Death Waltz and One Way Static have teamed up to release the soundtrack to the 1980 Italian horror film Cannibal Holocaust, which was composed by the late Riz Ortolani. The joint release will be on sale on Friday, October 31st, perfectly timed for Halloween!
No other details have been released.
With the alien subplot being all the press talked about leading up to the release of this summer’s blockbuster, Teenage Mutant Ninja Turtles, it was a surprise to me that Krang didn’t make an appearance.
Now, months after release, Tsvetomir Georgiev has been granted permission to share the concept art he did for the film.
The art included his renditions of Krang, Bebop and Rocksteady, all best known from the animated series. The rights behind these characters is the main reason none of them appeared in the previous four films, which is also probably the reason they didn’t appear in the reboot. Georgiev didn’t elaborate, unfortunately. I dream of the day they all make it to film…
TMNT arrives on DVD and Blu-ray December 16th.
Ohio metalcore band Miss May I are gearing up to embark on a short US tour which sees direct support from Affiance. The tour sees dates throughout much of the Southern United States, including the band’s performance on the 25th at Slipknot‘s “Knotfest” festival.
But because it’s Halloween and the guys are huge horror fans, they’d rather talk horror than discuss the upcoming tour! This is why each member of the band has submitted their Top 5 favorite horror movies exclusively to Bloody-Disgusting! Check out each of their picks below, which range from remakes to genre classics.
You can purchase the band’s latest album Rise Of The Lion via iTunes.
Over the past few months we’ve been on the forefront of some incredible illustrations by IBTrav Illustrations & Design.
Trav put his name on the horror map with his horror mashups that would put iconic genre villains in an episode of “Scooby-Doo”. Scooby and the gang have come face-to-face with Freddy Krueger, Jason Voorhees, Ghostface, Michael Myers, and even the Monster Squad!!
After becoming an internet sensation, Trav hs decided to put said art into a new hardcover book he calls “The Lost Mysteries Collection” (full details here).
Bloody Disgusting is excited to announce that we will be partnering with IBTrav to get behind this awesome crowd-funded collectible that will be limited to only 300 pieces!
This book would compile all of the “Lost Mysteries” you have come to love PLUS new mysteries the fans have been clamoring for: I’m talking Carrie, The Shining, The Lost Boys and MORE!
I want this collection to be a quality product. One that’s printed on high quality paper like a REAL SWEET read. A book you’d find in Barnes & Noble and not WalMart, between the arts and crafts aisle and $5 DVD bin.
Each book will measure 6″x 9″. It will be hardcover bound, printed on high quality paper and in full color.
This will be a limited run of 300 books. Once they’re gone, they’re gone.
“I’m very excited about this project and hope that fellow horror fan are too! There will be lots of new art to fill this book so expect to see new mashups in the coming weeks,” Trav tells Bloody. “Also, keep your eyes peeled for updates, behind the scenes photos of the book in progress and more!
“Thanks to Bloody Disgusting and all the horror fans for their support!”
The thing I love most about this campaign is that he will also be joining up with Scares That Care and donating all proceeds above his goal amount! This is where crowd-funding becomes beautiful.
You can keep up with all the projects we get behind by bookmarking this page.
Fans of Telltale’s “The Walking Dead” video game is about to get a physical version of the game’s protagonist, courtesy of McFarlane Toys!
The official website for AMC’s “The Walking Dead” revealed that McFarlane Toys will be introducing ‘Clementine’ to their line of “Walking Dead” action figures, writes Figures.com.
The “Clem” action figure marks the first time a character from Telltale’s “The Walking Dead” video game series has been produced. Exclusively from Skybound, the Clem figure will be available in both Full Color and in Blood Splattered Color versions.
The figure will come with backpack, pistol, and hammer.
Experience the first season of “The Strain” on December 2 – from Executive Producers-Writers Guillermo Del Toro, Carlton Cuse and Chuck Hogan – along with behind-the-scenes special features that explore the story’s journey from bestselling novel to hit show.
“When a freak virus kills all but four passengers on an airplane at JFK, Ephraim Goodweather (Corey Stoll), head of the Center for Disease Control’s “Canary Team,” is immediately called to the scene. With help from a mysterious Holocaust survivor (David Bradley), “Eph” and his colleague (Mía Maestro) uncover the outbreak’s ties to vampirism. Now, the only way to stop the terrifying disease from wiping out mankind is to face its source – a sinister supernatural creature known as “The Master” – whose evil intent seems more powerful than any other force on Earth!”
Special Features include: In the Beginning, A Novel Approach, and Setrakian’s Lair.
Did you know that on AMC’s “The Walking Dead” there’s hidden dialogue right underneath your very eyes? If you were to mute the show, the real dialogue appears. Take this, for example, where Rick Grimes and Daryl Dixon fight over gluing hair to mannequins.
Seriously though, this isn’t real, it’s part of a fun video series called “Bad Lip Reading,” where they take movies and shows and change the dialogue. It’s seriously some of the funniest shit you’ll see on the Web.
In fact, this is part 2 of “The Walking Dead” – you can watch the first bad lip-reading here!
“The Glue Police, that’s not a real thing you can be.”
Get more Halloween Treats!
This week, horror games make a triumphant return as Don and Justin go in-depth with “Alien: Isolation,” and Justin reviews the highly-anticipated “The Evil Within.” Finally, in a different kind of horror, Don reviews the $60 “Sleeping Dogs: Definitive Edition.” All this, and maybe even a haunted house experience or five await you on the latest edition of Whatever.
From After Dark Films comes the next installment of After Dark Originals, Sanatorium. The story about life after death and the evil force that remains, arrives on DVD (plus Digital), Digital HD and On Demand December 23 from Lionsgate Home Entertainment.
“On New Year’s Eve in 1955, Richard Howell, a patient at the Hillcrest Sanatorium, went on a bloody, child-killing rampage, before he hanged himself. Fifty-six years later, a team of ghost hunters – from the popular TV series “Ghost Trackers” – prepares to spend the night at the sanatorium. They hope to capture paranormal activity for the entertainment of their show’s fans. Instead, they unleash a horrifying force of evil…hell-bent on their destruction.”
Sanatorium is directed and written by Brant Sersen (Blackballed: The Bobby Dukes Story, Splinterheads), starring Kate Riley (College Humor), Megan Neuringer (Kroll Show) and Don Fanelli (Inside Amy Schumer).
Terror descends upon a devout community when The Devil’s Hand grabs hold on DVD (plus Digital) and Digital HD December 16 from Lionsgate Home Entertainment. Theatrically released in 2014, the new haunter is available On Demand now. T
he satanic flick from Academy Award-nominated filmmaker Christian E. Christiansen (Best Short Film, Live Action, “At Night,” 2008), stars Rufus Sewell (Dark City, The Illusionist), with Jennifer Carpenter (Showtime’s “Dexter,” Quarantine, The Exorcism of Emily Rose) and Golden Globe nominee Colm Meaney (AMC’s “Hell on Wheels,” Con Air).
The Devil’s Hand tells the tale of six girls born on the sixth day of the sixth month, setting in motion an ancient prophecy-on their 18th birthday, one of the girls will become the Devil’s Hand. As the day nears, the young women begin to disappear. Threatened by the town’s fiery religious leader (Meaney), the remaining girls, Mary and Ruth, join with Mary’s father (Sewell) to uncover the chilling truth behind the evil that grips New Bethlehem.“
While we put the finishing touches on our dams and lodge in anticipation of the October 20 UK DVD and Blu-ray release of Zombeavers (review), we also figured we’d treat you all to an exclusive infographic that aims to make sure that you KNOW YOUR BEAVER!
The film follows a group of college students headed out into the wilderness for spring break, unaware of the danger that lurks beneath the lake. Unbeknownst to the vacationers, a chemical spill has irreversibly altered the wildlife, and Zombeavers are on the prowl. As a weekend of sex, drugs, and debauchery gets under way, the beavers close in on their prey; and the bloodthirsty beasts really do take the term ‘killer weekend’ to the next level.
The post Know Your Beaver With This Exclusive Zombeavers Infographic! appeared first on Dread Central.
This is an exciting day for fans of the survival horror genre. The last few years haven’t been easy on us. It’s been tough watching one promising horror franchise after another fall, from Dead Space to Condemned. This year has gone a long way in changing that, as new installments in the Alone in the Dark, Fatal Frame and Silent Hill series, among others, have been announced.
2014 is an epoch for the genre, and games like Alien: Isolation and The Evil Within are just the beginning.
In 1996, game director Shinji Mikami brought us Resident Evil, the first in what would eventually become the most successful horror franchise ever, video games or otherwise. In 2005, he proved there’s always room for innovation, even for a series that was at the top of its game, with the hugely influential Resident Evil 4.
And we mustn’t forget about Shadows of the Damned, a hugely underrated collaboration between Mikami, Suda 51 (No More Heroes, Lollipop Chainsaw), and Silent Hill series composer Akira Yamaoka.
With The Evil Within, Mikami is returning to his roots. This is his answer to the years of outcries from Resident Evil fans who have been upset with the more bombastic direction Capcom has taken with the series. This game is the antithesis to that. It’s terrifying, intense, and despite its flaws — more on that in a bit — this is the game that may finally breathe some life into AAA survival horror.
I won’t bury the lead. This game isn’t perfect. Its visuals are a bit dated, the story has some pacing issues, and the wonky camera has a tendency to add frustration to close encounters. If you’re able to look past those quirks, you’ll find a game that’s worth losing sleep over.
My favorite thing about The Evil Within may be the surprisingly deep level of strategy that Mikami and Co. will force out of you. Early on, even basic enemies — dubbed the Haunted — will offer a challenge, even for survival horror veterans. Before they can outstay their welcome, Mikami throws more capable baddies, like Laura, the four-armed blood witch, the chainsaw-wielding Sadist, or the Boxman at the player. No one enemy ever outstays its welcome.
When I previewed the game back in May, I was worried the arsenal of weapons detective Sebastian Castellanos has at his disposal — including a pistol, shotgun, grenades, and a devilish weapon called the Agony Crossbow — would make surviving the hordes of monsters that populate this game too easy.
Thankfully, that’s not the case.
Whether you’re combating a gaggle of Haunted villagers or one of the game’s mini-bosses, every situation requires a certain level of strategy. Ammo is often scarce, so you’ll need to scour every inch of these beautifully realized nightmare locales to find the few precious resources that have been scattered about them.
Using the environment to your advantage is also key.
The Evil Within borrows from a handful of different genres, including stealth games. Sebastian can hide in lockers and under beds when necessary, either to survive or to help him to better sneak up behind an enemy. There are all sorts of environmental hazards, too, from exploding barrels and a variety of traps that can either hurt or help you in a pinch.
The Agony Crossbow will be the weapon you’ll need to learn your way around the quickest, as it will quickly prove the most useful. Its bolts come in a variety of flavors, including tips that freeze, electrocute, burn and explode enemies. They can be fired directly onto an unsuspecting baddie, or placed in the way of an oncoming group. When fired at the ground, the bolts become proximity mines, allowing strategic types plenty of room to be creative.
This room for ingenuity extends to Sebastian himself, who can be “upgraded” by paying a visit to nurse Tatiana in the dreamlike hub world where you can invest the green goop gathered from slain enemies or in jars that you’ll find all over the place to make Sebastian more adept at whoopassery. This gel can be used to improve his abilities (health, stamina), weapons (damage, firing/reload speed) and inventory size.
This results in a satisfying sense of progression. You’ll become more capable over time, but Mikami and friends have done a fine job in limiting Sebastian’s skillset so as to keep the player from ever becoming too confident in their abilities.
Much like the Otherworld in Silent Hill, the environments are always changing. It’s almost as if we’re flipping between channels on a television that only plays horror movies. Ghost towns, cemeteries, forgotten labs, empty mansions, labyrinthine networks of underground tunnels; the environments in The Evil Within run the gamut of scary-places-I-really-don’t-want-to-die-in.
The Evil Within has a tendency to try too hard to be scary. Its liberal use of barbed wire and copious amounts of gore may turn off some folks, but it works. If you’ve ever had a particularly awful nightmare, this is sort of like that, only it’s 8-10 hours long and won’t leave you wide-eyed and sweaty in your bed late at night.
Or, maybe it will.
The graphics are somewhat disappointing, especially when it comes to Sebastian’s friends. Detectives Julie “Kid” Kidman and Joseph Oda look like they came from the last generation of consoles. The lack of detail in their faces and how they’ve been animated become especially noticeable when they’re seen in close vicinity to one of the game’s monsters.
Every monster you’ll come across will be memorable, but for a game with such a paltry supporting cast, more attention should have been spent on making them believable. Then there’s the main baddie, Ruvik.
Ah, yes. Ruvik. Garbed in a white robe, with a hood pulled menacingly over his messed up face, it’s clear Ruvik has a bone to pick with, well, pretty much everyone. This guy’s pissed, and you’ll have to stick with it to find out why. He wouldn’t rank high on my list of favorite video game antagonists, but he was interesting enough to keep me interested in figuring out just what the hell his problem is.
The Evil Within isn’t perfect, but it is great. No enemy or environment ever stays long enough to grow repetitive, because the game does a great job in introducing new elements to keep the pace going. It gives me hope that there’s still room for games like Resident Evil 4, even ten years later.If you have the stomach for it, this is a game you won’t want to miss.
The Final Word: The Evil Within is a terrifying patchwork of nightmares that could only have been stitched together by a mind as delightfully twisted as Resident Evil creator Shinji Mikami.
Continuing our catch-up of “Penny Dreadful,” now that it’s recently become available for purchase, we discuss the second episode, “Séance,” and dear lord this episode is powerful. It’s a stunningly intense hour, primarily due to two of gothic literature’s greatest characters: Frankenstein’s Monster and Dorian Gray.
In “Séance,” Sir Malcolm Murray continues his search for his missing daughter Mina. This includes further research of the vampire corpse from “Night Work,” which brings Victor Frankenstein back into the company of Murray and Ives as well as gives Ferdinand Lyle (Simon Russell Beale), the flamboyantly magnificent Egyptologist, much more desired screen time. Meanwhile, Ethan Chandler generally does nothing of real importance. His moments in this episode serve the storyline only to introduce Irish prostitute Brona Croft (Billie Piper) and very subtly heighten the intrigue on his mysterious past (and present for that matter). Perhaps most importantly, “Séance” introduces the viewer to a major force and popular literary character, Dorian Gray, who completely seduces this episode. And last but not least, the story takes a considerable amount of time to delve into Frankenstein’s Monster.
One cannot describe “Séance” without discussing the titular scene: a (wait for it) séance held by Lyle. It’s a lively event that ends on an insanely demonic note. The problem occurs when the medium conducting the séance (from whom you get the impression is simply a source of entertainment and not legitimate) is overcome by a dark presence claiming that there is “another here” referring to Ives and the possible dark presence residing within her. Then, for nearly six minutes…all hell breaks loose and Eva Green gives one of the most evocative and chaotic performances for a television audience. We’re talking six minutes carried completely by Green. Too much is revealed or hinted at during this scene for me to talk about it explicitly. But I will say that it deals greatly with Mina and some serious family issues. And also, it’s super not safe for work. Unless you work in a place where it’s okay to say the word “cunt” a lot. A lot. This is the type of performance that does not leave you any time soon. It’s also the type of performance that is difficult to watch more than once, so watch close and listen well the first time.
As I mentioned in my “Night Work” review, the darkness of Ives’ soul is constantly called into question, and this episode reveals a great deal about her “darkness.” Especially in a scene where Lyle analyzes the vampire hieroglyphics. The scene is a follow up to Frankenstein’s earlier analysis that the hieroglyphics—that cover the vampire’s body from head to toe—are from the Egyptian Book of the Dead. They deal with the Egyptians’ goal of transmutation to an “afterlife of something more profound—eternal life.”
As with the Frankenstein analysis, Lyle’s look into the markings is also extremely brief yet a lot of information is revealed. Frankly, those types of scenes always annoy me. Yes, this is a paranormal/supernatural horror but there are still parts that need to remain practical and when things are “figured out” too quickly, credibility seems to blow away like a wisp of hair. Regardless, Lyle comes to some hard and fast conclusions about both the hieroglyphics and Ives. Both dangerous and both extremely important to the mythology of “Penny Dreadful.” Upon realizing the extreme threat that Murray is dealing with, Lyle delivers a swift warning to stay away from whatever it is he’s after.
This scene with Lyle might be my biggest grievance with the episode. Aside from the fact that it was a complete info dump, his parting words to Murray are very presumptuous and have little ground to stand on. It’s as if the writers gave way to practicality for the sake of moving the story along quickly. Things are muddied; the markings on the vampire corpse start to fuse with Ives and at this point we simply have no clue of knowing where that’s headed.
The time spent with Frankenstein and his monster, Proteus, is magnificent. It’s exactly the type of slow burn drama this show needs to balance out the horror and sexuality. Treadaway offers an eager, fascinated portrayal of Frankenstein. He completely nails the essence of Mary Shelley’s young doctor and the raw curiosity that got him into so much trouble. Proteus portrays The Monster in a beautifully sad performance. The necessary intimacy between him and the doctor is palpable. His emotions are exposed to the viewer and are very potent. He captures the childlike wonder of The Monster without losing the underlying fear.
Dorian Gray, both in literature and in his depiction in “Penny Dreadful” is the essence of psychosexual horror. He is first introduced to us by way of Croft as he takes nude photographs of her and later engages is some emotionally disturbing sex with her. There is no way to describe how sexually charged and horrifying this initial scene becomes. Perhaps I’ll just drop a quote to encapsulate the heavy shit we’re getting into, “I’ve never fucked a dying creature before. Do you feel pain more deeply?” For some viewers, Reeve Carney might take some getting used to as Dorian Gray, but I absolutely adored his interpretation. He’s brash and arrogant, but sexy, compassionate, empathetic, and lovely. There’s inquisitiveness in him that I find so inherently attractive. Some might find him too “deep” compared to the Gray from literature who’s definitely more selfish. But I think it played out splendidly.
Overall: fantastic episode. It’s bookended by two extremely gruesome and shocking scenes, is filled with profoundly haunting performances, lighted occasionally by the lovely Croft and Proteus’ lust for life, and sizzles with Green’s unspeakable sexual energy.
What did you think of “Séance”? Is this show faring well for you thus far? Worth the purchase?
Man, I’ve known some militant vegans in my time. Ones who are more than happy to shove their beliefs down your throat and make you feel guilty as sin for enjoying a burger. You know the type. As annoying as they can be, none of them are as passionate as the serial killer in writer-director Gabriel Grieco’s Still Life (Naturaleza Muerta), in which carnivores in a small Argentinian town are savagely butchered in a fashion reflecting the treatment of animals in a slaughterhouse. Ugly and brutal with a sharp sociopolitical edge, Still Life is an animal rights slasher-mystery that makes PETA’s approach to protest seem like an adorable pick-up game of checkers.
During the incredibly tense, well-staged prologue, the daughter of a wealthy cattle industry baron vanishes. Ambitious young journalist Jazmin (Luz Cipriot – who bears a striking resemblance to Natalie Portman in some angles) sees this story as an opportunity to advance her career, so she goes rogue with her loyal cameraman to investigate. She begins discovering links between the girl’s disappearance and a series of murders, which point to something nefarious within the local beef industry. As she digs deeper, she crosses paths with a local animal rights lecturer – a self-proclaimed one-man army educating folks on vegan lifestyle and why cow farts are depleting the ozone. A sketchy vegan farmer also turns up as a suspect and while Jazmin tries to make sense of the murders, she comes dangerously close to becoming one herself.
From the first frame she’s on screen, this is Luz Cipriot’s film, through and through. Still Life teeters on the edge of absurdity a few times, especially when the reveals start rolling out near the end, and it’s only Cipriot’s performance which helps keep it grounded. Resourceful, brave, and cunning, Jazmin is a strong female lead that’s easy to root for. She’s ambitious, but never overtly opportunistic to the point where she comes off as selfish. Most of the male characters are treated solely as suspects within the mystery, so they never really have time to be anything besides shady.
Grieco flirts with an exploration of the Argentinian cattle industry and its markets, which are deeply embedded in the country’s history and tradition. The film never becomes overtly political or preachy, however. It maintains a mystery atmosphere, with moments of pure slasher-horror mixed in throughout. It’s during these bouts of horror where Still Life loses its footing a bit – particularly during the climax, where things become a bit ridiculous and the tone spirals into near silliness. The typical horror beats are all there, but they feel forced, as if Grieco felt he needed to rush them in to hold the audience’s attention. This wasn’t the case though. His story of murder and cattle scandal was enough to engage me. These strained moments of brutality weaken the film’s overall tension and not even Cipriot’s performance can rescue it.
I mentioned the film’s prologue, which is wickedly nerve-wrenching. There’s also an epilogue, which is the polar opposite. It’s so painfully contrived and farcical that it shirks off the previous 90 minutes and dives headfirst into laughable slasher territory. There’s absolutely no reason for it to exist, unless Grieco is banking on a sequel. I sincerely hope that’s not the case because Still Life stands on its own as a unique sociopolitical slasher mystery with one helluva female lead. No need to franchise this bad boy.
* Warning: this movie does contain extremely graphic stock footage of animals being abused and butchered in slaughterhouses. If that type of thing turns your stomach, look away from the screen. Seriously, it’s gnarly.
As a whole, Stephen King adaptations haven’t fared so well thus far, but Lifetime is forging ahead with its own version of King’s short story “Big Driver” from Full Dark, No Stars (published in November 2010), which arrives on Saturday night. Curious? Then check out this new sneak peek!
About “Big Driver” on Lifetime:
From a story by Stephen King, “Big Driver” marks the first collaboration between Lifetime and King.
This dark story of a young novelist hell-bent on revenge after falling victim to a brutal crime stars Golden Globe nominee Maria Bello (A History of Violence). Bello’s co-stars include Academy Award winner Olympia Dukakis (Steel Magnolias), Grammy nominee Joan Jett, film and television veteran Ann Dowd (“The Leftovers”), and Will Harris (“NCIS”).
In “Big Driver” Tess Thorne (Bello), a famous and revered mystery and thriller writer, faces a long drive home following a book-signing engagement. But while driving on a lonely stretch of New England road, her tire blows out, leaving her stranded. Relieved when another driver stops and offers assistance, Tess quickly discovers her savior is actually her assailant, a serial killer who repeatedly assaults her. Left for dead in a drainage pipe to rot with the bodies of his other victims, Tess escapes and makes her way safely home. With her fragile mind beginning to unravel, she is determined to find her rapist and seek revenge, as payback is the only thing holding her together.
Produced by Ostar Productions, “Big Driver” is executive produced by Bill Haber (The Trip to Bountiful) and Jeffrey Hayes (A Day Late and A Dollar Short). The screenplay adaptation was written by Richard Christian Matheson (“Masters of Horror,” Happy Face Killer) and is directed by Mikael Salomon (Drew Peterson: Untouchable). A+E Networks handles international sales for “Big Driver.”
Be sure to tune in for the world premiere of “Big Driver” on October 18th at 8/7c on Lifetime.
Directed by Ivan Kavanagh (interview here)
The fear of the inevitable is just as frightening as the actual scare itself, I believe. When you can see what the action will be, whether it’s an instantaneous reaction that elicits the fright or something that takes its time to simmer – you know it’s coming, and it STILL gives you the foreboding presence of dread that hangs until the scare slams into you. With director Ivan Kavanagh’s slow-creeping startler The Canal, nothing is as creepy as what’s laid out in front of the viewer… like I said, you can see it coming, and it still gives you the heebies.
The movie could possibly be one of the best deterrents for the cheating spouse since Glenn Close decided to steep one of the Easter Bunny’s relatives in Fatal Attraction way back in the day. David (Rupert Evans) is a quiet and reserved film archivist who goes about his job, almost in a mundane fashion. His reason for such a lack of motivation at work is the persistent feeling that his wife, Alice (Hanna Hoekstra), is having a lurid affair behind his back. Then again, you can’t really have it behind your back if virtually ALL the signs are in your face (i.e., text messages in the middle of the night and that glance from the other guy when he’s speaking to David’s wife while at a party).
Alice is a stunner, plain and simple, and she doesn’t go too far out of the way to hide the fact that she’s interested in her latest client, Alex (Carl Shabaan). The inclining worries about an adulterous wife, coupled with the crime footage from a murder back in 1902 that David has been glossing over at work, have sent his mind into overdrive.
Oddly enough, the home where the murders took place looks exactly like his family’s home, and upon further review, we learn it is the same place, providing the groundwork for a very intense series of events that are almost certain to unfold right in front of your eyes (see paragraph 1 above).
The supposition grows so heavily that David decides to follow his wife one night when she’s “working late” – even so intent on catching her in the act that he forgets to pick up their young son at school. After witnessing the unforgivable, David passes out in a grimy bathroom while having a nightmarish vision, and the next morning he returns home to find his wife is gone.
An instant investigation begins into the whereabouts of his wife, and after she’s found floating in a local runoff canal, he is immediately fingered as the numero uno suspect – I mean, who else could it possibly be, right? Her murder is deemed “accidental”; yet, David refuses to believe that arbitrary ruling, as does a very skeptical police detective (Steve Oram).
David’s worry now focuses on the safety of his young boy and the babysitter who looks after them – he believes that whatever (or whoever) killed the family way back in 1902 is without equivocation the reason for his wife’s death, and it could still be residing in his house behind the walls. The mood is dark and dismal throughout the entire film, especially the last half, acting as a one-two combo of hopelessness and despair for the characters involved. David is a shattered soul with an innocent son who is now without a mother. Jeez, I even felt remorse for the detective because the mood was so heavily wrought. Kavanagh’s use of photography is simply beautiful – one supreme shot is the view inside Alice’s casket as you can hear the first shovelfuls of dirt rain down upon it – brilliance.
If I had to (unfortunately) look for a negative in all this creepy goodness, it would be the cross-worked circuitry that is the movie’s final acts. You’re twisted and turned in about a dozen different directions, left to wonder which way is up, even after a shocking conclusion. (Be sure to look for a nod to The Ring in one latter scene.) Aside from the roadblock that impedes a certain touchdown on this field of fright, The Canal is a movie that should definitely be watched with the lights off, not necessarily to enhance the scares, but to better immerse yourself in the darkness that these characters so radiantly display even through the opacity.
Can’t say I didn’t see this one coming. With all the past MGM “Midnite Movies” Scream Factory has been announcing thus far this month, I figured some nature gone amok titles from the ecological disaster era of Seventies cinema were bound to rear their human-hating heads.
Bert I. Gordon (AKA the man who gifted the world with such Atomic Age greats as The Amazing Colossal Man, Beginning of the End, and Earth vs. the Spider) was behind 1976’s Food of the Gods, a very loose adaptation of H.G. Wells’ classic tale. Quite appropriate calling this film cheesy since the central characters are primarily being attacked by giant rats.
While it makes more sense to pair this one with Empire of the Ants (Gordon’s follow-up, also loosely based on an H.G. Wells tale), instead Scream Factory has announced on its Facebook page that Food of the Gods will be released as a double-feature Blu-ray with another Seventies killer animal classic: Frogs.
The Frogs movie poster is an absolute work of pop art as far as I’m concerned, but don’t be fooled into thinking this one is about man-eating frogs. The frogs hold psychic powers over the other critters of the swamp and use them to seek revenge against humanity on behalf of their polluted ecosystem. Sam Elliot, Ray Milland, and Joan Van Ark soon find themselves under attack by dangerous snakes, spiders, and alligators while the frogs make like Hynotoad.
If Scream Factory has a sense of humor, Frogs will include an audio commentary track that’s nothing but the sound of actual frogs croaking and ribbitting for 90 minutes.
We’ll have to wait on this one as the Food of the Gods/Frogs double-feature won’t be coming out until next summer.
Expect more Scream Factory announcements at any moment. Who knows? Empire of the Ants, Tentacles, even a Reptilicus/Yongary, Monster from the Deep double-feature Blu—ray could be feasible at this point.
The post Scream Factory Turning Eco-Horrors Food of the Gods and Frogs from Green to Blu appeared first on Dread Central.
In just a few hours we’ll all be heading to “Sleepy Hollow” for Episode 2.04, “Go Where I Send There…,” but if you can’t wait that long to see what shenanigans await us this week, here are four new clips just released by Fox.
“Sleepy Hollow” Episode 2.04 – “Go Where I Send Thee…” (airs 10/13/14)
Abbie and Crane’s (Nicole Beharie, Tom Mison) search for a missing Sleepy Hollow child reveals a creature akin to the Pied Piper, whose legacy with the child’s family extends back to a centuries-old curse.
The post See Four New Clips from Sleepy Hollow Episode 2.04 – Go Where I Send Thee… appeared first on Dread Central.
Well, kids, there’s reason to celebrate! If you were one of the furious folks who had the horrendous audio sync issue with Halloween 4: The Return of Michael Myers in your Halloween: The Complete Collection Blu-ray (review), you can now have the disc replaced courtesy of Scream Factory and Anchor Bay.
From the official Anchor Bay Facebook Page:
On behalf of Anchor Bay and Scream Factory, we want to thank everyone that has purchased the Halloween Complete Collection. We hope you are enjoying it and all the work that went into bringing it to you, the fans. Unfortunately there is an audio sync issue with Halloween 4 that has always existed on that film with every release. We attempted to fix one of the problems prior to this release but in doing so, it created sync issues elsewhere in the film, which has now come to light. For the past two weeks we have been working to fix the problems that have arisen and we have been able to fix the sync issues at the 46 minute mark. We will be issuing a replacement disc to anyone that has been affected.
If you were affected by a Halloween 4 sync issue and would like a replacement disc sent to you, please follow these instructions:
In order to receive a replacement with the first batch being sent, send an e-mail to ABEHalloween4@Starz.com no later than October 31, 2014 and include the following:
1) Proof of purchase (photo or scan of receipt or digital receipt from on-line retailer)
2) Your name
3) Mailing address
Your replacement disc will then be shipped to arrive no later than November 14, 2014.
Thank you again for bringing Michael home.
The post Halloween 4 Replacement Disc NOW Offered by Scream Factory and Anchor Bay appeared first on Dread Central.
Ready to rejoin “The Originals” tonight for Episode 2.02, “Alive and Kicking”? Here to get you ready for the ep, in which guest star Nathaniel Buzolic appears in flashbacks, are executive producers Julie Plec and Michael Narducci with a preview of what we can expect.
“The Originals” Episode 2.02 – “Alive and Kicking” (airs 10/13/14): As tensions between Elijah (Daniel Gillies) and Hayley (Phoebe Tonkin) grow, Klaus (Joseph Morgan) steps in and encourages her to regain her position within her werewolf pack.
Still under Davina’s (Danielle Campbell) control, Mikael (Sebastian Roche) grows impatient while she attempts to uncover a spell that would protect those closest to her. When Elijah turns to Marcel (Charles Michael Davis) for help in tracking down a vital piece of information, he is forced to remember a time long ago when they were on better terms.
Meanwhile, Davina and Kaleb (guest star Daniel Sharmon) find themselves in a dangerous situation when unexpected visitors show up and crash their dinner. Finally, Klaus grows suspicious after a meeting with Cassie (guest star Natalie Dreyfuss) doesn’t go as he had planned. Jeffrey Hunt directed the episode written by Michelle Paradise and Michael Narducci.
The post Go Inside The Originals Episode 2.02 Alive and Kicking with this Producers’ Preview appeared first on Dread Central.