Reading “POP” by Curt Pires is like taking a culture studies class your freshman year taught by a disillusioned grad student who has a ponytail, drinks a lot of coffee, and says the word “Sheeple” a lot. Your freshly expanded mind will be immediately drawn to his bleak outlook on society, and you’ll quickly begin to adopt his animosity toward the corporate machine’s homogenization of art and the death of meaningful creativity in the age of marketing campaigns and pop culture by committee and product placement and like him you’ll seethe with disdain for the monetization of everything that used to mean anything. You’ll eat that shit up. I read “Pop” with one hand on my pitchfork and I love every second of it.
WRITTEN BY: Curt Pires
ART BY: Jason Copland
PUBLISHER: Dark Horse
RELEASE: September 24, 2014
Reviewed By Eric Switzer
“POP” #2 has got to have the coolest cover on shelves today. I say this because #1 had a really incredible cover, and I wonder how the four of them would look framed together on a wall in my living room next to a mass produced black-and-white Tyler Durden. The irony is not lost on me.
So Coop is still trying to figure out who Elle is and they have a run in with the Cartel while doing DMT in the woods and it looks like they might get caught but they escape just in time and there is a car chase and a pretty cool fight scene with the biker chick…
If you are reading “POP” then you know the book isn’t a huge standout because of the plot, but rather the tone. I read “POP” for the angst. I read “POP” to get angry. I read “POP” because it reminds me of a time when there was nothing worse than being a sellout and The Man wanted to crush my soul. Sometimes I wonder if he did, because you grow up and you get a job and you aren’t as worried about the things you used to think were life and death. You grow up and assimilate more and more the shortcoming in our culture don’t get to you as much, you don’t notice them or they don’t bother you. “POP” doesn’t let you forget. “POP” is here to remind you that the bullshit hasn’t gone away. The players have changed but the game stays the same. “POP” is a call to action.
It isn’t perfect, and it shouldn’t be. “Perfect” art is a Cheerios commercial. Its a Starbucks billboard. “POP” is an expression. Curt and Jason are exposing themselves, trying to expose some truth. The work is personal yet global. The message isn’t always clear or consistent, metaphors are a little mixed, but it starts the conversation. I don’t think “POP” has all the answers, it isn’t a new bible. But it makes me angry, and I really like that.
As expected, “Aliens: Fire and Stone” #1, details the events of the Hadley’s Hope, a colony on LV-426, and the events that led to the discovery of the ship on LV-223 in the first issue of “Prometheus: Fire and Stone”. This type of segmented storytelling gives the entire event an enormous scope and weight. Because of the alternating release schedule of the books, each issue will almost certainly deliver a deeper understanding of both books (if not all four) and finally put these franchises in the cohesive universe they ought to be in. It is unlike any event I’ve read before, and I’m loving every second of it.
WRITTEN BY: Chris Roberson
ART BY: Patric Reynolds
PUBLISHER: Dark Horse
RELEASE: September 24, 2014
Reviewed By Eric Switzer
When “Prometheus: FIre and Stone” #1 was released, I praised it for being tonally consistent with the film and reading almost like a sequel. “Alien: Fire and Stone”, however, isn’t afforded the same quality because the “Alien” franchise has so much more to draw from and compare to than the singular “Prometheus” film, this is an inherently different book. Instead what “Alien: Fire and Stone” has going for it is a carnage-tastic opening scene and a pace that will have you holding your breath from beginning to end, not to mention some of the coolest panel compositions I’ve seen this year.
This issue doesn’t do exactly what I expected, and I like that. “Prometheus” #1 sets us up to follow the story of the fall of Hadley’s Hope, a tragedy that ends with the escape ship reaching LV-223. Instead we see Hadley’s Hope fall in the first few pages and the escape ship reach LV-223 by midpoint in the book. By keeping the events in both “Aliens” and “Prometheus” in the same setting I think we are going to see a lot of really cool interconnection between the books, more so than I expected.
Where this book falls short of “Prometheus” #1 is in the execution. Unlike “Prometheus”, this book starts amidst a crisis and characters are introduced haphazardly and without the kind of development we saw in “Prometheus”. Secondly, I hate to say it because so much of the art in this book is so damn cool, but I found myself having to flip back more than once and reexamine a previous pages to figure out what was going on. It is unfortunately distracting and the book loses a little bit of momentum when the action is muddled and I have to really study the panels to follow it.
Neither of these complaints are enough to turn me away from such an exciting event and I can encourage you enough to pick up both “Aliens” and “Prometheus” right now. Up next is Joshua Williamson with “Predator” #1. He has been killing it on BOOM!’s “Robocop” and I can’t wait to see his take on Predator.
Epic Switzer AKA Eric is an aspiring filmmaker and screenplay writer living in Los Angeles. His work tends to focus on the lighter side of entropy, dystopic futures, and man’s innate struggle with his own mortality. He can be found on twitter @epicswitzer or reached via email at firstname.lastname@example.org.
Yo Joe! Oh no, I don’t think so. “G.I. Joe” #1 looks and feels like a modern army / political story and not an action story. It seems G.I. Joe has grown up into something boring and not as explosion and ninja-friendly as I recall. It’s a little too realistic in all the wrong ways.
WRITTEN BY: Karen Traviss
ART BY: Steve Kurth
PUBLISHER: IDW Publishing
RELEASE: 24 September 2014
Reviewed by: Your Friendly Neighborhood Brady
Cobra has won. They are now appear to the world as privatized military going into war zones where borders and battles are dirty and calculated. Cobra has everyone fooled except for G.I. Joe. However, the Joes are in committee meetings justifying their budgets and their continued existence. Sound interesting to you? This is one of the most unexciting comics I’ve ever read. Writer Karen Traviss has sucked all of the fun out of this once unashamed elite fighting force. I confess I’ve not read a G.I. Joe comic in a very long time but this premiere issue did nothing to make me want to pick up another one.
The art by Steve Kurth is serviceable. He’s not given much to draw except for talking heads and one half page of old battles which looks badass. Kurth’s world and people in it look sketchy and unpolished. The coloring by Kito Young is muted and murky and makes the whole story feel depressing. All the covers look to trick readers into something this book isn’t: action-packed and kick ass.
This entire issue is way too drawn out and dull for me. It takes far too long for anything to happen. I miss all the crazy-looking vehicles, the evil Cobra and their crazy plans for world domination. I think there’s another series out there with Joes and Transformers that is more of what I think of when I hear G.I. Joe. If you want to see your childhood heroes old and neutered, ala The Expendables films, this is the series for you.
Si Spencer’s “Bodies” is a work of beautifully planned brilliance. The premise is simple, what if criminal investigators in four different time periods find the same body, with the same M.O. It should be endless complicated, but it’s a smooth read watching different detectives slowly pull at the threads of an overwhelming mystery that’s soaked in absolute terror.
ART BY: 1890 Dean Ormston, 1940 Phil Winslade, 2050 Tula Lotay, 2014 Meghan Hetrick
PUBLISHER: Vertigo Comics
RELEASE: September 24, 2014
Honestly “Bodies” is the perfect Vertigo Comic. It’s brilliantly dark, and deceptively simple, but the execution is gorgeous. It puts other comics to shame, by using the medium to tell a story perfectly suited for comics. It takes the intensely personal experience of looking for a body, and amplifies the mystery ten fold when the same body shows up in four different time periods. I know I already said it, but it bares repeating because it’s so awesome.
Spencer’s script wastes no time getting into a little more detail with what exactly is going on with the mystery. Threads are beginning to connect and it’s clear that more than the bodies are connecting these stories. It’s an impressive weave that is watertight across the board. I can’t even really pick my favorite, because each of them are compelling in their own way. Although 1890 has that perfect Lovecraftian feel that I can’t get enough of.
While the insanely imaginative plot should be enough to sell the book, the art is something else entirely. I find Dean Ormston’s grey drab look for 1890 so compelling thanks to his Lee Loughridge’s colors adding flair in all the right spots. Tula Lotay manages to create a whimsical ride into the future that feels like and otherworldly. It’s a breath of fresh air in the dark book. Phil Winslade is unrivaled in his detailed 1940’s layouts. Seriously this chapter has one of the best and most gruesome depictions of polaroid’s I’ve ever had the pleasure of seeing. And Meghan Hetrick brings the unpredictability of modern London to the page with ease.
A few weeks ago we ran a handy glossary filled with terms to help you read “Bodies” and I suggest brushing up ASAP. This was a book that wasn’t on my radar for the past two months, but it’s now officially one of my most desired books of the month. It’s a fantastic blend of horror and mystery that is provocative on every level. It pushes the medium to new heights and shows that Vertigo is still the unrivaled master in adult comics.
After two issues of pleasantly scratching my head, wondering what’s going on, “Bodies” #3 defintely makes things a little clearer. Yet, it still manages to add heaping piles of mystery on top of what’s already there. I’m literally frothing at the mouth to see what happens next.
An impressive installment, “Clive Barker’s Nightbreed” #5 delivers a surreal nightmare where readers cannot tell the difference between monsters and humans. Based on Clive Barker’s “Cabal” novella, this spinoff explores the underground inhabitants living in the secluded city of Midian. Just like with the “Hellraiser” series, there is tons of potential here to explore new territory within the “Nightbreed” mythology.
WRITTEN BY: Clive Barker and Marc Andreyko
ART BY: Piotr Kowalski, Emmanuel Xerx Javier
PUBLISHER: Boom! Studios
RELEASE: September 24, 2014
Reviewed By Jorge Solis
Boone is about to meet two interesting characters living in Midian. The first persona is Luda, a trickster who looks like a demon. The second is a celebrity from Hollywood’s past lifetime. Boone recognizes this starlet from when he watched movies with his grandmother. He realizes Annastasjia has not aged a bit since the ’20s. Boone is about to learn what makes her different from the others. Though they have diverse backgrounds, with special circumstances, Boone is about to learn that all roads lead to Midian.
What will really draw in newcomers and longtime followers are these two new and fresh characters, Lude and Annastasjia. The duo revolves around Barker’s themes about people being persecuted for the color of their skin, their race, and their gender. Co-writer Marc Andreyko delivers some laugh-out-loud humor through Lude. Because Lude has the face of a demon, you forget he’s really this fun clown you’d really have a drink with at the bar.
The highlight of Andreyko’s storytelling is how he is able to split and connect the two origin stories. The narrative jumps back and forth between two timelines at a quick pace. At first, you don’t know what makes Annastasjia special until her surprising twist. I can’t wait to see if Lude will become more prominent role in the upcoming issues.
Artist Piotr Kowalski Javier plays around with Lude’s comical facial expressions. Though he is supposed to be demon-looking, he really is the comic relief. Kowlaski plays with that comedy aspect, especially when Lude is a little demon baby. His face and eyes are round, almost cartoon-like, which adds to the humor.
Emmanuel Xerx Javier has done a great job referencing the 1920s time period. In her character design, Annatasjia has clothes from the her Hollywood days, as if she’s still stuck there. This is a washed-up actress who couldn’t move on with the rest of the world. Though her body hasn’t aged, she is a living replica from the forgotten days of her youth.
“Clive Barker’s Nightbreed” #5 will definitely shock readers with the clever twist at the climax. Just reading the “Nightbreed” comic makes me want to preorder “The Cabal Cut.”
Space noir, noir in space. What more could you ever want?
WRITTEN BY: Michael Moreci
ART BY: Vic Malhotra
PUBLISHER: Image Comics
RELEASE: September 24, 2014
Reviewed By: Torin Chambers
Roche Limit is a crime noir set in, you guessed it, space. In space and in a manmade colony (The Roche Limit Colony) within the planet Dispater, on the edge of an energy anomaly in the Andromeda Galaxy. This anomaly was spotted from Earth and has some very strange properties. It operates like a black hole but with none of the immense gravitational effects of gravity. This has led humanity to set up the colony on Dispater because of its proximity. None of the wonders of this anomaly play into anything directly in this first issue, but I can see it gradually unfolding its secrets to us.
The Roche Limit Colony has an absolutely magnificent ‘Blade Runner’ feel about it. Even in this first issue the colony comes alive with numerous varied locals. It’s got cramped and noisy places, walls that are riddled with rivets from countless repairs and covered in a thick grime. It’s also got spacious apartments, ritzy high end clubs and notably seedy bars. The Roche Limit Colony is a character in and of itself, teeming with personality and interest.
Two paragraphs in and I suppose I should briefly touch on our protagonists. We’re first introduced to Sonya Torin (her last name is my first name, that’s super neat to me and no one else) a hard as nails woman looking for her sister Bekkah. Besides her justifiably anger over her sister and a past as a cop, we only get ever-so-tiny peaks at who Sonya really is. For now she comes off as pretty flat and uninteresting but with the promise of future development.
On the very next page we meet the unquestionably dubious but also infinitely cool Alex Ford. Alex Ford is a young Harrison Ford, there no other way about it. He’s a smart-assed, cocky son of a bitch who seems to be on everyone’s bad-side. Finding a sense of comradery or compassion or possibly an angle he could work in his favor, Alex steps in and helps Sonya out. He lost an older brother in the past and her plight has “triggered” something in him that make him want to help her.
“Roche Limit” is an astounding introduction to a rich and intricate world. It’s not perfect, but it’s got heart. The only real stumble is with the characterization of Sonya, who as of this first issue I couldn’t care less about. Especially when compared to Alex Ford she might as well have been a cardboard cutout. I can only hope she’s fleshed out in the coming issues. Roche Limit has got all of its building blocks spread out on the table now, I have nothing but the utmost confidence that Michael Moreci will build greatness.
Torin Chambers is a rad dude from the nineties who does film stuff or something. Thomas the Tank Engine is his favorite transformer. Find him on Twitter @TorinsChambers
Enormous is unlike most everything else on the shelves right now; it’s a marvel to behold and an utmost joy to read. I’m going to be a total ass and quote myself because I believe I this poignantly gets across what “Enormous” is at its core.
“Enormous is a monster movie within the frame work of a television show told through the freedom of the comic pages.”
An editorial by Torin Chambers
It’s a Kaiju film played out on the grandest scale imaginable. Godzilla and Pacific Rim fans will eat this book up. Ludicrously original and breathtaking monsters attack most major cities around the globe, they drastically very in looks and size. These are monstrosities in every sense of the word, each one looks like a Frankenstein hodgepodge of all of the worst natural predators our earth has to offer.
The viciousness and horrifically gorgeous monsters are just exquisite. If there is a single sure-fire draw to “Enormous” it’s the visual spectacle. Mehdi Cheggour kills it issue after issue with his incredibly unique style. He adds numerous little touches, such as lens flares, that all fit together to make it feel like you’re watching a big budget Hollywood blockbuster.
Now that I’ve drawn you in with all off this talk of monsters let me tell you about what really makes Enormous great, its protagonist: Ellen Grace. Tim Daniels expertly handles Ellen; she’s a strong woman who’ll do anything for those she loves. Almost everything we learn about Ellen is through her actions and how she intercts with the world. Daniel doesn’t treat the reader like an idiot and dumb the plot down to brain dead levels, such as the default when it comes to giant monster books.
He treats you, the reader, with respect. The majority of this first arc so far has been Ellen trying to get to and save her girlfriend amidst all of the creatures and chaos. Only two issues in and Ellen has already had one loved one torn from her life. Enormous moves fast and doesn’t dwell long on any one thing. When you’ve got real life nightmares destroying humanity as we know it there isn’t much time to smell the roses.
Although Ellen is the main focus she isn’t the only focus. There are numerous secondary plots going on in the background. Numerous different people, all in very different places, physically and mentally, help round out the Enormous world. There’s a father and his daughter holding up together in a basement that’s not as safe as they think. There’s also a whole side plot involving the government and how they are responding to the newfound hell that has befallen Earth. They’re all extremely removed from each other right now but the prospect of them eventually coming together is titillating.
“Enormous” is a monster movie with substance, don’t be a dangus, read it.
Need more help, here are some previews:
And Issue #4 hits today, read our review of it here.
Torin Chambers is a rad dude from the nineties who does film stuff or something. Thomas the Tank Engine is his favorite transformer. Find him on Twitter @TorinsChambers
While reading issue #3 of Rick Remender and Greg Tocchini’s “Low” I couldn’t help but indulge myself in the use of there “I can’t even!” internet meme. This series is so flippin’ gorgeous.
WRITTEN BY: Rick Remender
ART BY: Greg Tocchini
PUBLISHER: Image Comics
RELEASE: September 24, 2014
Reviewed by Nick Brehmer
Meanwhile, an imprisoned Marik is left alone with his guilt in accidentally killing the prostitute in issue #2. Surrendering in his own way, suicide seems to be the only way out, but not before his mother can intervene. At odds, the two journey into the wild seas beyond Salus in an attempt to retrieve the probe that may hold the key to humanity’s survival.
I can see the narrative of “Low” run the risk of alienating certain readers. I fear that the stark contrast between Stel’s optimism and Marik’s nihilism might come off as preachy. I’m not overly familiar with Rick Rememder’s work, but his letter to the readers in the back matter of issue #1 indicates that “Low” is new territory for him. He writes, “I’ve realized that in fifteen years I’ve never once written an optimist lead character…Writing Stel’s adventures and what she endures and how she endures it became incredibly cathartic.” We’ve seen just how dark “Low” can go and I think skeptical readers should note that Remender is aiming for a balance of harsh and hopeful.
I think a lot of readers (as one can witness in the back matter letters to the author) find “Low” to be incredibly healing. If anything, the series is preaching that cynicism and despair are easy to fall into. Resilience is the road less traveled. Just as Stel does, we need to put up with a lot of bullshit before we can step into the possibility of breakthrough.
The key word being “possibility.” It helps having an artist like Tocchini bring these sentiments to life in the panels of “Low.” The designs he’s come up with, from the underwater vessels to the gear and attire of the characters, are just brilliant. Not to mention the vast array of sea creatures we are shown in this issue. With that said, I’ll end with this:
A product of the harsh lands of Northern Ontario, Nick Brehmer is in fact a sensitive flower currently blooming in the GTA. He spends his downtime wishing he was British. Follow him on Twitter and Instagram @nicholasbrehmer
Tim Daniel further expands his world with “Enormous” #4 a pulse pounding story that is filled with action, this may be the best chapter of the book yet. What we get here is equal parts mystery, action set pieces, and character driven drama, in short it’s absolutely thrilling, thanks to incredibly tight pacing.
WRITTEN BY: Tim Daniel
ART BY: Mehdi Cheggour
PUBLISHER: 215 Ink
RELEASE: September 23, 2014
As this point it should come as no surprise that “Enormous” has it all figured out. The book has been crafted with a evident level of care that shows the intimate planning process of building a huge world, but does it through awesome action and character.
This issue begins with a showdown in Tucson Arizona. Everything here seems to be unrelated to Ellen’s journey, but proves interesting thanks to the nature of the showdown on the page. Everything feels completely compelling. The man we’re introduced to gives us a heaping dose of person on person violence and shows the world of “Enormous” isn’t just crumbling thanks to giant hulking beasts.
Ellen’s story reaches fever pitch as she continues to search for her girlfriend. It’s the type of fool’s errand that would have you yelling at your television we’re this a horror movie, but I gives a great sense of her character, she’s driven to a flaw. It’ll be her saving grace, but her it’s almost her demise.
But the real star of this issue is the incomparable Mehdi Cheggour. His stylistic blend of photorealism with gigantic set pieces gives every little panel some heart. He’s able to create an irresistible world thanks to the level of detail in his work with the human characters, but explodes the book outward whenever the beasts are on the page. The result is a finely tuned experimentation in pacing that really allows the visual flow of the book to control the action.
I’d be remiss if I didn’t mention the final pages of the issue. They tease a larger world that’s about to be introduced to the reader. Something else is going on, and it’s not all giant beasts. Humanity is evolving in a response to these new threats. How this will all manifest in the pages of the comic is still unclear, but this month offers a tasty tease.
“Enormous” is quite unlike most other monster stories. It’s got your standard fare Kaiju, and it’s got the destruction porn, but the exception is character. There are actual humans on the ground struggling to survive, and it makes all the difference.
I’m new to these parts so I thought I would introduce myself in list form, specifically my end-all-be-all favorite horror flicks.
By no means are these the best horror movies ever made but they are my favorites. If desert islands had TV and DVD hook up capability these are the ones I would bring with me.
Enough blathering on and let’s get to the movies!10. Candyman:
The 10 spot in my ultimate list goes to the only 90s horror movie that will appear on this list. As a whole I don’t really subscribe to the 90s meta/cynical idea of a horror movie. Of course there are exceptions like Scream and I do love Urban Legend as flawed as it may be but generally my tastes reside in the 70s/80s fare.
What I love about Candyman is it remains socially relevant no matter when you watch it. Every time I turn it on I see bits and pieces of world events today happening within the story, events that hadn’t even happened yet are depicted in this film. In the horror genre it’s hard to make a movie that doesn’t eventually date itself. We all the style of the 80s slashers and 70s psychological hits but most come away dated in some way.
Not to mention I was always the lame ass at slumber parties who refused to do anything related to Bloody Mary lore. I’m 24 and I still refuse to call that bitch out. Obviously Candyman follows in the same vein but instead of scaring you to death or whatever it is Mary does he rips you from groin to gullet with a big tetanus-y looking hook. No fucking thank you.9. Strange Vice of Mrs. Wardh (aka Blade of the Ripper):
My love for Giallo, and other Italian sleaze, was born of Edwige Fenech, George Hilton, and Ivan Rassimov’s warped love triangle. If you are new to the genre, or looking to indoctrinate your friends to it, I highly recommend starting with this film. It’s basically a step by step guide on how a Giallo formula works.
I fell in love with Strange Vice upon first viewing because I didn’t know there were movies like it, let alone an entire catalogue of them. I always loved the slasher type of film but this made me realize it can also be done with a dash of sex appeal and class. It’s also a great mystery and the twist is almost perfect and brings a smile to my face every time!
End note: Edwige Fenech made me realize one of my two “girl crushes”.8. Videodrome:
What can I say about David Cronenberg that hasn’t been said? The man is a genius of the body horror and was always YEARS ahead of his time and none of his films prove that true as well as Videodrome does. In a world where we are consistently “hyper-stimulated” by social media and portable technology it’s uncanny how close this movie mimics us.
And really, that’s what makes this movie so scary to me. It’s not quite as grotesque as The Brood or The Fly but it taps into the psychology of the modern world so acutely that you can’t help but come out of it worried about what further advances could do to us as a whole. That doesn’t mean I’m going to put down my iPhone or stop gulping down as much media as I can, it just means I know the inevitable consequences of over saturation.
Bonus love: James Woods and Debbie (oh sorry, DEBORAH) Harry are so deliciously sleazy it’s impossible to not acknowledge how perfect they are.7. Suspiria:
Please, oh please let this be one remake idea that remains shelved at least until I am cryogenically frozen somewhere. If Strange Vice was my introduction to Giallo then Suspiria was my introduction to the bat-shit crazy side of Italian horror cinema. Dario Argento has fallen pretty hard off the good-movie-making wagon but his films from the late 70s to mid 80s are something to be adored.
Suspria is a film of its time and I don’t mean it’s dated, actually it shows the type of filmmaking that can never be duplicated in the mainstream. The amalgamation of lighting and sound design are what sets Argento apart from everyone else at this time. Honestly, it’s no surprise Argento generally makes shit nowadays he probably used all of his creative genius to make his early films.
The story does get a bit muddled as we hit the half way point but it never loses the audiences attention. We are constantly worried for Jessica Harper’s character and are just as confused about the surroundings as she is. Suspiria made me realize that a film doesn’t need to be completely linear or coherent to be good and it made way for me to enjoy other directors like David Lynch.6. Creature From the Black Lagoon:
As I’m sure most of you did, my first introduction to horror movies came from the Universal Monsters Collection. As I got older my favorites began to cement themselves and my appreciation for the Monsters grew, especially after learning how they saved Universal Studios from going bankrupt. It’s a goddamn shame that Universal Studios them park is taking out The Universal Monsters attraction because of lack of interest.
Creature From the Black Lagoon is my favorite of the originals, I even got him tattooed on my leg. Though this isn’t one from the “hayday” of the 30s, it still captures the same magic as Dracula and Frankenstein did. In fact if you look at the number of horror movies made in 1954, only 6, you’ll see that Creature is in fair company when it came to monsters sharing the spot with Godzilla and Them!
Though it is the “younger” of the original monsters it still holds that same magical otherworldly feel from the others. Watching the Creature himself interact with the characters is always mesmerizing given he has no dialogue, not even groaning like the Monster in Frankenstein. Ricou Browning and Ben Chapman, the actors who brought Creature to life, are grossly overlooked in their talent. They aren’t even credit for Christ’s sake! From a technological aspect this is clearly the best of the entries but it holds dear to my heart for its simple and beautiful story.5. Hellraiser:
The second Clive Barker story turned horror film to top in my list is Hellraiser. Despite it’s really weird and confounding ending I will forever adore this movie for an array of reasons. Namely: Pinhead. Pinhead is a great character because he isn’t the true villain of the film or really any of the ones to follow. He is simply a minion of Hell who has a job to do and I bet he gets employee of the month every time! It’s really Julia and Frank who are the real villains.
I’m also a big fan of mixing animation and live action so the incredible use of claymation effects is beautiful to watch. Hellraiser is just a fun movie and I even enjoy some of the sequels.4. A Nightmare on Elm Street (1984):
Unlike Pinhead, Freddy is indeed the villain of the Nightmare on Elm Street franchise but there is just something about him that worms his way into our hearts.
Though my introduction to horror was through Universal Monsters , Nightmare on Elm Street was the ultimate test of my loyalty. I was probably about 10 or 11 when I first saw Freddy in all of his glory. It was late at night and I was staying at a friends house and we were searching for scary late night movies on TV. Low and behold this was what happened to be showing on Big Chuck and Little John that evening. As I watched in unending fear while one of my friends laughed at me I knew it was the beginning of a new chapter in my life. From then on all I wanted to watch was horror. I wanted to regain that fear I had first experienced and to this day the scene where Tina shows up in her body bag still gives me chills.3. Carrie (1976):
It’s a damn shame that now whenever anyone wants to search for Carrie they will have to differentiate between 1976 and 2013. Brian De Palma is a great filmmaker but for me Carrie will always be my favorite. Carrie hits close to home for me, and I think many other girls, who were hesitant about going into High School. The psychic aspect of this movie is really the least frightening thing about this film, the scary part are the terrible classmates.
Sissy Spacek is one of the only performances in horror that has ever made me feel really really terrible for what was happening to them. In a lot of horror movies we don’t get a lot of chances to really feel for our inevitable victims. Usually we just eagerly await for them to get picked off one by one. The character of Carrie in the FILM (not the book!) is so heartbreaking that any female, whether you were popular or not, can’t help but feel bad for her. As a 13 year old girl my first experience with Carrie was a terrifying one considering I was just about to go into High School.
Thankfully my school experience was nowhere near as horrible as Carrie’s I still can’t help but feel so emotionally drained after each viewing.2. Creepshow:
Taking the second spot on my list is another Stephen King adaptation and the film that made Anthology Horror my second favorite sub-genre. Creepshow is damn near perfect in my book, it combines horror and humor seamlessly and never favors one over the other. Coming in at 2 hours long it is also probably one of the lengthiest of anthology horrors.
Creepshow is a collection of 5 stories written by Stephen King and directed by zombie grandfather George Romero. It’s one of the few times we get a non-zombiecentric film from Romero and is the best of his King adaptation projects. It also nails it with a great wrap around story featuring Tom “Thrill me” Atkins and King’s son Joe Hill.
This movie made me seek out other anthologies and ultimately led me to my desire to, eventually, write a guide to every single one I can seek out.
Side note: “They’re Creeping Up On You” is my favorite segment despite my crippling fear of cockroaches.1. The Shining (1980):
Okay so I really didn’t mean to make my top 3 horror films of all time Stephen King adaptations, I really didn’t. But looking at the movies I have chosen of his work can you blame me? Although, I almost feel like this isn’t considered to be a real adaptation of his considering he hates it so much.
I find every aspect of this film to be fascinating and every time I watch it I pick up on new things and new feelings. It also gave me the lifelong fear of creepy dead kids. Even though I know exactly when the twins will appear I can’t help but get goosebumps every time Danny starts riding his big wheel over the wooden floor.
Side note: Strangely enough the building I live in reminds everyone of The Overlook.
And there you have it! My personal favorites of this wonderful genre we all love. I’m sure you won’t all agree with everything on my list and probably not the order but I loves what I loves. What are your favorites?
I’ve featured South African hip hop group Die Antwoord a few times here on Bloody-Disgusting. Their insane music videos are 100% right up the alley of any horror fan, thanks to unreal, nightmarish visuals. And with their current US tour, I began thinking about those videos, which are as engaging as they are deranged.
So, to celebrate the group and their incredibly unique visual style, I wanted to grab several of their music clips and drop them into one article as a way to kick off your week. Note that these videos are extremely NSFW due to language, sexual imagery, gore, violence, and a general aura that will have you asking yourself, “What in the absolute fuck was that?”
You think you know weird? Get ready to expand your definition of that word as you watch Die Antwoord.
If you’re one of the lucky ones who can go and see Adam Wingard’s The Guest in theatres, please take the opportunity to do so; the rest of us will live through you vicariously. In the interim we can all dig on this new clip.
From the director of You’re Next and featuring a standout, badass performance from Dan Stevens (“Downton Abbey”), comes The Guest: a tense, action-packed, and unpredictable film like everything and nothing you’ve ever seen before.
A soldier (Dan Stevens) introduces himself to the Peterson family, claiming to be a friend of their son who died in action. After the young man is welcomed into their home, a series of accidental deaths seem to be connected to his presence.
When we first told you about writer/director Mitch Cohen’s zombie comedy project Super Zero, it was in reference to last year’s Kickstarter campaign that sought to secure funds for a feature film. That wasn’t to be, though Cohen forged ahead regardless to create a promising short edition which you can watch right here!
We asked Cohen whether the failure of his Kickstarter project to reach its target influenced the decision to create a short film instead. Not so, he explained, telling us: “The story of the production is that the Kickstarter was also to produce the short film. The idea was to make the short as a teaser and a proof of concept to expand this into a feature film or a series. I have already developed the project out both ways. Even though the Kickstarter was unsuccessful financially, it gave me some promotion and I met some really talented people who helped me get it made for way less money and with even more production value. So in that way the Kickstarter campaign was a success!”
Super Zero stars Umberto Celisano, Giselle Gilbert, Al Bernstein and Tyler White, is written and directed by Mitch Cohen, and is produced by Devon Byers and Alex Moran.
When Josh Hershberg, a 20-year-old introverted geek culture lover, is diagnosed with terminal brain cancer, he believes he isn’t special and has nothing to offer the world. However, on the day he decides to kill himself and end it all, a vessel carrying the first sample of liquid water discovered on Mars crashes to Earth on re-entry, sparking the Zombie Apocalypse.
One month later, the world has gone to hell and Josh has set off to wander through the madness alone. He stumbles upon his crush, her cousin and a wayward pizza party clown trying to find their way to safety. In the middle of a sudden Zombie attack, the three learn that Josh is immune to being a target of the undead due to his rare illness. Josh, using his comic-book/gaming/movie knowledge and engineering expertise, crafts Zombie killing weapons and heroically saves the lives of his compatriots, earning him a place in their ragtag group.
In the process, Josh discovers, once and for all, you may not know what makes you special, but your time will come. And perhaps, when the biggest epic fail ever to happen to civilization triggers the rising of the dead to kill the living, one may find that there is a zombie assassin in all of us.
The post It Takes a Super Zero to Survive the Apocalypse in This Short Film appeared first on Dread Central.
Here’s a clip, trailer and some images from Craig Efros’ Hollows Grove that looks inspired by V/H/S, right down to the editing in the trailer.
“In Hollows Grove, a young filmmaker, Harold Maxwell, is filming a behind-the-scenes documentary about his friends – the Spirit and Paranormal Investigation Team (S.P.I.T) and their ghost hunting reality show. Harold joins the S.P.I.T crew as they head out to their next assignment, to film an old, abandoned and supposedly haunted orphanage, Hollows Grove. Soon after arriving at the orphanage the team begins to realize that what they thought would be a routine investigation is turning into a nightmare from which they can’t escape.“
We also have an exclusive clip that shows the faux opening to the “S.P.I.T.” series.
You can pick the film up on October 3 here.
On tap right now is an exclusive clip from Don Thacker’s flick Motivational Growth (review). That being said, hurry up and disinfect your hands. Get your favorite salve ready!
Motivational Growth Release Details
Indiecan Entertainment, Parade Deck Films, and Devolver Digital have teamed up to release Don Thacker’s sleeper festival hit MOTIVATIONAL GROWTH (starring genre legend Jeffrey Combs).
The film will hit VOD worldwide on September 30th (via Devolver in most countries and Indiecan in Canada), Blu-ray and DVD in Canada on the same date, and DVD in the US the following week (via Parade Deck) on October 6th.
The DVD release will include a commentary track (with actors Jeffrey Combs and Adrian DiGiovanni and director Don Thacker), a photo gallery, and trailers. The Blu-ray edition will also include some additional behind-the-scenes material.
In Motivational Growth, Ian Foliver (Adrian DiGiovanni), a depressed and reclusive man in his 70s, finds himself taking advice from a growth in his bathroom after a failed suicide attempt. The Mold (Re-Animator star Jeffrey Combs), a smooth talking fungus born of the filth in a neglected bathroom, works to help Ian clean himself up and remodel his lifestyle. The Mold has big plans for Ian, but they may not be as innocent as they seem. A labyrinthine narrative follows, full of colorfully drawn characters and gruesome body horror. “The Mold knows, Jack. The Mold knows.”
The post Exclusive Motivational Growth Clip Begins to Fester appeared first on Dread Central.
It’s almost time for season 5 of The Walking Dead! We’re finally going to find out what Rick meant when he said, “They’re screwing with the wrong people.” We’re going to see if Daryl can find Beth. Basically, questions will be answered and then more questions will be dumped upon us! Oh, and some zombies will be killed along the way.
Speaking of that, how about we celebrate the vast multitude of zombie kills throughout the series by taking a look at a video set to some wonderful “can-can” music?
Video creator Robert Jones says that he, “…counted around 97 kills” and it definitely shows. There are a TON of kills, far more than I actually remembered from the series.
Now, head on below and let the killing commence!
We have a pretty gross new exclusive clip from Asmodexia, the feature debut of Marc Carrete (short films “Mal cuerpo” and “Castidermia”).
IFC Midnight has slated it for release on VOD September 26, and has since shared the clip that gives homage to The Exorcist. Watch a car crash, and then exorcism, and then a small vomit of pea soup all over someone’s face…
Asmodexia unspools over five days in the lives of an exorcist and his granddaughter, working in the Barcelona area.
“Eloy de Palma is an exorcist pastor roaming the darkest corners of the country with his granddaughter Alba. Their mission is to help those possessed by The Evil One, an infection of the soul that is spreading fast, especially among the most vulnerable members of society: children, mental patients, and drug addicts. There is also a mysterious cult following them, making it more difficult to help those in need. Each exorcism is tougher than the one before, and every battle with Evil reveals a piece of young Alba’s forgotten past – an enigma that if unconcealed could change the world as we know it.“
Andrew Adamson, who directed two of the Chronicles of Narnia movies, is attached to helm Breath of Bones, an adaptation of the acclaimed Dark Horse Entertainment comics miniseries, reports THR.
The three-issue story, later collected into a hardback graphic novel, was written by Steve Niles, a known name in the horror comic field (he created “30 Days of Night”), and Matt Santoro. Artist Dave Wachter received a 2012 Russ Manning Award nomination for his gorgeous work.
The unique “Bones” is set during World War II and tells of a British plane that crashes into a Jewish village. The crash brings Nazi attention, forcing the villagers to defend themselves, with one rabbi and his grandson building a Golem creature and bringing him to monstrous life.
“Telling a story can be tough,” Niles said to Heat Vision. “It’s the one monster rooted in religion and mysticism, so I wanted to be respectful. I decided to tell it as a World War II fable. It’s a story of a grandfather teaching his grandson how to make a monster to defend his village against a Nazi invasion.“
2014 Fantastic Fest Award Winners Include It Follows, The Babadook, Spring, Dead Snow 2, and Alleluia
Fantastic Fest 2014 doesn’t officially end until this Thursday, September 25th, but all the premieres are done, which means it’s time to to announce this year’s Fantastic Fest Award winners.
It was an outstanding year for features and shorts, making the job of honoring a select crop all the more difficult, but the Fest’s esteemed team of jurors have done the nearly impossible and chosen the best films of the festival.
The audience awards are presented by accounting firm Maxwell Locke & Ritter, who provided the certified tabulation of ballots this year and are the exclusive accounting sponsor of Fantastic Fest. Dell Precision is the presenter of the prestigious “Next Wave” Award, which honors emerging filmmakers. The winners of the “Next Wave” feature awards are presented with a new Dell Precision mobile workstation.
A Lifetime Achievement Award was presented to legendary film critic Leonard Maltin by Alamo Drafthouse and Fantastic Fest co-founder Tim League and his longtime friend Louis Black, co-founder of the Austin Chronicle and SXSW.
AUDIENCE AWARD (Presented by Maxwell Locke & Ritter)
THE TALE OF PRINCESS KAGUYA (director Isao Takahata)
“NEXT WAVE” SPOTLIGHT COMPETITION PRESENTED BY DELL PRECISION
Best Picture: IT FOLLOWS (director David Robert Mitchell)
Best Director: Miroslav Slaboshpitsky (THE TRIBE)
Best Screenplay: David Robert Mitchell (IT FOLLOWS)
Best Actor: Lou Taylor Pucci (SPRING)
Best Actress: Amy Everson (FELT)
Best Picture: ALLELUIA (director Fabrice Du Welz)
Best Director: Fabrice Du Welz (ALLELUIA)
Best Screenplay: Tetsuya Nakashima, Maiko Tedano and Nobuhiro Monma (THE WORLD OF KANAKO)
Best Actor: Laurent Lucas (ALLELUIA)
Best Actress: Lola Dueñas (ALLELUIA)
Best Picture: THE BABADOOK (directed Jennifer Kent)
Best Screenplay: Jennifer Kent (THE BABADOOK)
Best Director: Martín De Salvo (DARKNESS BY DAY)
Best Actor: Noah Wiseman (THE BABADOOK)
Best Actress: Essie Davis (THE BABADOOK)
GUTBUSTER COMEDY FEATURES
Best Picture: DEAD SNOW 2: RED VS DEAD (director by Tommy Wirkola)
Best Director: Hans Petter Moland (IN ORDER OF DISAPPEARANCE)
Best Screenplay: Vegar Hoel, Stig Frode Henriksen and Tommy Wirkola (DEAD SNOW 2: RED VS DEAD)
Best Actor: Pål Sverre Hagen (IN ORDER OF DISAPPEARANCE)
Best Actress: Sylvia Hoeks (BROS BEFORE HOS)
Best Picture: KUNG FU ELLIOT (director Jaret Belliveau)
Best Director: Tim Grabham, Jasper Sharp (THE CREEPING GARDEN)
SHORT FUSE: HORROR SHORTS
Winner: THE STOMACH directed by Ben Steiner
Runner-up: INVADERS directed by Jason Kupfer
Winner: THE VOICE THIEF directed by Adan Jodorowsky
Runners-up: MY FATHER IS A BIRD (director Boaz Debby) and SOLITUDO (director Alice Lowe)
DRAWN AND QUARTERED: ANIMATED SHORTS
Winner: THE CHAPERONE (director Fraser Munden)
Runner-up: DAY 40 (director Sol Friedman)
Best in Show: BANANA CHALICE (developed by Kyle Reimergartin)
Gold Prize: HAVANA VAMPIRE TERRITORY (director Carlos Lechuga) and THE TURNED (director Andrés Rosende)
Silver Prize: FIERCE (director Francisco Lorite)
Bronze Prize: HURT (director Pablo Proenza)
Special Jury Mention for “Keeping the Spirit of the 80’s Alive”: THE SHADOWDWELLERS (producer Erick Salomon)
Jury Award for Work in Progress and Chemistry Award: FRONDOSO EDEN DEL CORAZON (director Juan Manuel Fodde)
Morbido/Latam Consultation Award: EAT ME (director David Michán)
Invited to Ventana Sur in Buenos Aires for Blood Window / Beyond the Window Coproduction Meetings: HAVANA VAMPIRE TERRITORY (director Carlos Lechuga) and THE SHORE (director Juan Felipe Orozco)
Invited to Ventana Sur in Buenos Aires for Blood Window / Bloody Work in Progress: SCHERZO DIABOLICO (director Adrián García Bogliano)
KING OF SHAKEYFACE
The post 2014 Fantastic Fest Award Winners Include It Follows, The Babadook, Spring, Dead Snow 2, and Alleluia appeared first on Dread Central.
This is is, kids! Annabelle will be haunting your local theatre next week, and right now we have your chance to score all sorts of spooky gear on us! Read on for details regarding this mega-sized creepy fiesta of items!
So what’s in the bundle, you ask? Holy cow, are you in for a bounty of goodies!
- Glow in the Dark Playing Cards
- “Annabelle” Cinch Bag
- Heat Changing Mug
- “Annabelle” Eyes Sleeping Mask
- #I Like Your Doll T-shirt
- “Annabelle” Paper Mask
To enter for your chance to win, just send us an email at email@example.com including your FULL NAME AND MAILING ADDRESS. We’ll take care of the rest.
This contest ends at 12:01 AM PT on October 6th.
Scheduled for release October 3, 2014, the film will be distributed by Warner Bros. Pictures, a Warner Bros. Entertainment company.
Capable of unspeakable evil, the actual doll exists locked up in an occult museum in Connecticut—visited only by a priest who blesses her twice a month. New Line Cinema’s supernatural thriller Annabelle begins before the evil was unleashed.
John Form has found the perfect gift for his expectant wife, Mia — a beautiful, rare vintage doll in a pure white wedding dress. But Mia’s delight with Annabelle doesn’t last long.
On one horrific night, their home is invaded by members of a satanic cult, who violently attack the couple. Spilled blood and terror are not all they leave behind. The cultists have conjured an entity so malevolent that nothing they did will compare to the sinister conduit to the damned that is now…Annabelle.
Annabelle Wallis (X-Men: First Class) and Ward Horton (The Wolf of Wall Street) star as the Forms.
Oscar nominee Alfre Woodard (Cross Creek, Twelve Years a Slave) stars as Evelyn, a neighbor who owns a bookstore and is familiar with the occult. Rounding out the cast are Kerry O’Malley (TV’s “Those Who Kill”) and Brian Howe (Devil’s Knot) as neighbors Sharon and Pete Higgins; Tony Amendola (TV’s “Once Upon A Time”) as Father Perez; and Eric Ladin (TV’s “Boardwalk Empire,”) as Detective Clarkin.
Annabelle reunites the filmmakers behind 2013’s hugely successful supernatural thriller The Conjuring. James Wan, director of the global hit, is producing Annabelle with Peter Safran. John R. Leonetti, who served as cinematographer on The Conjuring, is directing.
Gary Dauberman wrote the script. Richard Brener, Walter Hamada, Dave Neustadter and Hans Ritter are the executive producers. Also joining Leonetti behind the scenes are director of photography James Kniest, production designer Bob Ziembicki, editor Tom Elkins, and costume designer Janet Ingram. Joseph Bishara composed the score.
New Line Cinema presents an Atomic Monster/Safran Company Production, Annabelle.
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