[TV] “The Walking Dead” Season 5 Character Banner #SDCC

bloody disgusting - Mon, 07/21/2014 - 12:54

Today AMC revealed character banner for “The Walking Dead’s” Season 5 that will be displayed at this week’s San Diego Comic-Con.

The poster depicts Rick Grimes (Andrew Lincoln), Carl Grimes (Chandler Riggs), Michonne (Danai Gurira), Daryl Dixon (Norman Reedus), Glenn Rhee (Steven Yeun), Maggie Greene (Lauren Cohan) and Abraham Ford (Michael Cudlitz) handcuffed in the Terminus train car, echoing the survivors’ predicament in the Season 4 Finale cliffhanger.

“The Walking Dead” Comic-Con panel will take place Friday, July 25 at 12:20 pm PDT in Hall H.

“The Walking Dead” returns this October on AMC.

Photo Credit: Frank Ockenfels 3/AMC

Categories: Horror News

Michael Caine Joins ‘The Last Witch Hunter’!

bloody disgusting - Mon, 07/21/2014 - 12:46

The great Michael Caine (Batman Begins, The Dark Knight, Interstellar) has joined the cast of Lionsgate’s supernatural actioner The Last Witch Hunter opposite Vin Diesel and Rose Leslie, reports Variety.

Diesel’s witch hunter will partner with his enemy, a female witch, to stop a plague on humanity unleashed by the covens of New York City.

The Crazies‘ Breck Eisner is direcing from a script re-written by Burk Sharpless and Matt Sazama, based on a pitch by Cory Goodman. D.W. Harper and Melisa Wallack also worked on the script.

Categories: Horror News

Gravitas Ventures In it for Shock Value

Dread Central - Mon, 07/21/2014 - 12:45

Gravitas Ventures sent over the poster and trailer for their latest release, Shock Value, which will be arriving on VOD platforms on August 1st, or, as we like to refer to it, after Comic-Con, when we will all be happy again. Read on for details.

Douglas Rath directs. Zak Hudson, Anthony Bravo, and Janelle Odair star.

Miles Fowler makes horror movies. Cheap, perverted, blood-soaked schlock-fests that few see and fewer enjoy.

Wallowing in obscurity and desperate to make a name for himself, Miles happens upon a bizarre opportunity when he’s the sole witness to a brutal, real-life murder. Sensing a once-in-a-lifetime chance at artistic (and financial) glory, the z-level auteur decides to build his next project around his new “discovery” – serial killer Nick. But when he finds that Nick is in no way ready for his closeup, Miles must resort to that grandest of Hollywood traditions: blackmail.

Pushed from the shadows into the spotlight, Nick has no choice but to learn his lines, hit his marks, and contain his homicidal urges. When cameras roll, however, “creative differences” might just put everyone’s life in turnaround.

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Categories: Horror News

John L. Campbell's Ship of the Dead Sets Sail in October

Dread Central - Mon, 07/21/2014 - 12:30

This past May, Berkley Trade released an expanded version of John L. Campbell's Omega Days, and Book 2 in the trilogy, Ship of the Dead, is steaming our way in October. Read on for the official artwork and details, and look for an excerpt closer to the release date.

From the press Release:
Zombies took over San Francisco in John L. Campbell’s Omega Days, the first novel in his terrifying trilogy. The previously self-published eBook shot up to #2 on Amazon’s Top 100 Horror bestseller list and impressively stayed on the list for 17 weeks.

Following different groups of survivors through a plague-ravaged landscape, Omega Days introduced us to an all-out war of survival and redemption. Now, in the stunning sequel, after surviving a massive zombie attack, the survivors have come to realize that they are dangerously short of supplies, ammunition, and time.

Only a half mile offshore, the U.S.S. Nimitz aircraft carrier has run aground, and with its high steel walls it promises safety, shelter, food, medical supplies, and enough firepower to hold off the coming horde. But what the group quickly realizes is that the ship is actually a vast maze teeming with the relentless dead.

Ship of the Dead arrives in bookstores and online outlets October 7, 2014. Drifters, the final installment, is expected in January 2015. Learn more about the author on JohnLCampbell.com.

In the weeks following the Omega Virus outbreak, survivors form desperate clusters, uniting to defend against hordes of the walking dead. But they can only hide for so long…

Father Xavier Church never wanted to be a leader. Nonetheless, he’s grown attached to his fellow survivors, and he won’t let anyone cause them harm—though he may be the one who inadvertently leads them to destruction…

Ex-con Bill Carnes may crave freedom, but he still prefers sticking with the group rather than fleeing to Mexico with his former cellmate TC. Maybe he’s changing. Or maybe the look in TC’s eyes is more dangerous than the undead…

EMT Rosa Escobedo gave up on hope after she watched the man she loved rise from the dead. But when a patient seems to start getting better, she can’t help but hope for a cure, even if it means risking her life…

As the numbers of the dead swell, the living are running out of safe havens—especially when the biggest threats lie within their own ranks.

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Categories: Horror News

[Fantasia '14 Review] There’s a Great Film Somewhere Inside ‘Animosity’

bloody disgusting - Mon, 07/21/2014 - 12:09

There’s a great film somewhere inside Animosity, the directorial debut of Brendan Steere. At the heart of the story is a vile horror that wrenches your gut and as its truths are slowly revealed, viewers are thrown into a pit of hopelessness. This is a dark film. Like, wicked dark with psychological tension that threatens to become unbearable at times. Aside from the core narrative, there are other elements at play, other pieces of the story’s mystery that make it feel convoluted or padded even. All of the extraneous elements, as well as the confusing motivations of one of the central characters, weaken the emotional punch I think Steere was going for.

Then again, Animosity is a film that warrants multiple viewings. From its bloody ominous prologue to its, well, bloody conclusion, the film unravels a mystery with many pieces while it spirals its audience into darkness. Was I too overwhelmed by the film’s bleak tone (seriously, it’s that bleak) to put the pieces together? It’s a possibility. What I do know for certain is that the feeling I was left with overall was fatigue from enduring such a despairing film. Then again, is that a compliment? A testament to the film’s power? Crap, I dunno.

Like the ingredients of a hot dog, the less you know about Animosity the more you’ll enjoy it. The basic story follows love birds Carrie (Tracy Willet) and Mike (Marcin Paluch), who just moved into a secluded home in the forest (Pennsylvania, judging from a license plate I spotted). For Carrie, it’s the perfect place to start building a family. Mike works in a lab during the day while she stays at home scoring a horror film. Their rural serenity is shattered by their neighbor, Tom (Stephen Goldbach), one mean looking S.O.B. who antagonizes Carrie with menacing hostility.

After a particularly alarming incident where Tom refuses to leave their property, a series of events occurs that begin to break Carrie down. While Mike assures her that she needs to get more sleep, Carrie is coming undone, believing that she’s being manipulated by something out of her grasp, perhaps even supernatural. As she begins to connect the dots, an unimaginable evil is revealed.

Steere definitely knows his way around a camera. Everything is shot nice and tight, elevating the paranoia that’s choking Carrie. He makes some smart, subtle choices in what to reveal to the audience and what to hold back on. Tracy Willet delivers a helluva performance as Carrie. It’s a complex role that covers the gauntlet of emotions, and she does a terrific job.

It’s in the story itself where I encountered some problems. The core is interesting enough, but it’s filled out with some elements that dragged the story down for me. Again, I don’t want to reveal any of the film’s secrets, I’ll just say I wish it was stripped down to its bare bones a bit more, making for a leaner, meaner film. Also weakening the emotional impact for me was one of the central character’s motivations. Again, without spoiling anything, one character’s motive for taking part in something just didn’t make any sense to me. And in the end he shifts gears, which made his previous actions all the more frustrating.

At the risk of giving anything away, I’ll stop there. I really hope Animosity gets an official release soon, not just because I want to watch it again, but also so people can debate my review. I want to like this movie. The main narrative is great, but was a little too bloated for me. After watching it a second time, chances are I’ll have a different opinion, which is great. I actually love when that happens. If that happens, I’ll gladly write a revised review. But for now, all I know is that I left the theater feeling worn out and unsatisfied.

Categories: Horror News

Exclusive: C.J. Thomason Talks Aftermath and More!

Dread Central - Mon, 07/21/2014 - 12:00

CJ Thomason stars alongside Monica Keena and Edward Furlong in the new survival horror film Aftermath. Recently Thomason sat down with Dread Central to discuss his feelings about the movie.

"Aftermath is people surviving, doing everything they can to survive a nuclear fallout," Thomason said. "It's like it would probably happen in real life. They don't know why it's happening. They don't know who attacked."

He added, "They don't know the extent of the attack, and when it comes down to it, the movie is literally just focused on them surviving because that's where we would be. We're not going to have our iPhones updating us. We're not going to have our news media informing us... If you're lucky enough to be around a ham radio, you'll probably know a little bit of information. But it's a claustrophobic look at the survival of nuclear war."

Thomason discussed how the subject matter of Aftermath preys on some true terrors. "What I'm most excited to see is if people recognize that a horror film isn't necessarily a zombie or monster movie," Thomason said. "In actuality, sometimes it's just the potential horrors of life. And I like those movies, like The Vanishing, where you just have this creepy serial killer out there doing things that are mind-blowingly ridiculous and that's scary because that exists. I'm afraid of the possible real monster under the bed, not the fake one. This is one of those situations where there really is a monster under your bed, and Aftermath is the story of it."

Viewers of Aftermath may find themselves reminded of Night of the Living Dead. Thomason spoke on the similarities. "I think that's kind of bred in us by now when it comes to storytelling," Thomason said. "You get these archetype characters that are in Night of the Living Dead. They're kind of in several other survival films. It wasn't necessarily a conversation we had, but I'm sure the writer of the film was influenced by zombie films a lot. Zombie movies are great because it is a survival story and that's the best aspect of it. It's a survival story where all of a sudden the enemy is everywhere and this is the same thing in Aftermath. The enemy is everywhere. There is nuclear fallout happening everywhere and that same survival archetype grows out of that as it would in a zombie film."

So how is it to film a gritty survival horror film? "Horrible, man," Thomason said. "The people were great. The filmmakers were amazing. New Orleans is such a fun city to be in. But I'm not gonna lie. Those were 10-, 12-hour days performing these not fun scenes. It's not fun performing these scenes It's not fun doing survival scenes in the same set every day for weeks and weeks and weeks and months. It was intense. But everyone has fun in different ways and we definitely enjoyed the experience. But the work was intense."

Thomason was incredibly impressed by his Aftermath co-stars and spoke lovingly about them. "I started thinking about it and you've got guys like Ross Britt," Thomason said. "I filmed The Monkey's Paw in New Orleans also and I got Ross Britt onto that movie because he's such a talent. He plays the off-kilter kid with the glasses and I watched him do a table read for this movie and I'm thinking, 'What is this guy doing?' The guy is six-feet tall and kind of athletic and I'm thinking, 'What is he doing?' But then you see him with his character and it's so great. He's such a theatrical actor that it was fun to work with him. Edward Furlong brings this raw mentality to his craft and Monica Keena is someone who has a huge soldier mentality in her life. Monica has an ability of acting like nothing is bothering her and everything is okay even though you can tell that she is a very sensitive individual and there are all kinds of bad things going on. That kind of character is always fun to work with and she brought that to her role."

He continued speaking on the talented individuals in the cast. "Naturally, what I love about making films is that when you get to a set, you're not working with people who spend their lives in a cubicle," Thomason said. "You're working with people that have sacrificed a lot for a craft and they're constantly following their intuition and trusting their instincts and that just naturally rounds you out to an interesting individual. I thoroughly, thoroughly enjoyed everyone on the set."

And, although this is a non-traditional horror movie. Thomason did indeed still get into the make-up chair. "That is my favorite part of movie-making," Thomason said. "When you get to look in the mirror and want to throw up looking at yourself. That's my favorite. It's just so easy whenever you look like that. When you're walking off set and people look at you like, 'Don't touch me. You look like a freak!,' that's the world's greatest moment, mainly because you can take the make-up off at the end of the day. But it's so easy to perform. It's just like putting on your wardrobe, but this is like a wardrobe times 10 when it comes to power. It's really empowering. On top of everything, it was my honeymoon. We had lost our make-up girl for the last few days, so rather than having to continually do the balding, I just kept it in for three or four days so I wouldn't have to keep doing it and worry about continuity. So I told them just keep it in. So my wife, on her honeymoon, had to deal with the fact that her husband looked like a nightmare."

There are more than a few toe-curling moments in the movie and Thomason spoke on them. "Those scenes were really intense," he said. "Those were super intense scenes. I remember getting ready to shoot one particular scene and just dreading it all day because you don't want to watch this character fall. Thinking about it right now makes me sick to my stomach. I didn't know that character as an actor performing a role. You get to know the character and it's so sad to see this creature that literally can't handle this intensity. And that's so true, man. That is so true. This is one of those situations in which so many of us would crumble in a way we never thought possible. Not everyone is going to be murdered. Some people are going to be eaten from the inside out. And this movie showed characters eaten from the inside out."

Directed by Peter Engert, the film also stars William Baldwin and Andre Royo. Look for it on Blu-ray/DVD August 26th.

When the devastating horror of a nuclear apocalypse becomes a reality, nine strangers find themselves holed up together in a farmhouse cellar. These would-be survivors are faced with dwindling supplies, radioactive air, and the greatest threat of all: the hordes of zombie-like refugees who want in.

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Categories: Horror News

Writer of “Feral” Returns With “Under the Blade”!

bloody disgusting - Mon, 07/21/2014 - 11:31

Matt Serafini isn’t resting on his laurels. Less than two years after giving us a cool new werewolf tale in “Feral” he’s back with a new novel called “Under the Blade.” The book has some definite slasher elements, but uses them as part of a larger palette that expands as the story moves on. It comes from Severed Press and is available as a paperback and Kindle eBook right now. No pre-ordering, you can be reading this before you turn out the lights tonight if you want. It will hit physical bookstores in September if there are any left by then.

In the book, “When she returns, so does the horror… 

At seventeen, Melanie Holden was the sole survivor of Cyrus Hoyt’s killing spree at Camp Forest Grove. Now in her forties, she has bottomed out personally and professionally, still haunted by the undying memories of that madman. A publishing deal lures her back to the place where her misfortunes began and trouble starts anew, first with a string of escalating harassments and, soon, much worse. 

When Melanie joins forces with Forest Grove’s new police chief, they get more than they bargained for as they discover that Cyrus Hoyt is only just the beginning. That the town’s past is actually much bloodier than they could’ve imagined. And now that it has Melanie back, it doesn’t want her to leave.”


Categories: Horror News

Queen’s “Another One Bites The Dust” Covered Using Only Movie Screams

bloody disgusting - Mon, 07/21/2014 - 11:30

Some people come up with the strangest ideas, I tell ya. YouTube user Ryan Mitchell put together a cover of Queen‘s “Another One Bites The Dust” but gave it an interesting twist in terms of what he used for the vocals: famous movie screams. You’ll see clips from films such as Predator, The Shining, American Psycho, Halloween, Aliens, and much more! Check it out below.

Categories: Horror News

[Review] Uwe Boll Strikes Back With ‘Rampage: Capital Punishment’

bloody disgusting - Mon, 07/21/2014 - 10:44

A funny thing happened back in 2009: Uwe Boll made a movie a lot of people really liked. Rampage seemed like the antithesis of the German director’s output at the time, with films such as Seed and Postal leaving a bad taste in audiences’ mouths. Then Rampage came along and everyone was like, “Boll made this?”

The style felt contemporary rather than stuck in the ’80s like many of his other films. The acting was damn fine, particularly because of the lead Brendan Fletcher (a silver lining in many a Boll film). Despite its subject matter, it shockingly wasn’t overtly violent. That bingo hall scene, for example, was downright endearing and showed a lot of restraint from a director known for possessing the exact opposite of restraint. The political message of Rampage was audacious though somewhat confusing at times but overall, the film stands as a bold middle finger during these bleak times.

Rampage ends with Fletcher’s character Bill Williamson escaping into solitude with a lot of stolen bank money. His video message to the world dropped two years after his disappearance, leading to cult stardom for the mass murderer with a message. With an ending as wide open as that, a sequel was inevitable.

Five years later, here we are with Rampage: Capital Punishment (originally tiled Rampage 2: You End Now). This time around, Boll takes on the NSA, Obama, and a slew of other figures he sees as damning America straight to hell. Most loudly, he takes on the wealthy and their influence in government. Much like the first film, there’s nothing subtle about the politics in Rampage 2. Bill Williamson is crystal clear in his motivations for killing a lot of people and seeking a way to get his message to the world. For him, there’s no way the revolution can be peaceful. The Occupy Movement? Don’t make Williamson laugh.

The politics may be apparent, but the message can be interpreted differently by viewers. Williamson does after all kill a lot of innocent people throughout both films. In part two, he begins his spree by parking his ass comfortably in a lawn chair in an alley where he plugs people as they walk by. There’s no discrimination, he just shoots whoever happens to pass by. Then he moves on to a TV station, where he takes hostages and demands they air his video manifesto nationwide. While he’s waiting for his message to be broadcast to the U.S., he checks his cellphone to see what his followers are saying. Then he kills more people after humiliating them in front of their co-workers.

While I agree strongly with many of Williamson’s views on politics, consumerism, reality TV, etc., I’m disgusted by his actions. Is that what makes him such an interesting character? He’s self-indulgent and completely lacks a conscious, but I can’t look away. That being said, I wouldn’t consider Williamson an anti-hero as much as I would a delusional asshole. In Rampage 2, his psychopathy is amped up more than in the original. Brendan Fletcher’s performance (like in the first film) is the highlight. Whether he’s boastfully talking directly into the camera or sitting quietly with an AR-15 resting on his lap, the actor is hypnotizing.

I have to mention that Uwe Boll also acts in the film, which leads to some (unintentionally?) funny moments. He plays the head of the TV station – a cowardly man who isn’t worried about the lives of his employees as he is ratings. It’s a strange performance, but what else would you expect from Boll?

The director maintains the same style he embellished in the original, with lots of shakey-cam and zoom-ins. A lot of the action is focused on one room in the TV station where Williamson sits with the hostages. I found this compressed setting to be far less effective than him roaming the streets, like he did in the first. This led to different scenarios, like the bingo hall and the beauty parlor, and different ways for Williamson to react. Like his complacency leaving the elderly to their game of bingo, that moment was so good and added some depth to his character. Sitting in a room with hostages, he just seems like a broken bullhorn. The smaller setting makes the film feel a lot smaller than the first one as well. Thankfully, Fletcher is able to give even the mundane moments some charm.

Obviously, Rampage 2 is coming out during a sensitive time in the U.S., where there’s a mass shooting what seems like every goddamn week and gun laws refuse to change. Don’t worry though, Williamson addresses this too. Despite being armed to the teeth, he believes in stricter gun laws and is repulsed by our chickenshit government’s inability to reform.

Rampage 2 is actually more preachy than its predecessor, with Williamson’s rants touching on basically every shitty thing wrong in our society today. With the broader range in gripes, I would’ve preferred a bigger setting than the first, rather than the cramped TV studio. I’m sure that had a lot to do with budgetary constraints, but who wouldn’t have loved to see Williamson take his fight to Washington? Maybe Boll and Fletcher will take us there in the third film, which is left wide open once again by the ending here. It’s a decent follow-up to a great film, I just wished they had gone bigger.

Rampage: Capital Punishment DVD and VOD on August 19.

Categories: Horror News

Apey & The Pea Release Two Tracks From Upcoming Album

bloody disgusting - Mon, 07/21/2014 - 10:30

Hungarian grunge metal band Apey & The Pea will be releasing Hellish, their second full length LP, in two weeks. In anticipation, the band has released a stream of two tracks, “Leprechaun Skin” and “Abraham”, both of which you can hear below.

These guys are heavily inspired by bands such as Pantera and Alice In Chains, so if you’re into that kind of dark, gloomy, grimy sound, these guys are right up your alley!

Categories: Horror News

‘Ghostbusters’ Also Gets Retro Theatrical Poster

bloody disgusting - Mon, 07/21/2014 - 10:17

It was announced a few weeks back that, to celebrate the film’s 30th anniversary, a 4k restored and remastered Ghostbusters will return to more than 700 movie theaters in both the U.S. and Canada on August 29.

Columbia Pictures released a new retro poster to go along with the previously released trailer announcing the event, which clarifies select theaters will show 4K (so, be careful!)

Following the theatrical release of the film, on September 16, fans will be able to own the Ghostbusters 30th Anniversary Edition on Blu-ray and the long-gestured Ghostbusters II 25th Anniversary Edition, as that film makes its Blu-ray debut. The Sony Pictures Home Entertainment releases of the films will also be available in a two-disc anniversary edition Blu-ray Digibook including both films, as well as a Limited Edition gift set that includes an exclusive collectible Slimer figurine and the two-disc Digibook. This special gift set will only be available for a very limited time, with the collectible Slimer figurine being a true must-have for fans. Both films have been fully restored and remastered in 4K and will be presented in high definition on Blu-ray from those 4K sources.

Both the Ghostbusters and Ghostbusters II Blu-rays come loaded with exclusive bonus materials, including revealing conversations with director Ivan Reitman and Dan Aykroyd, as well as never-before-seen deleted scenes from Ghostbusters II and more. The Ghostbusters anniversary edition features the original music video of the Oscar nominated song “Ghostbusters” by Ray Parker Jr., while Ghostbusters II includes the original music video for “On Our Own” by Bobby Brown. In addition, Ghostbusters will contain all previously released legacy content, commentary and an interactive Slimer Mode, offering fans a picture-in-picture graphical viewing experience.

There will also be a slew of new merchandise from Sony Pictures Consumer Products to be released. Collaborations include Lego, Mattel, Funko, Mad Engine and other select items to help celebrate the occasion. In addition, SPCP partnered with Gallery 1988 to create a once-in a lifetime experience, displaying original paintings, limited edition prints, and sculptures inspired by the film.

In addition, Legacy Recordings / Sony Music Entertainment, will celebrate the 30th anniversary of the iconic Ghostbusters soundtrack(!) with multiple collectible vinyl LP releases this year.

Today also marks the premiere of the new website, GHOSTBUSTERS.COM, where fans can access new franchise offerings, including collectible merchandise, music, and more. Fans can register for updates, unique video content, as well as Ghostbusters news.

Directed and produced by Ivan Reitman (Meatballs, Stripes), with the screenplay written by Dan Aykroyd (My Girl) and Harold Ramis (Knocked Up), Ghostbusters is listed as No. 28 on the AFI’s List of America’s Funniest Movies. Bill Murray (Stripes), Dan Aykroyd (Blues Brothers), and Sigourney Weaver (Aliens) star, along with Harold Ramis (Groundhog Day), and Rick Moranis (Honey I Shrunk the Kids). Ernie Hudson (TV’s “Oz”) and Annie Potts (TV’s “Designing Women”) also star in the films.

University parapsychologists Dr. Peter Venkman (Murray), Dr. Raymond Stanz (Aykroyd) and Dr. Egon Spengler (Ramis) lose a research grant when their experiment methodology is proven to be bogus. The team decides to go into business for themselves and open ‘Ghostbusters,’ a ghost removal service. After struggling to get on their feet, they are summoned to investigate the strange happenings in Dana Barrett’s (Weaver) Central Park West apartment. What they discover is that all Manhattan is being besieged by ghosts and other worldly demons through a portal in her building.

Categories: Horror News

[Fantasia '14] ‘Cybernatural’ Trailer Skypes With a Dead Friend!

bloody disgusting - Mon, 07/21/2014 - 10:07

Last night the Fantasia Film Festival hosted the premiere of Cybernatural, Leo Gabriadze’s horror pic produced by Night Watch‘s Timur Bekmambetov!

Today, we have the film’s festival trailer and first stills.

While video chatting one night, six high school friends receive a Skype message from a classmate who killed herself exactly one year ago. At first they think it’s a prank, but when the girl starts revealing the friends’ darkest secrets, they realize they are dealing with something from beyong this world, something that wants them dead. Told entirely from a young girl’s computer desktop, CYBERNATURAL redefines “found footage” for a new generation of teens.

Shelley Hennig, Moses Storm, Renee Olstead, Will Peltz, Jacob Wysocki, Courtney Halverson, and Heather Sossaman all star

Categories: Horror News

‘Edge of Tomorrow’ Writer Unleashes ‘Akira’!

bloody disgusting - Mon, 07/21/2014 - 09:59

Hiding within a post over at Deadline, it was revealed that Warner Bros. and Appian Way’s Akira adaptation is still being developed.

According to the latest, Dante Harper, the first writer on Edge of Tomorrow, who also penned the latest draft of The Last Witch Hunter, is currently working with Warner Bros, Appian Way, Mad Chance and director Jaume Collet-Serra on Akira.

Set in New Manhattan, the cyberpunk sci-fi epic follows the leader of a biker gang who must save his friend, discovered with potentially destructive psychokinetic abilities, from government medical experiments.

Last August Variety had reported that Collet-Serra left in early 2012 after production stalled. In early 2012, the studio shut down pre-production so that fixes could be made to the script, including tightening the budget from its original $90 million range.

The studio did begin looking at other directors in hopes of finding someone who could deliver a film on a more smaller scale. But ultimately, the studio was still in love with Collet-Serra’s vision, and sources said the director found time in his schedule as well as a new way to approach the adaptation that would meet the studio’s budget request.

Categories: Horror News

[Fantasia '14 Review] ‘Suburban Gothic’ Is An Entertaining House of Horrors!

bloody disgusting - Mon, 07/21/2014 - 09:45

For his follow-up to the 2012 indie success Excision, filmmaker Richard Bates, Jr. turned to the films and shows of his childhood for inspiration. In his horror-comedy Suburban Gothic, you’ll find takes on Scooby Doo and classic haunted house films – all under a glossy veneer of bright suburban colors and satire. Bates has made a worthy successor to Excision while also showing off his range of talents for fashioning both comedy and old fashioned horror. While it doesn’t always work, Suburban Gothic is a fun flick with lots of interesting moments.

Matthew Gray Gubler (best known for his role as the socially awkward genius Spencer Reid on Criminal Minds) stars as Raymond, a college graduate unable to find a job in the “big city.” This forces him to begrudgingly move back in with his parents out in the suburbs. While his mom may be excited for her baby boy to come back home, his father Donald, a tyrannical, racist despot, thinks Raymond is a complete failure (and isn’t shy about expressing his feelings).

Donald’s played by genre icon Ray Wise, who delivers the majority of the laughs in the film. Gubler’s Raymond may be a quick-witted, sardonic fellow, but Wise’s comedic chops steal the show in Suburban Gothic. Bates and co-writer Mark Bruner’s script gives him plenty to work with too. There’s heaps of razor-sharp one-liners, comebacks, insults, and even some physical comedy thrown in for good measure. For example, Wise has a great gag he repeats a few times where he moves a wheeled office chair in the most obnoxious way possible. He plays it all so wonderfully straight too. It’s certainly the best material Wise has had in a while.

After moving back into his parent’s house, Raymond begins to experience supernatural happenings – the same ones that haunted him in his youth. The haunting builds up nice and gradually as Raymond goes into Hardy Boy mode, investigating the house’s history to get to the bottom of the spirit who refuses to leave. He’s joined in his exploits by a sultry, dry-humored bartender named Becca (Kat Dennings), who quickly takes to Raymond’s charming demeanor. The two delve into a century-old murder mystery in hopes of bringing peace to Raymond and the unruly spirit haunting his parent’s house. The two work really well together onscreen as they skirt romantic territory, delivering flirty jabs at one another.

The suburb Raymond moves back to is inhabited with an impressive lineup of genre pillars, including Jeffrey Combs, Muse Watson, and in a particularly hilarious scene, Mr. John Waters. There’s also brief appearances by filmmaker Jennifer Lynch and the “twisted twins” Jen and Sylvia Soska. I was happy to see Ronnie Gene Blevins, who plays one of Raymond’s childhood bullies. Blevins recently gave one helluva villainous performance in David Gordon Green’s Joe and it was cool to see him play sorta the same character here. He’s good at playing a jerk. So many cameos took me out of the film at times, however. They can be fun, sure, but playing “spot the genre actor” shouldn’t take precedent over the actual story.

Suburban Gothic is relentless in pace and consistent in its darkly comedic tone. The story is an engaging one and emotionally honest in parts, while playfully silly in others. The haunted house gags range from goofy to macabre and are thankfully never overwhelming in their CGI. There are some overly goofy ones that kinda fell flat for me – like a UFO on a poster flying around and some severed head stuff that felt like it belonged in a Disney horror film.

Overall, Suburban Gothic is a really good time. Even during the parts that kinda don’t work (the dance sequence), I guarantee you’ll never be bored.

Categories: Horror News

First ‘Backtrack’ Stills, Starring Adrien Brody and Sam Neill!

bloody disgusting - Mon, 07/21/2014 - 09:30

The dead never forget.

Having wrapped filming in Australia is writer-director Michael Petroni’s sophomore thriller Backtrack, starring King Kong‘s Adrien Brody and Jurassic Park and In the Mouth of MadnessSam Neill.

The film follows a psychologist whose life is thrown into chaos when he discovers his patients are all ghosts of people who died in an accident 20 years prior.

Bloody reader ‘Fabien M.’ sent us the first imagery from the pic also starring Bruce Spence, Robin McLeavy, Jenni Baird and Anna Lise Phillips.

Categories: Horror News

[Fantasia '14] ‘Predestination’ Trailer Time Travels For Justice

bloody disgusting - Mon, 07/21/2014 - 09:26

Thanks to BD regular Fabien M., check out the international trailer for Predestination, starring Ethan Hawke.

Playing the Fantasia Film Festival, the film opens overseas on August 28.

Undead and Daybreakers directors Michael and Peter Spierig direct the thriller, based on the short story “All You Zombies” by Robert Heinlein.

Starring Sinister‘s Ethan Hawke, Sarah Snook and Noah Taylor, “Predestination chronicles the life of a Temporal Agent sent on an intricate series of time-travel journeys designed to ensure the continuation of his law enforcement career for all eternity. Now, on his final assignment, the Agent must recruit his younger self while pursuing the one criminal that has eluded him throughout time.

Categories: Horror News

[BD Review] ‘Slasher House’ Cuts Some Cool Visuals, Leaves Room For Rent

bloody disgusting - Mon, 07/21/2014 - 09:20

As many of you readers know, microbudget horror films these days are more miss than hit. It seems anyone with a mediocre script, a few cases of beer and After Effects can make a cheapie that eventually gets put onto DVD, and then that DVD gets tossed into the bargain bin at a dollar store. Occasionally, there’s a bright spot when all the stars align and the moon is in the right part of the sky and your get a great low-budget horror film. Or, more realistically, you have a director and crew who are competant at what they do. So, where does that leave writer/director MJ Dixon and his film, Slasher House?

Red (Eleanor James) wakes up in what appears to be a former asylum. She has no memory of how she got there, or why she’s there. She soon discovers that she’s not alone. Trapped along with her are other various individuals, including serial killers. Eventually, Red and the others are let out of their cells to “play” by an unseen individual, leaving her to not only fend them off, but also try to find a way out and to discover the reasons she was put there in the first place.

The immediate thing that sticks out for Slasher House is it’s use of aethetics. Red is coloured like her namesake, but is contrasted by the use of green hues in the environment. Dixon also throws in blues and yellows for specific scenes, but primarily the red and green contrasting dominates the film. It’s a creative idea that harkens back to Dario Argento’s heyday, as well as Nicolas Winding Refn’s recent Only God Forgives, and frankly, it’s a shame that not many indie horror directors take this powerful visual tool into account. What makes it even more interesting is that green psychologically is a calming colour.

In addition to the aethetics, the cast of kooky characters hunting Red are another notch in the handle for Slasher House. In amongst the action, Dixon has made sure to take a bit of time for a couple of flashbacks to show off the killers’ handiwork, while also throwing in some needed time for these guys to develop. Okay, so they aren’t exactly deep characters, but it does attempt to play into the “less is more” motif when it comes to a scary antagonist: the less you know about the villain, the scarier that villain becomes. As for Red herself, she’s also given a bit of time to develop, but in doing so exposes one of the film’s main weaknesses.

Understandably, this is a low-budget film. As such, the acting quality more often than not isn’t the best. Slasher House, for all it’s visuals and attempts to be unique, fails when it comes to it’s dialogue. Everyone exhibits a wooden delivery, which unfortunately takes you out of the film. Even though James has a charismatic tone to much of what she says, it still comes across as stilted, even with some witty one-liners. Another downside is the film’s use of cutaways when it comes to much of the gore. Again, low-budget fare, but the cutaways aren’t done in such a way that would compensate for the payoff. Then again, the gore that is in the film tends to fall towards the hokey side, making the salvaging attempt in vein. Finally, while the film moves along fairly well for a 90 minute feature, the ending is a mixed bag. Besides dragging a bit, smart viewers will be predicting the ending before the final scenes even roll. But given what Dixon had to work with for this film, it can be forgiven.

So Slasher House, what do we say? For an indie affair, you have some unique visuals that are pretty darn cool. You also have some shortcomings that while they don’t make you a mess, they do impact on your overall enjoyment. But, given that there’s a lot worse out there by many indie hopefuls, you fit the bill for a night’s watch. I probably won’t visit you again, but at least you offer more than the “me-too” trapped-in-an-asylum films.

Categories: Horror News

J.J. Abrams unveils the ‘Star Wars: Episode’ VII X-Wing

bloody disgusting - Mon, 07/21/2014 - 09:14

All Wings Report In!

On the set of Star Wars: Episode VII, Director J.J. Abrams was interrupted by an X-Wing pilot and rogue robot as he announced the chance for fans to win an advance private screening of Star Wars: Episode VII.

We are so grateful for the support that the fans from over 119 countries have shown for Force for Change,” said Abrams. “As we close this final week, we’ve added an additional prize that allows the fans the opportunity to see the movie early as a thank you for supporting such a great cause as UNICEF’s innovative, lifesaving work for children.” By contributing at any level by July 25th, participants will be eligible for all prizes including a chance to be in the movie.

“Star Wars: Force for Change” impressively raised over one million dollars within the first 24 hours of its launch—a record for Omaze, the fundraising platform. So far contributors from 119 countries around the world have backed Force for Change, in support of the United Nations Children’s Fund’s (UNICEF) Innovation Labs and programs. UNICEF’s network of 14 Innovation Labs help create sustainable solutions to critical issues facing children around the world in the areas of nutrition, water, health, and education. The funds raised through “Star Wars: Force for Change” will impact the lives of children around the world, through projects like MobiStation, a portable, solar-powered educational kit to ensure children have access to quality learning anywhere, and Rapid FTR (Family Tracing and Reunification), a mobile phone application that helps reunite separated and unaccompanied children with their families in natural disasters. Fans can continue to pledge support and enter for a chance win until 11:59pm on July 25.

The “Star Wars: Force” for Change Grand Prize includes:
· Airfare and accommodations to London for one winner and a guest
· Behind-the-scenes access on the closed set of Star Wars: Episode VII as VIP guests of J.J. Abrams
· Winner will have the opportunity to meet members of the cast
· Winner and their guest will then be transformed by makeup and costume teams into a Star Wars character and filmed for a scene in Star Wars: Episode VII

Disney committed US $1 million to support the launch of “Star Wars: Force for Change”. Star Wars continues to inspire generations of dreamers and doers to use their creativity to accomplish great things. Star Wars and Lucasfilm were built on the belief that in uniting creativity with innovation, you can make the impossible possible.

Visit StarWars.com/ForceForChange to learn more about this new charitable initiative and the work of UNICEF’s Innovation Labs and programs, and be sure to enter through contribution or free entry for your chance to win at Omaze.com/StarWars.

Categories: Horror News

Frank Ilfman Talks Scoring ‘Big Bad Wolves’, ‘ABCs Of Death 2′, And More

bloody disgusting - Mon, 07/21/2014 - 09:00

If you haven’t seen the Israeli revenge-thriller Big Bad Wolves, then you’re sorely missing out. The film is absolutely fantastic, featuring some of the best black comedy I’ve ever seen in a film while, at the same time, being a tragic, heartbreaking story of a man who simply wants to put his child to rest. I’m sure you’ve heard it many times by now but just in case you haven’t, Quentin Tarantino has stated that it’s, “…the best film of [2013].

One of the best aspects, in my opinion, is the phenomenal score by composer Frank Ilfman. Playful yet serious, grand and then subtle, the music has already won the award for Best Music at the Saturn Awards and the Israeli Film Academy. I had the chance to speak with Ilfman a few weeks ago about the film as well as his future plans. You can read this exclusive interview below!

Make sure to pick up the soundtrack via iTunes.

Shalom! How are you doing?

Shalom shalom! I’m doing very well, thank you!

Welcome to the US! How are you enjoying your time here?

Yeah, it’s pretty cool! Good weather, great people. I’m having fun! I haven’t had a chance to see my family. My uncle is here.

Congratulations on the “Big Bad Wolves” score being nominated for a Saturn! The film, and your music, have received a lot of praise. Tell me about that!

It’s been an amazing roller coaster. Everything started up once Quentin Tarantino declared it the best movie of the year, talking about the score and photography and everything. Since then, it just kind of skyrocketed. It started winning all these awards and now, with Magnolia Pictures, we got submitted to the BAFTA, where we were nominated for Best Music and then Best International Film. It’s pretty cool, it’s pretty amazing. And the soundtrack is doing pretty well, which is great.

Did the success and critical acclaim of the movie surprise you? Were you prepared for the reaction that people have had to it?

No, I think this is something I’m actually quite amazed because I’m working on some big budget movies in London and you always think, “Oh, that’s the one that’s going to go somewhere.” And then this low budget Israeli movie that we did and suddenly it broke through and shot like a rocket through everything. Next thing you know, you’re on everybody’s radar and everybody wants to meet you and everybody wants you to score their movie. You never know where you’re going to be, which is a great surprise.
And also, we worked really hard on Big Bad Wolves. We spent six months working on the score and Ronen, the sound designer, spent another six months working on sound designing and the mix. So, when something like that happens, the awards for the working so hard, they’re just phenomenal. It feels great to get that.

It’s opened a lot of doors. What are some projects or opportunities that have come up?

There are some I can’t talk about because of confidentiality but some of the big companies [in Los Angeles] and heads of studios want to meet me. Also, because the score sounds big and rich but was done on a very low budget scale in London, with the London Metropolitan, a lot of people are curious how I managed to do that. It’s one of my tricks, I guess!
So, I met with Millennium and Legendary and a few Warner Bros., and a few others. It’s a good experience because they like the music and they like the movie.

How did you capture that amazing playfulness within the film so effectively in your score?

The movies is actually quite hilarious. I think it’s more funny than anything else. It’s obviously very dark but there are many comedic moments. But that was the challenge. How do you balance those subtleties, almost between light and darkness. A lot of the scenes which are very intense but then they start cracking jokes but then they go back to the intensity. Sometimes there were certain sounds or innuendos to have more of a light feel. Then we would turn back the music into something more dramatic or menacing. It took a while on a few cues to try and do that subtlety so that you don’t lose the humor. There are scenes that are pure humor. But most of it was very fine balancing.
I know that there are a lot of Jewish references. For instance, there is the grandfather, who is a bigger-than-life character. He’s that old school Jewish fighter from the army. So we thought that something Jewish thematic would fit because we wanted people to have fun with the character but still take him serious. There was an idea that we would use Russian marches, like in the early days when we used to have the Russian refugees coming to Israel. But that was something we adapted for him, like in the scene that is in slow motion when he’s going down to the basement.

What was one of your favorite moments in the film?

That’s a hard one! There are so many good moments! I think one of my favorite moments is the part where the father, who was sent by the guy he kidnapped, the pedophile, to look for the head in the greenhouse. It’s quite a long scene and he has all this intensity and he goes there to dig for the head of his daughter, where he thinks she’s buried. That scene is one of my favorite ones. I think there is something so gentle. It starts really big but then goes down into a lyrical cello solo when he’s digging for the head, because he wants to bring his daughter to burial. And then it erupts. It has all of these subtleties.
That scene, even without the music, is very strong. The reaction you get from the character, his acting, is just phenomenal. When I first saw it, I thought that we didn’t need music. It’s a beautiful scene.

Talk about your involvement with the ABCs Of Death 2.

I did a segment with Aharon and Navot and I can’t remember which letter we had but we finished that a few months ago.

What kind of feel will we get when we hear the music for that segment?

All I can say is that there will be references to our next movie, which is ‘Once Upon A Time In Palestine’.

Thank you very much!

Thank you! Bye!

big bad wolve

Categories: Horror News

[TV Review] “The Strain” Episode 1.02, ‘The Box’

bloody disgusting - Mon, 07/21/2014 - 00:15

“The Box” picks up the several threads leftover from last week and stalls in lackluster fashion. The threats from the first episode aren’t nearly as prevalent, but the ominous sense of dread starts to descend on the CDC as the mystery of the empty plane stops making medical sense.

This episode begins with my personal favorite character of the series, Vasiliy Fet. He’s a no nonsense rat exterminator who thrives in darkness. He’s only given a few key scenes this week but Kevin Durand (Of LOST fame, or perhaps of Blob fame in X-Men The Last Stand) finally gets the roll he deserves. As a member of the city pest control he’s very skilled at tracking and killing vermin… one wonders how such skills will pay off in the future.

Meanwhile everything is under CDC jurisdiction. That much is clear. Ephraim seems to have the power to shut everything down. He loves to show the size of his dick by asserting control. It’s clear that viral outbreaks are serious business here, but it’s almost too much to watch. Especially since the man in charge of the CDC seems completely inept. He doesn’t even understand the gravity of the situation when locked in an intimate stranglehold between himself and Eph.

Somehow though Corey Stoll is still compelling. He does his best with being the one guy who has an inkling of the truth. His ability to take command of a scene shows an assertiveness that few characters share so far. Most of this is due to the fact that the episode largely concerns itself with confused people too afraid to admit this is a viral outbreak. So you get a lot of talk about the repercussions of shutting down New York.

The scene between Herr Eichorst and Abraham is probably the standout of the episode. They share a lot of history and Eichorst shows he’s one evil bastard by jamming a knife into Abraham that deeply penetrates the misery of his past. This is the strength of the series thus far. The science is actually far outweighed by the actual mysticism of the swords and supernatural.

There is far less horror on display this week than the last. There is the fantastic reveal of The Master, but for the most part the plot feels like a stalling vehicle, it just can’t decide how fast to move. Things chug along and everyone other than Vasiliy feel lost in limbo. The only real reason Vasiliy works so well is because he’s so detached from everything else in the main narrative.

It’s just unfortunate because there is a ton of great potential within the series that still feels lost in this episode. Ephraim’s character becomes even more jagged with the reveal of his past as an alcoholic but it doesn’t serve to make him any more compelling. He’s learning about himself and there is an awkward AA scene that does a groan worthy self reflexive info dump.

Pretty much all of the best scenes of the week belong to the last ten minutes. It’s almost as if the best parts of this episode and the extra half hour from the first episode should have been cut into something with a little better pacing, but I digress.

Despite its problems The Strain still shows an fantastic amount of promise, but it just has to make good on it’s premise. This week tried to focus on character, but totally forgot the service the plot and serve up the horror.

Stray Thoughts

 - Sean Astin is left to comedic relief and dumbfounded bewilderment. He’s not that compelling. One small cough, good god.

- I can’t stand Mia Meastro. She’s wooden, devoid of emotion, and the most unconvincing television scientist I’ve ever witnessed.

- Chilling when Eichorst recites Abraham’s concentration camp number from memory.

- A huge missed opportunity with the scene in the morgue.

- I dug the scene licking blood off the floor. The reveal of the Master, and the final scene of the week, but it these were pretty much the only moments of horror.



For those of you still in doubt, I urge you to stick around for one more week. This is the weakest episode of the series, and I can certainly promise things get better from here.

What did you think of “The Box?”




Categories: Horror News