Emma Dubery’s character making the cliched faux pas of “mistaking ‘x’ for ‘y’ when ‘x’ was dead” routine.
Rounding things out is a gallery of Concept Art, including sketches of effects and photos of the actors and actresses overlaid with sketched-out concepts of their effects makeup with notes.
There’s also a slipcover included that replicates the cover art, with a few embossed areas.
Fan site The Good, the Bad, and Godzilla has been compiling breaking news from the Japanese equivalent of the Wall Street Journal, Nikkei, and the respected movie website, Eiga.com, in which a new Japanese Godzilla movie has been announced!
In the first “Domestic Godzilla” since the 2004 Godzilla Final Wars, Toho Company Ltd. will be producing an all-new Godzilla film to be released in 2016.
“The screenplay is currently in development and we plan to start shooting next summer. We cannot announce cast or staff selections at this time. And we’re still deliberating whether to bring Godzilla to life via CGI or man-in-suit,” said Taiji Ueda (producer of Trick: The Movie ~ Last Stage), who will oversee the new “Godzicon” group – an organization to discuss and decide a wide range of strategies for promoting Godzilla – as Project Leader.
“This resurrection will be the centerpiece for ’16, and this is the force of our words.”
They plan on making something bigger and better than Hollywood’s version.
“The passionate voices of the fans clamored for a resurrection (of the Japanese Godzilla). We will bring the monster back to Japan, with the same high-quality, by bringing together our collective know-how, which we’ve been striving for, so we can’t lose to Hollywood,” he said with confidence.
This shouldn’t be too hard, although I am interested in seeing if they decide to take on Godzilla in digital form.
No matter, this is big news for purists looking for a new Japanese Godzilla film.
There are countless icons that come to mind when thinking of the horror genre. You’ve got the slashers, the aliens, the psychological villains, the supernatural, etc… All of the characters in these subgenres are fantastic because they are memorable, they stand out, they make us smile and, sometimes, we cheer for them rather than for the protagonist.
So let’s take a minute to pay thanks to these icons that make our genre so entertaining! I’ve got a few of my personal choices listed and then I want you to write out yours in the comments below. Let’s hear about your favorites!
Note: The banner art was done by Tedakin. You can see more of his art here.
“You see, Jason was my son, and today is his birthday… ”
“Sex, Drugs, always beautiful people dying, these things do not change. And we can develop more problematic relationship [Jason] with the mother,” they explain.
The statement is massively important as it reveals that the new Friday the 13th will not only feature Jason Voorhees, but also his mother Pamela. It’s also interesting the way that the response is phrased (although, this is a translation), which implies that there will be actual interactions between Jason and his mother.
Does this mean that the filmmakers will be echoing the sequels in which Jason hallucinates his mother’s presence? Or, will we see a living, breathing Pamela Voorhees controlling her son? If she is alive, it definitely changes Jason’s motivation for murdering the campers…
Frankly, all of this artistic chatter is exciting to me as it shows that Platinum Dunes, Paramount Pictures and director David Bruckner (The Signal, V/H/S) are trying to do something new and different with the franchise that’s stuck in quicksand.
Oh, and there’s this little bit of news: Friday the 13th will be rated “R”.
“There is no PG-13 version in the world of Jason Vorhees,” they exclaimed.
Directed by Grégory Levasseur
With the barrage of clips and teasers Twentieth Century Fox released over the past few weeks for The Pyramid, we were starting to feel like we’d already seen the whole movie; but if you were avoiding them all until you were able to check it out for yourself, it’s a good bet you weren’t able to see any of it this weekend since “limited” doesn’t even begin to describe the flick’s release. Which is why I’m writing this review instead of Foy, who originally claimed it; unfortunately (for me) The Pyramid didn’t open anywhere near him (lucky fucker).
So, what is Fox hiding? A pretty ho-hum affair that probably should have just hit VOD and DTV and gone about its merry way before the better horror offerings the powers-that-be have waiting in the wings for 2015 arrive.
But let’s not get too far ahead of ourselves. What’s wrong with – and maybe a little right about – The Pyramid, and what’s it even about anyway?
As the film opens, it’s 2012 and Cairo, Egypt, is in the throes of revolution while 250 miles away Holden and Nora, a father-daughter archaeological team (O’Hare and Hinshaw), are about to open a previously unknown pyramid buried deep in the sand. She used a satellite to uncover their find, a controversial method the more conservative archaeologists, her dad included, aren’t fully on board with.
Plus, it’s no ordinary pyramid; it’s three-sided instead of four with unusual markings. Cue spooky shenanigans like a member of the work crew foaming at the mouth and acting zombie-esque after inhaling the structure’s toxic air. Misdirection or possibly a portent of things to come? We won’t say more except that aliens were also alluded to, as were the Freemasons(!), so we had a smorgasbord of possibilities ahead.
Of course the dig is being filmed by a documentary team (Buckley as annoying cameraman Fitzie and Christa Nicola as annoying interviewer Sunni), and the fifth member of our group is Zahir (Amir K), with whom Hinshaw’s character is having a romance.
To address the elephant in the room, yes, The Pyramid IS found footage… sort of… mostly. Probably 80% of it is with the rest being random overhead shots once everyone enters the tomb of doom plus a few peeks at things we couldn’t see otherwise – like Shorty, the pretty cool camera strapped to a cave-rover Zahir “borrowed” from NASA.
After all the players have been introduced, it takes awhile for things to get cooking. The middle section especially has some eye-rollingly bad dialogue, and aside from O’Hare, who’s only marginally interesting as the assholish Holden, the leads would have benefited a lot from a few additional takes of their scenes. Alas, obviously the budget didn’t allow for that, but it did provide some pretty effective F/X work (similar to the found footage ratio, the effects are around 80% CGI to 20% practical).
SPOILER ALERT (although if you watched the aforementioned barrage of sneak peeks, you already know this):
There are creatures in The Pyramid, one in particular we don’t see represented all that often with ties to the Egyptian god Osiris and the Book of the Dead. He’s clearly visible and menacing. But it’s too little too late. There are a couple of inventive deaths along the way – at one point Creepy and I both jumped and grabbed each other’s hand laughing, and at another he turned to me and said, “That just raised this from a 2-1/2 to a 3,” to which I replied, “No, all it did was keep it from being a 2,” – but as you’ll see below, I spoke too soon, and Levasseur’s directorial debut joins the dozens of other just barely mediocre films released this year. Although I will say that the ending does mostly satisfy, a nice surprise.
While The Pyramid uses its claustrophobic setting better than As Above/So Below does (c’mon, you knew comparisons were inevitable), it simply doesn’t have the star power to keep an audience’s interest. What it has instead is “not” star power. Like the whole time I kept thinking of Hinshaw as “Not Emilie de Ravin,” Nicola as “Not Stockard Channing” or rather “Not Rizzo,” and Buckley as “Not Jeremy Scahill.” And yes, I know Scahill’s not an actor – or British – but those musings were keeping me more entertained than the events taking place up on the screen.
Toward the end a character is asked how he’s doing, and his response is that he wants to get the hell out of there, which is exactly how I felt at that point. The couple three rows in front of us must have agreed because with just ten minutes to go, they walked out. So listen to me or learn from them, and save your money for holiday shopping. If you do journey into the depths of The Pyramid, don’t blame us if you leave feeling Egypped.
The official French teaser trailer (surprisingly in English) has arrived for the highly acclaimed terror tale It Follows (review), and just because it’s the weekend doesn’t mean that we’re not right here making sure you get the news as it breaks!
With a riveting central performance from Maika Monroe and a strikingly ominous electronic score by Disasterpeace, It Follows is an artful psychosexual thriller from David Robert Mitchell (whose The Myth of the American Sleepover premiered at Critics’ Week in 2010).
The film also stars Keir Gilchrist (“The United States of Tara”), Daniel Zovatto (Laggies), Jake Weary (“Chicago Fire”), Olivia Luccardi (“Orange Is the New Black”), and Lili Sepe (Spork). David Robert Mitchell directs.
For 19-year-old Jay (Maika Monroe, AT ANY PRICE), the fall should be about school, boys, and weekends at the lake. Yet, after a seemingly innocent sexual encounter, she suddenly finds herself plagued by nightmarish visions; she can’t shake the sensation that someone, or something, is following her. As the threat closes in, Jay and her friends must somehow escape the horrors that are only a few steps behind.
Another game that’s MORE THAN on our radar is the PlayStation 4 exclusive Bloodborne. Dig on this new gameplay trailer, and if your wallet wasn’t burning yet, we fully expect it to be soon!
From Hidetaka Miyazaki and FromSoftware — creators of the legendary games Demon’s Souls and Dark Souls — comes Bloodborne, an all-new action RPG brimming with unforgiving, unrelenting terror, developed exclusively for the PlayStation 4 system.
Face your fears as you search for answers in the ancient city of Yharnam, now cursed with a strange endemic illness spreading through the streets like wildfire. Danger, death, and madness lurk around every corner of this dark and horrific world, and you must discover its darkest secrets in order to survive.
Look for it in stores on March 24, 2015.
Yet another horror title has been announced for the PlayStation 4 for 2015, and this one is an open world survival horror tale known simply as… The Forest. Check out the announcement trailer.
The Forest is an exciting, beautiful, and terrifying survival horror game from developer Endnight Games. As the lone survivor of a passenger jet crash, you find yourself in a mysterious forest battling to stay alive against a society of cannibalistic mutants.
Build, explore, and survive in this terrifying first-person survival horror simulator.
In case you thought we were joking about the PlayStation 4 being the console of choice for horror fans, here’s yet another exclusive they’ve just unveiled… What Remains of Edith Finch.
What Remains of Edith Finch is a collection of short stories about a cursed family in Washington State.
Each story offers a chance to experience the life of a different family member with stories ranging from the early 1900s to the present day. The gameplay and tone of the stories are as different as the family members themselves. The only constant is that each story is played from a first-person perspective and each ends with that family member’s death. You’ll follow Edith Finch as she explores the history of her family and tries to figure out why she’s the last Finch left alive.
No release date was given.
In the market for gallons of gore with your video game fix? Then you’ll wanna make sure that your digital elevator stops at Killing Floor 2 when it hits PlayStation 4.
In Killing Floor 2, players descend into continental Europe, where the outbreak caused by Horzine Biotech’s failed experiment has quickly spread and gained unstoppable momentum. Just one month after the events in the original Killing Floor, the specimen clones are everywhere and civilization is in disarray. A group of civilians and mercenaries have banded together to combat the outbreak and established privately funded operation bases across Europe. Upon tracking specimen clone outbreaks, players will descend into zed-laden hot zones and exterminate the dangerous creatures rampantly destroying mankind.
Delivering an even more visceral and viscera-spewing shooter experience than the original, Killing Floor 2 ramps up the gore with a proprietary, high powered persistent blood system bringing new levels of fidelity to the genre. Players will send entrails, severed limbs, and blood flying as they wade through hordes of enemies. But they need to watch out! If caught, enemies will rip them, and their entire party, limb from limb.
New enemies and fan favorites from the original game are back with expanded and smarter artificial intelligence, dishing out powerful attacks, working as a group to weaken the player’s party and pushing the challenge level and fear factor to new levels.
Look for the game sometime in 2015.
The post Killing Floor 2 to Spread the Red on PlayStation 4 appeared first on Dread Central.
We’re still waiting for the release of The Order: 1886 on the PlayStation 4, but thankfully the powers-that-be have released a new gameplay trailer to tide us over. Hang in there, fiends. It’s coming!
Discover history’s darkest secret in The Order: 1886, the game that re-writes history by introducing a unique vision of Victorian-Era London, where Man uses advanced technology to battle a powerful and ancient foe. In an alternate history where myths and technology co-exist, players take on the role of Sir Galahad, a hardened member of an elite order of Knights engaging in a centuries-old war that will determine the course of history forever.
Hundreds of years before the game’s version of 1886, humanity de-evolves and a subset of humans becomes the genetically different “Half-breeds.” War eventually breaks out between humans and Half-breeds for power and survival, and in order to combat these fierce enemies, a brotherhood was formed through the Knights of the Round Table – an alliance called The Order. The Knights of The Order have waged wars across centuries and sworn to defend humanity while protecting the secrets of this dark history. Strengthened by a mysterious liquid called Blackwater, the Knights of The Order are able to heal their wounds and extend their lifespans in order to engage this supernatural foe.
Through the dawn of the Industrial Revolution, The Order is now equipped with powerful weapons to turn the tide against the Half-breeds, but must also face a new threat. A rebellion emerges and the Rebels’ ranks are growing, as is their boldness, as they declare an all-out war against The Order and the government oppression it represents. Now, the Knights of The Order must face threats on all sides as they struggle to maintain peace and order.
The Order: 1886 is due out exclusively on PlayStation 4 on February 20, 2015.
The Sony PlayStation 4 is quickly becoming the console of choice for horror fans with a blood-drenched lineup for 2015 that just cannot be ignored. Right now we have a new look at one of the system’s most compelling games, the slasher Until Dawn.
Until Dawn will feature thousands of storyline branches and hundreds of endings. The game accomplishes this through the use of what Supermassive calls “the butterfly effect.” When a choice must be made, such as whether or not to pick up a book, a small butterfly icon will appear, indicating this choice will have consequences later in the game. The path you choose will lead you to one of Until Dawn’s hundreds of endings.
The choices that shape the game’s path can be something as simple as which door you open to something as pressing as whether or not to put a bullet in your friend’s brain. Sony pointed out at its press conference that every character can die in the game, and if they die, they stay dead and the game moves on. Until Dawn will alter its story based on character deaths, having unique endings based on the number of characters still alive.
Until Dawn was first announced two years ago at Gamescom for the now defunct PlayStation Move. Supermassive has since re-tooled the game with top tier Hollywood writers and actors, including Scream 4 actress Hayden Panettiere.
No release date has been attached to Until Dawn, but it has already appeared in the PlayStation Store pre-order section. However, at the time of writing this article, the content is not selectable. Until Dawn will appear exclusively on the PS4.
I can barely contain myself. As a lifelong Godzilla fan, the following news tickles me every color in the rainbow! Godzilla: The Game will be stomping to America next summer! Read on for new images and a trailer!
From the Press Release:
Leading video game publisher and developer BANDAI NAMCO Games America Inc. today announced GODZILLA for Western audiences coming to both the PlayStation®4 computer entertainment system and PlayStation®3 computer entertainment system.
Developed by Japanese video game studio NATSUME ATARI, GODZILLA places players in control of one of the most famous and destructive monsters in entertainment history. As Godzilla players will trample and lay waste to cities and environments with the goal of taking out each area’s Energy Generator while collecting as much G-Energy as possible. The G-Energy can then be used to power-up Godzilla, increasing both his physical size as well as his offensive and defensive skills.
The game will also allow players to utilize a dynamic Movie-Style Camera Angle System, delivering the most epic camera angles from which to destroy both a multitude of locations as well as classic enemies such as Mothra, King Ghidorah, and Mechagodzilla.
“Godzilla has had a long history and is one of Japan’s most famous pop culture exports that have entertained millions of people for generations in the West.” said Chris Gilbert, Senior Vice President of Sales and Marketing at BANDAI NAMCO Games America Inc. “We’re excited to continue this great history by bringing the GODZILLA video game for the PlayStation 4 and PlayStation 3 to excited fans. Let the countdown to monstrous destruction and epic battles begin!”
GODZILLA will feature multiple game modes including; Mission Mode where players will wreak mayhem through more than 20 different stages of play; a Diorama Mode that allows players to place Godzilla in different settings to capture epic photos; and a King of Monsters Mode where Godzilla must fight his way through the franchises most famous enemies to reach the top of the monster hierarchy and claim the throne as the true King of Monsters.
Currently rated “RP” for Rating Pending by the ESRB, GODZILLA will be available in the Americas for the PlayStation®4 system and PlayStation®3 system in summer 2015.
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Right now the talk of the town is David Robert Mitchell’s indie It Follows, a horror film that’s so goddamn good it’s playing nearly every single festival (next up is Sundance this coming January).
We nearly gave it a perfect score – calling it “a creepy, mesmerizing exercise in minimalist horror” – when reviewed out of the TIFF this past September.
Now, thanks to Bloody reader ‘Alexander B.,’ we have the official French teaser trailer (in English) that’s crazy tense, and shows just how terrifying the film will be. It could possibly be next year’s The Babadook, assuming Radius-TWC (who acquired the film) actually releases it.
Here’s what it’s about:
“For 19-year-old Jay (Maika Monroe), the fall should be about school, boys and weekends at the lake. Yet after a seemingly innocent sexual encounter she suddenly finds herself plagued by nightmarish visions; she can’t shake the sensation that someone, or something, is following her. As the threat closes in, Jay and her friends must somehow escape the horrors that are only a few steps behind.”
Maika Monroe, Keir Gilchrist, Daniel Zovatto, Jake Weary, Olivia Luccardi and Lili Sepe all star.
If the video doesn’t work click here to view it.
I love unique instruments and the unorthodox sounds that they create. Hearing an instrument that is strange or unusual is something that delights me, simply because I thoroughly enjoy the sensations my ears and body goes through when hearing new sounds. However, nothing could have prepared me for the Aztec Death Whistle.
In the videos below, you can hear the Aztec Death Whistle and how it sounds, no joke, like someone screaming. Imagine hearing hundreds of these, all at once, as though a sea of people were all crying and shrieking in agony. Then imagine that you see an army of Aztec warriors and the screams are coming from them. I’d lay down my weapons, throw my hands up and walk away, no questions asked.
Listen below and prepare to feel chills run up and down your spine.