Radius-TWC has acquired David Robert Mitchell’s indie It Follows out of the Cannes market
“For 19-year-old Jay (Maika Monroe), the fall should be about school, boys and weekends at the lake. Yet after a seemingly innocent sexual encounter she suddenly finds herself plagued by nightmarish visions; she can’t shake the sensation that someone, or something, is following her. As the threat closes in, Jay and her friends must somehow escape the horrors that are only a few steps behind.”
Maika Monroe, Keir Gilchrist, Daniel Zovatto, Jake Weary, Olivia Luccardi and Lili Sepe all star.
The pic is said to have riveting central performance from Monroe and a strikingly ominous electronic score by Disasterpeace.
It’s only been a few hours since the news broke, and I’m already receiving e-mails from friends and family blaming horror for these pre-teens horrific actions. Why me? I guess they don’t approve of Bloody Disgusting, or something?
Firstly, horror movies have nothing to do with the following story, and furthermore, this is the result of poor parenting and/or mental illness. Blaming the horror genre or some mythological creature is just an easy scapegoat.
With that said, many of you may be aware of the Slender Man memes. They’re incredible. They’re fun. They’re scary. And anyone who knows how to use a search engine will also learn that they were created by Eric Knudsen (“Victor Surge”) of the Something Awful forum back in 2009. Apparently, these two pre-teen girls believed the legend to be true and hoped to prove their worth by murdering one of their friends.
JSOnline shares this terrifying story about two 12-year-old girls plotting the murder over the course of a few months.
Morgan E. Geyser was allowed to have two friends over each year for her birthday. This year, she’d celebrate on May 30. That is the day she and Anissa E. Weier would try to kill their friend during a sleepover.
On Monday, the two Waukesha girls were charged in Waukesha County Circuit Court as adults with attempted first-degree intentional homicide, each facing up to 65 years in prison. Their victim, another 12-year-old from Waukesha, was stabbed 19 times by either Geyser or Weier or both, according to a criminal complaint. All three attend Horning Middle School in Waukesha.
Both suspects explained the stabbing to police referencing their dedication to Slender Man, the character they discovered on a website called Creepypasta Wiki, which is devoted to horror stories.
Weier told police that Slender Man is the “leader” of Creepypasta, and in the hierarchy of that world, one must kill to show dedication. Weier said that Geyser told her they should become “proxies” of Slender Man — a paranormal figure known for his ability to create tendrils from his fingers and back — and kill their friend to prove themselves worthy of him. Weier said she was surprised by Geyser’s suggestion, but also excited to prove skeptics wrong and show that Slender Man really did exist.
The suspects believed that “Slender,” as Weier called him, lived in a mansion in the Nicolet National Forest in northern Wisconsin. The plan was to kill the victim and walk to Slender’s mansion.
JSOnline carries the full break down of these girls’ evil intentions, and what happened to the victim who thankfully survived the attack. You can talk about it below and share your thoughts in regards to the influence of horror on children, too.
Over the years we've seen lots of horror heavyweights do battle until the last "thing" was standing... In the tradition of King Kong vs Godzilla, Freddy vs. Jason, Foreman vs Ali, the good folks behind Epic Rap Battles of History have come up with one for the books! Literally!
Season 3 of the prolific web series continues with the great Edgar Allan Poe taking on none other than The Maine Man Stephen King! Watch as the master of horror, Stephen King, faces-off against Edgar Allan Poe, the author of mystery and the macabre in the ninth battle of the season. The battles stars rapper and poet George Watsky as Poe and rapper and comedian Zach Sherwin as King. Who won? You decide.
Great job guys! Enough jabbering... dig it!
Japanese metal band Dir En Grey have released a trailer for an upcoming live Dum Spiro Spero DVD, which was filmed at the famed Nippon Budokan arena in Japan. The DVD, which follows the release of this year’s live DVD/documentary Tour13 Ghoul, will be released July 16th on Blu-ray and DVD. The trailer shows the band performing in front of a massive crowd and shows off the band’s impressive live production, which includes pillars of fog, flames, lasers, and huge video screens.
The band has also stated that a new album will be released this November. It is the band’s first album since 2011′s Dum Spiro Spero, which is a fantastic album and one you should definitely check out!
Matt Reeves Talks Connecting with Dawn of the Planet of the Apes, Continuing the Story, and Lots More
Around here we're still kind of shocked that Rise of the Planet of the Apes turned out so well. Recently we caught up with sequel director Matt Reeves to see if his Dawn of the Planet of the Apes will continue that trend!
Dread Central: Planet of the Apes takes place in a post-apocalyptic world so I’m wondering: What would you miss most if civilization were to fall in your lifetime?
Matt Reeves: If civilization fell, what I would miss the most is... I have a son who is almost 3. I would miss getting texts and videos from my 3-year-old when I am working. But I guess if civilization fell, I wouldn’t be working. (laughs)
DC: Have you always been a big fan of Planet of the Apes?
MR: As a kid I was obsessed with Planet of the Apes. I think that it is such a powerful metaphor and that it deals with race relations. But it also deals with the fundamental question of our nature. What I found exciting is looking at the ferociousness of the apes and finding it both terrifying and thrilling. I definitely wanted to become an ape and I loved all the John Chambers makeup. That’s how I connected as a kid. Planet of the Apes was my Star Wars. I always wanted to be an ape and I collected all the dolls.
DC: What did you like most about the recent reincarnation of the story?
MR: When I saw Rise [of the Planet of the Apes], what blew me away about it was I realized that I finally was having the experience watching a Planet of the Apes movie where I became an ape emotionally. The miracle of Rise was the way that they used motion capture and the way Andy [Serkis] performed to create Caesar in such a way that you emotionally become an ape. The character you relate to, the character you empathize with, the character you are in watching that movie is not a human being. I have never seen that done to that level. This reboot of the franchise is turning the audience into apes. It becomes such a wonderful way for us to look at ourselves. Obviously there are the those metaphors from the franchise that people associate with. But for me it goes more fundamentally into our nature and what we are.
DC: What was your personal experience in connecting?
MR: One of the things that happened to me was that between the time when I first got involved with the film and when I had first seen the movie, I had a son. Re-watching the movie, the thing that struck me was watching Andy as Caesar struggling to find a way to articulate, knowing that inside his head he understood everything, but how do I express, how do I contain my impulses, my rage? All the things that make us what we are. It reminded me of my son. The thing that I found so compelling about this idea of experiencing emotion and story through a character who is not human but who’s an ape, is that it really reminded me of the ways in which we are animals. As a father, I would look at my son and I could see he knew everything and didn’t know how to say it yet. That was a wild thing because he was my first child. The reason that this world [of the apes] is so captivating and why I think people connect to it is because we seem to be fascinated with our own destruction.
DC: Does Dawn keep on going with the ideas presented in Rise?
MR: Yes. The thing I found fascinating about Rise and what I wanted to do here is - of course there would that feature - the question of our own destruction and our own impulse to destroy each other. What I wanted to do in the movie was to really see the world that Caesar had created and to watch a movie that told an emotional story about relationships. Part of the story is indulging and watching the way we can destroy ourselves, it is really also seeing what would it be like if the slate was wiped clean and we can start over again? There is a weird parallel to our own development and the question, the hope, about whether or not we can transcend our own nature. Is Caesar better than us? Are the apes better than we are? There is a purity to them and that is one of the questions of the movie and that is one of the things that Caesar ends up having to grapple with. Despite how technically advanced the film is, at the end of the day it becomes something we explore that is very simple. The emotion and the feeling of it.
DC: Aside from continuing on the promise of Dawn, did you also go back and look at the older Planet of the Apes movies?
MR: We didn’t look to other films in the [Planet of the Apes] franchise for story inspiration except for the 1968 classic. The idea of what was laid out for us was a trajectory; we are not that close to the world of Planet of the Apes. In Rise there is that spark that leads to the intelligence of the apes and in the end we find a way to destroy ourselves. When I got involved, there was a proposition that took the story farther down the line, not all the way to the Planet of the Apes but a lot closer. When they asked me about getting involved, it was not the story I wanted to tell. The story that I was interested in was that I was so fascinated with watching Andy being Caesar and the apes starting to come into being. I didn’t wanted to get to the place they were already dominating civilization. For me, what was exciting was seeing the next phase of their development evolution and the next generation, the idea of them establishing a family.
DC: Tell us how you start with this movie…
MR: The movie starts in a pure ape world, it is almost 15-20 minutes of just apes; it is completely emotionally based and a world you have never seen before. I wanted it to be exotic but also oddly familiar so there are ways in which it parallels our own tribal development. It has a primitive side to it, but also a beauty to it and that speaks of the hope that the apes could somehow follow our same development and go a direction that we don’t go. To become something better than we are. And this is the beginning of that. The two compelling aspects of the story for me and the story I wanted to tell was can we tell a story about the beginning of ape civilization development and the question of whether there was a way we can live together. That was what the whole story is about. The cool thing about Rise is they started another path to a world we already knows exists, how do we get there? The goal in my mind was to ground everything in something that felt authentic and real. To me that is the way movies inspire me, they reflect the truth about the way we are to the degree that they can in the story.
DC: Who’s the ‘bad guy’ in your picture?
MR: To me the idea of the story of villains, it’s always much less interesting than to understand that we have the capacity to be villains, that we have the capacity to be better. And to reflect as accurately as possible given the context of the story, a story of apes and humans who have to grapple with whether they are going to fight or not fight. But to find a way to reflect something truthful about our nature, I find that inspiring. The moment you can write off someone as a villain is the moment you objectify them. What I always find thrilling in movies is empathy.
DC: Is Caesar the star again?
MR: Absolutely. I loved Rise because I became an ape. Because emotionally I could relate to what [Caesar] was going through. I tried to approach this story in that way, which was to create a much more difficult story for Caesar. In the first movie it is very clear that he is unfairly imprisoned and ripped away from the human and the ape family. He was becoming a revolutionary for very just reasons. It’s one thing to lead a revolution, but what happens when you actually have succeeded? Then there is the question of leadership and there are lives at stake and it’s more complex than just humans are bad, apes are good.
DC: Is Gary Oldman’s character a bad human?
MR: We don’t have a villain in the story. We have different points of view and how we grapple with the idea of how you have your perspective and you have come through it, and it’s completely honorable because that is your experience. Caesar and Koba are bonded because Caesar freed all of the Apes and they are bonded with that experience. Caesar did this for them and they become brothers and family. Then when the humans come, the question is how should we deal with them? Because my experience as Koba was that I was tortured by them. ‘I lived in laboratories and they did unspeakable things to me.’ That’s my experience of what they are. Caesar’s experience is more shaded than that. This sparks a debate. But it’s not that Koba is wrong because of what he went through, because that’s his experience.
Gary Oldman is not the villain; as a matter of fact, if you told the story from Gary Oldman’s point of view, he thinks he is the hero. In the story every single person is the hero of the story. And my goal of the story was to try to come up with as much as empathy and point of view as possible, so you could understand the difficulty of the situation. What inspires me is when I can come to understand ways in which I could make the wrong decision. Or the ways I could have made a better decision. The idea is to always try to understand.
DC: How do you think the movie will do against all the big superhero franchises?
MR: We are in a movie environment where most things are about spectacle - superheroes, crazy stuff, a huge Fox film. But at the end of the day, because of the metaphor of the movie, which is the intelligence of the apes, we get to explore a dramatic situation that has relevance to our lives. That’s very unusual and very exciting to me. The whole franchise is so ambitious, not just in terms of the levels of effects, but it provokes questions and is meant to be quite emotional. We are hoping that it will be.
DC: Given your past films, this one is very ambitious. Lots of action, CGI, and so on…
MR: I have never done motion capture. The key to the whole thing is not that Andy is a great motion actor but that Andy is a great actor. I want to see all the footage that was done on the set and then I wanted to see everything that was done as Caesar. There is a really emotional scene and I remember really being affected by it in the first movie where Caesar is being abandoned at the sanctuary and he bangs against the glass; it was heart rendering. Then they showed me Andy on the set and I was blown away. Because as good as Caesar was, Andy was even a bit better. It was Andy who was fully connected to that moment, banging against the glass with dots on his face, wearing a crazy leotard. But he was completely emotionally committed to the moment. It’s all about creating emotional believability. That’s what Andy is. The reason that Andy is that good is because he is a great actor.
DC: Do you use some practical effects as well?
MR: I had such admiration for what Rupert Wyatt had done and what they had done in the first movie. When they came to me talking about the movie, my first thought was, “What’s wrong here?” Because when Rupert did that movie it was a huge success and it was terrific. And it turned out that for a number of reasons, creative and very much with schedule, he had something clear in mind that he didn’t think schedule-wise the studio would let him do to fit that schedule because it was a very ambitious thing. There was also debates about what that movie should be about and he ended up saying that he was going to go on and do something else. So I thought that would mean they would have very specific ideas and they did. The apes were talking a mile a minute and it was quite different from the other movie; I had no interest in it. It was not what I wanted to do and they said, 'Don’t say “no”; tell us what you want to do.'
DC: What did you want to do, specifically?
MR: I described this movie, with the idea that I didn’t want to start in the human world and I wanted to start with the apes. The thing you did so brilliantly was you connected us to Caesar through Andy, and that character is so great. I want to see that revolutionary become a leader, I wanted to see his family. And then I wanted to discover there were humans and I wanted that situation to play out in such a way that we can be drawn up into the emotion of that. They said, 'Great!" and I said, “That’s it?” I said, “What’s the catch?” and they said the catch was that we have to start shooting very soon and we have a release date and if you want to make that movie, that is the movie we want you to make and you just have to jump in now.
DC: Wow. So why’d you tackle such a daunting project with little to no prep time?
MR: I decided to do [Apes] because it is so rare. It was a chance do something in a world I have been fascinated with since I was a kid, a world that was so rich with metaphor. As crazy as that sounds, it was too enticing to pass up. On top of that, I also had this whole idea that this could be an Apocalypse Now and we can go into the jungle with these apes. I wanted to take the visual reality to a higher level so you could have less obstacle to the believability and continue to engage with the emotion of it. In the first movie, it was shot mostly on stage. We shot 85% of this film on location, in the rain and all these crazy locations. They said yes to that too and I thought that would be the worst shoot ever and it was. We had motion capture cameras, mega 3D cameras, and guys in suits standing on rainy hillsides in the mud. This was Apocalypse Now with apes. But they let me do it and how can I pass that up?
DC: You touched a little bit on how this is Caesar’s story, but can you elaborate please? Is James Franco back?
MR: The whole movie is about Caesar and his emotional terrain of everything that made him who he is. He has ape parents who he didn’t know very well because they were taken away from him when he was very, very young, but he has a human father, which makes this story so powerful. The question of co-existence with humans and apes, he [Caesar] has an ape family but he has roots very deeply to a human father. And in that way we wanted to recall him [Franco]. He [Franco] was very close to the experiment, and the way they originally shot the movie, he died. But we shouldn’t see that because it was so painful. We just want to see Caesar returning to the woods. But the idea is that he [Franco] got the infection and he died. What I wanted to do was to find a way to connect us back to Franco so that he could be part of what informs of where Caesar came from. One of the things we are doing in the story is we are seeing the way that the apes are expressing themselves, this articulation, and part of it was communication. Will had taught Caesar sign language and he had that sign language to speak with Maurice and I thought that was part of the palette of their language. Then there is also the fact that he could literally speak which he also learned by observing his father. So I wanted to find a way in the excavation of things, when we go back into the city, to unearth some of that. Without giving anything away, he [Franco] makes an appearance. Not like literally seeing James Franco obviously as he is not in the movie, but he is in the movie in a way that refers to the last movie.
Look for the film in theatres - in 3D of course - on July 11th, 2014. Dawn of the Planet of the Apes stars Andy Serkis, Jason Clarke, Gary Oldman, Keri Russell, Toby Kebbell, Kodi Smith-Mcphee, Enrique Muriciano, and Kirk Acevedo; James Franco has a cameo.
It's directed by Matt Reeves from a screenplay by Mark Bomback and Rich Jaffa & Amanda Silver based on characters created by Jaffa and Silver.
A growing nation of genetically evolved apes led by Caesar is threatened by a band of human survivors of the devastating virus unleashed a decade earlier. They reach a fragile peace, but it proves short-lived, as both sides are brought to the brink of a war that will determine who will emerge as Earth’s dominant species.
For more visit the official Dawn of the Planet of the Apes website, "like" Dawn of the Planet of the Apes on Facebook, and follow Dawn of the Planet of the Apes on Twitter (#DawnOfApes).
We love our vampires. There is no denying that. And whether they be the frilly shirt wearing kind or the pointy toothed Alaskan invaders, whatever form they come in, we eat them right up (pun definitely intended). In celebration of the VOD and limited theatrical release of the Hong Kong vampire flick Rigor Mortis, we bring you the Top 5 Foreign Vampire Films.
A film by Juno Mak, Rigor Mortis promises to be one insane ride of vampirism. Heavily laden with F/X and action, the film is a sort of homage to the Chinese vampire movies of the '80s.
Definitely a unique experience, Rigor Mortis looks to make its mark as a memorable foreign vampire film itself.
But back to the topic at hand. We have a couple of honorable mentions to start off with, including (and we're speculating on this first one, but we know it's going to be killer) Guillmero del Toro's vamps from "The Strain" (shot in Canada), Frostbite from Sweden, Oldboy director Park Chan-Wook's Thirst from South Korea and hell, we'll even throw some love to The Seven Golden Vampires from Hong Kong.
Now, without further ado, we give you...
Nosferatu (Nosferatu, eine Symphonie des Grauens) (Germany, 1922)
May as well dig right into it with what has to be the most iconic of all foreign vampires, Nosferatu. F.W. Murnau's legendary 94-minute film would go on to create the face of a vampire that would be used for decades to come. Sure, other horror films came before it like The Cabinet of Dr. Caligari and The Golem, and they were amazing, but Nosferatu has remained in the forefront of horror for nearly 100 years! Hell, he even turned up on "SpongeBob Squarepants"! So, the fact that the studio could not get the rights to Bram Stoker's Dracula when they wanted to make a vampire movie in 1922 actually turned out to be a blessing in disguise, as it gave us Max Schreck as Count Orlock, who is no less chilling today then he was when the movie was released. Iconic horror at its best and one of the best German exports since Beck's beer.
Drácula (Spanish version) (Spain, 1931)
The Spanish version of Dracula was shot during the same time and on the same sets as the original Bela Lugosi version. The English edition would be shot during the day with the Spanish team coming in at night to work on theirs. And, as would be expected, many feel the Spanish take is superior for the simple fact that the crew got to see the dailies of what was done for the English version during the day, and they would try to improve on what they saw, using different camera angles and lighting. However, of the cast, only Carlos Villarías (playing Conde Drácula) was allowed to see what was being done during the day and he was encouraged to imitate Lugosi's performance. Not a bad gig, huh? As long as you don't mind being a bit micromanaged. 'Here, do this.' It doesn't get any clearer than that. The film was directed by George Melford, and although thought to be lost, in the 1970's a copy was found and restored. The video below is a clip from the film in its original form with no subtitles. We caught some of the meanings. "La sangre es la vida" was certainly clear!
Nosferatu the Vampyre (Nosferatu: Phantom der Nacht) (West Germany, 1979)
By the time Nosferatu the Vampyre reared his ugly head in 1979, Germany had become two countries, but Nosferatu still remained a viable horror character. Legendary German director Werner Herzog took on the task of bringing the pale-faced, pointy-eared menace back to the big screen. Herzog created an interesting movie that was a tribute to Murnau's 1922 Nosferatu but holding closer to Bram Stoker's original tale (because now, of course, the story was in public domain). Herzog adored the original German film and put his frequent collaboration partner, Klaus Kinski, in the role of Count Dracula. Interestingly, there were actually two versions of the movie shot, one in German and one in English, so Herzog would shoot two versions of each scene with dialogue so an English version would be available without the need of subtitles or overdubbed voices. Now that's dedication!
Cronos (Mexico, 1993)
Deserving a spot on this list just for the fact that this was the film that kicked off the career of Guillermo del Toro, Cronos is another unique telling of the vampire legend. This one involves a nearly 500-year-old artifact that basically injects vampirism into the subject…and that sudden euphoria the young vamps always enjoy surfaces. A feeling of youth, vibrancy and the ol' increased libido…all tell-tale signs that you might be a vampire…or have taken just the perfect dose of Cialis. Either way, eventually things are going to go bad, and Cronos is a perfect demonstration of just how quickly things can go from good to bad for a vamp. Del Toro's first feature film, Cronos was also his first collaboration with Ron Perlman and Federico Luppi, both of whom he would go on to make beautiful music with later in their careers.
Let the Right One In (Låt den Rätte Komma In) (Sweden, 2008)
As unique a vampire tale as you'll find, Let the Right One In blew audiences away when it was first released at the Göteborg International Film Festival in 2008. Eli instantly became a beloved anti-hero, and her beautifully innocent relationship with Oskar brought such a depth to this film that it was nearly impossible not to fall in love with it. Of course, it was given an American adaptation with Let Me In, which did a satisfactory job of relaying the story, even bloodying it up a bit more, but you need to go to the original to experience the true strength of the tale. Based on the novel of the same name by John Ajvide Lindqvist, Let the Right One In easily goes down as one of the most beloved foreign vampire films, combined with a beautiful coming of age tale, wrapped in a revenge scheme and finally a story of ultimate possession. A really amazing movie.
Be sure to check out Rigor Mortis to see what new foreign vampire nightmares await us!
With the addition of Carrie Fisher, Mark Hamill and Harrison Ford we already knew that the upcoming Star Wars: Episode VII will have one foot planted firmly in the past (a feeling reconfirmed by the Tatooine set pics that his yesterday).
But now it appears that the rumors of them going whole hog are true, as this is pretty clearly the Millenium Falcon being built onset. Who knows how much action it’ll get in the film? My bet is that it just kind of hangs out in Han Solo’s space garage until he hands it down to his son at the end of his film and the kid takes off with it in the final frames.
Just a reminder, there’s a chance this movie could be good. The Star Wars tally stands at one really great movie, one pretty good movie, one decent movie and three awful movies.
For more pics, hit up the site that shall not be named in the source link below.
On tap right now is the first trailer for director William Sanders nostalgic look at the locations used in George A. Romero's seminal classic Dawn of the Dead, entitled fittingly enough Road Trip of the Dead.
The trailer even features the voice talent of David Crawford ("Dr. Foster" from Dawn of the Dead). Check it out!
They currently have a Road Trip of the Dead Kickstarter campaign launched that you can check out if you want to contribute. There are some really cool perks available to contributors, including authentic pieces of the original elevator and escalator from JCPenney used in the filming of Dawn of the Dead.
For more info "like" Road Trip of the Dead on Facebook and follow Evans City Productions on Twitter (@EvansCityProd).
From the Press Release
We are in pre-production of a reality-based horror film, Road Trip of the Dead, in the Pittsburgh, Monroeville and Evans City/Cranberry area. Our film stars celebrity and effects artist Tom Savini (Dawn of the Dead, From Dusk Till Dawn and Django Unchained) and Gary Streiner (Night of the Living Dead).
Our film centers around a group of friends (fans of George Romero films) that are attempting to complete a documentary about filming locations of Romero films in and around Pittsburgh. The friends set out on the tour not knowing the horror they love is about to become a reality.
This is NOT a zombie film, but a reality-based slasher, horror-fiction tale.
This film will not only be an entertaining tale but will also be combined with documentary style information on filming locations of classic Pittsburgh films. Ninety percent of all locations used in our film will have been in other films. Think of them as location cameos, so fans will not only get cameos from stars like Gary Streiner, but they will get to see great locations like the Monroeville Mall (Dawn of the Dead), Evans City Cemetery (Night of the Living Dead) and Wampum Mines (Day of the Dead).
We need your help to secure funds for production (actors/actresses fees, travel, props, equipment, etc.). We are trying to keep this film as much about Pittsburgh as the fans. In doing so, we have secured product placement from Iron City Beer/Pittsburgh Brewing Company and are working with them to help sponsor our project. We are also in talks with Kings Restaurant about filming and sponsorship.
Fans come to Pittsburgh by the thousands to see Romero filming locations, and these fans are "dying" to see them!
There's perhaps nobody who appreciates the art of movie poster art more than we horror fans, who want nothing more than for our favorite movies to be adorned with the coolest art possible. Unfortunately, the art form isn't exactly what it used to be...
As advances in technology have replaced the hand-drawn works of art from decades gone by with lifeless and totally dull floating heads and digital manipulations.
For many us, myself included, it was that glorious VHS box art and those eye-catching posters that made us fall in love with horror movies in the first place, and so it's a real bummer that the art form has been tossed by the wayside in recent years, leaving artistic fans to draw up their own alternate art for the movies they dig. And thank god for that, because it is those fans, and companies like Scream Factory, who are putting the art back into poster art and reminding us all how truly important a piece of movie art really is.
But I digress. We're not here to lament the loss of stunning hand-drawn artwork but rather celebrate it, and to do so we've compiled a mega-sized image gallery containing 50 pieces of vintage poster art for you to browse through and enjoy. But we're not just talking any poster art. Oh no. We're talking foreign poster art, whipped up to promote the releases of some of our favorite movies outside the good old USA.
From the infamous poster art of Ghana, which was almost always drawn by artists who didn't actually watch the movies, to the wild and whacky stylings of Japan, this gallery represents the coolest of the cool when it comes to foreign poster art with selections from France, Poland, Belgium, Cuba, Turkey, Germany, Thailand, Czechoslovakia and Spain.
Some of these posters are leaning more towards the side of ridiculous, others the side of totally awesome, but we think you'll agree that they're all just plain ridiculously awesome.
Although the 1976 Dustin Hoffman-starrer Marathon Man is a better jumping off point, I watched Paul Michael Glaser’s 1987 The Running Man on Netflix this weekend, so that serves as the inspiration for the following post.
Starring the great Arnold Schwarzenegger (and Jesse Ventura), I’ve been watching this dystopian classic since I was a kid. In it, Schwarzenegger refuses military orders to obliterate a small town, which results in him being framed and staged for a public stoning on national television. It’s a last man standing film, similar to Battle Royale and The Hunger Games, which has all sorts of political statements layered within.
As a kid, I could give a shit about the social implications, which left me asking one simple question: would I watch a real life Running Man? Could I order a PPV where prisoners are run through the mill and slaughtered right before my very eyes.
Watching it again this weekend had me pondering such a future that oddly doesn’t seem that far fetched. So, I thought I’d bring this discussion to you guys and ask, would you watch a real life Running Man, and why?
Manhattan. The Country. The World. “The Strain” takeover begins Sunday, July 13th on FX.
From Guillermo del Toro and Chuck Hogan, here’s yet another trailer, this time showing one of the series’ creatures!!!
“ ‘The Strain’ is a high-concept thriller that tells the story of Dr. Ephraim Goodweather (Stoll), the head of the Center for Disease Control Canary Team in New York City. He and his team are called upon to investigate a mysterious viral outbreak with hallmarks of an ancient and evil strain of vampirism. As the strain spreads, Eph, his team, and an assembly of everyday New Yorkers wage war for the fate of humanity itself.”
“The Strain” stars Corey Stoll, Mia Maestro, Sean Astin, Roger Cross, Leslie Hope, Regina King, Robert Maillet, Lauren Lee Smith, Miguel Gomez, Kevin Durand, David Bradley, and Richard Sammel.
Director Scott Derrickson has been scaring the hell out of people for several years now, and he looks to continue the trend with his latest project, Deliver Us from Evil. Recently we sat down with him to talk about the film, and believe us when we tell you the devil is truly in the details.
Dread Central: We only got to see, well, basically, nothing more than the trailer. So, can you start by telling us a little about it?
Scott Derrickson: Yeah, the movie is about a guy, about Ralph Sarchie, who’s based on a real guy, a cop in New York City who Eric plays and the movie is about... his slow but steady confrontations with these supernatural occurrences that get him drawn into these cases, and that starts to affect his personal life and his family life and his belief system and all that.
DC: We heard that there were some real life creepy things that happened on the set. We heard some stuff from Edgar who’s saying about some paper machine in the bathroom but he kept saying there were all kinds of things that happened.
SD: Yeah, you’d have to ask the actors because nothing like that happens to me. It was the same thing on Emily Rose where weird things do seem to happen, happen to the actors, that’s true.
DC: Do you think that’s because you don’t believe in them, or you do?
SD: I certainly believe in the metaphysical. Yeah, I’m not a strict materialist. I think that’s a ridiculous view of the world. I don’t think that makes any sense at all. So, yeah, I think there’s a lot more mystery to the world than what our theories can explain.
DC: Your horror movies are always based in the investigation and the search whether it’s a policeman or it’s the clergy in the Exorcism of Emily Rose and then there’s the courtroom aspect of it. Can you talk a little bit about what makes your sensibility that way as opposed to, say, a full-on horror movie like The Exorcist or The Shining where you don’t really see law enforcement or legal aspects involved?
SD: That’s an incisive question. I guess at the most base level, the juxtaposition of those things is what is inherently interesting to me in the genre. With Emily Rose no one had ever made a courtroom horror film before so I thought that was a worthy endeavor. In this case, Jerry Bruckheimer’s idea in auctioning the book was that he wanted to make 'Serpico meets The Exorcist,' which I thought was a great idea also. But those things were attractive to me and I took the approach that I did with them because I am somebody who continues to be very inquisitive about the metaphysical and about the things in this life that are significant even though they can’t be measured with our instruments of science. I’m a big science fan. I mostly read science fiction and for strange reasons know a lot of top scientists in the world, but I don’t think that there are enough stories out there that are taking seriously the idea that the world is much more mysterious than we think. I think that both science and religion are always propagating the idea that, “Hey we’ve kind of got it all figured out. And whatever we don’t have figured out, we have a theory that’s probably correct,” and I just don’t think that’s true. I think that the world is a far more mysterious place than we are told by those major forces. And I think that it’s really important to our human health to think that way, to live our lives as though it’s a magical world, because it is.
DC: Who are these top scientists that you know?
SD: I know Sean Carroll, who is the head of physics at CalTech. I know Lisa Randall, who’s probably the top string theorist in the world. I’m mentioned in one of her books, a conversation we had... Adam Frank, who does a lot for NPR, astrophysicist. Certainly, Adam and Sean are friends of mine. I don’t think the way they do so we debate here and there.
DC: Did you consult on them with this?
SD: Not on this but I have consulted with them on other movies and will consult with them on probably my next movie.
DC: Can you tell us a little about the casting, in particular Eric Bana in this role?
SD: Yeah, you know, the real Ralph Sarchie is an extremely fascinating guy. I mean, he really is awesome, which is why I wanted to make the movie. When you meet him, he is a foul-mouthed Italian volatile hardcore South Bronx undercover cop. For twelve years he worked in what the FBI called the most dangerous square mile in America. The four six precinct, where he worked, has him as an undercover cop with six guys underneath him; there were more violent arrests in that square mile than anywhere in the country. He was the guy, every night, going out there and doing that. So, he’s a hardcore guy... Then also, early on in his career, was a complete lapsed Catholic and skeptic and didn’t believe in god, didn’t believe in anything, and for him to get drawn into these paranormal cases and have it turn his whole life upside down to the point that he ends up being an assistant to an exorcist... It’s just a great story.
When you meet him, he’s larger than life. He’s just a larger than life character and Eric is really good at those kinds of characters, if you’ve ever seen Chopper, or even playing Hoot in Black Hawk Down. These characters have almost a mythic kind of quality to them and there’s something about Ralph that cries out for that. We were bagging on lots of names, but when Eric’s name came up, it just immediately locked for me, like I was just like, “That guy can do it. That guy can do it.” I had a feeling and then it was about convincing him to do it, but he was the only person I went after. He was the only person I met with for the movie.
DC: So, you didn’t want to meet with a tough Italian-American for the role?
SD: There wasn’t anybody that I could picture who would be able to bring all of that and a kind of depth of character. It’s something I do think I’m good at as a director. I tend to have instincts about what actors would be good at. Sean Harris, who you guys probably don’t even know, most people don’t know him, I saw him do Harry Brown, he plays a drug dealer in Harry Brown and based on one scene with Michael Caine in Harry Brown, I knew he had to play the villain in this movie. And when you see it, when you see the movie, his performance is one of the greatest performances I have ever seen, and very few actors could have ever pulled it off. Why did I know he could do it? I don’t know; that’s something I have a knack for.
DC: Do people sometimes think your movie Emily Rose is based on the story by Faulkner?
SD: No, I know that story, but no, it’s based on a German girl who lived in Bavaria in the 70’s who died during an exorcism. Interesting enough, by the way, I wrote this script in 2004 for Jerry, and when I went to meet with Ralph, Ralph was the person who gave me an out-of-print copy of the exorcism of Anneliese Michel, the nonfiction book written by an anthropologist about that possession case. So, I auctioned that book and I ended up going to make that first and then they had done lots of rewrites on the script and never got anywhere with it and then I came back on, rewrote it and made it.
DC: In the Vatican they have people specialized in that. Did you talk to them? Because they are not supposed to talk about it.
SD: I’ve talked to Catholic exorcists. I’ve talked to a number of those but never any of the exorcists from the Vatican. I really like and respect the Catholic Church’s attitude toward it. There are a lot of Protestant people who are into demonic deliverances and things like that who are showmen and hucksters and it's all really very silly, but it is something that the Vhurch takes very seriously, is perhaps embarrassed by but certainly does not seek to exploit, and I have a lot of respect for that.
DC: Is Ralph going to come and do some press?
SD: Oh yeah.
DC: Because he sounds fascinating.
SD: He’s very fascinating.
DC: Does he still do that or is he retired?
SD: He’s a retired cop now, but he still does that.
DC: You mentioned earlier that you believe that it is important for mental health or our psychological health to be open to, not the superstitions, but to different things going on in the world. What did you mean by that?
SD: I just mean that when you reduce the world to... I mean, again, I love science. I think science is one of the greatest constructions that human beings have come up with and I think it has unearthed as much truth as anything. I’m also a religious person. I have a degree in religious philosophy. I was a student of philosophy as an undergrad. But you’re still working primarily with theories in both realms, and when the conviction of those theories becomes something that you say explains the way everything is in the world, the world becomes much smaller in your mind than it actually is. I think that mystery and mysticism keep us sane. I think that it keeps us alive, and there aren’t very many forces in the world that are helping us to continually expand our sense of the world being a magical place. Instead they’re telling us that the world is smaller than we think and it’s less interesting than we think and it’s getting more and more boring.
Now that we are connected to everything, we can see everything and we can debunk everything so fast and I just don’t buy the lie. I think that the world is still a profound mystery. I think that when you think that way, it does create a kind of mental health. You find your place in the mystery of the world and life becomes much, much more vital because of it. It’s one of the reasons why I’m attracted to the genres that I’m attracted to. It’s one of the things that movies can do. Movies can ignite a sense of the magic of the world and leave you feeling like the world is a more magical, mystical place than it feels like to you. The forces, the advertising companies, and the religious institutions and the scientific community, they’re just constantly impressing upon you, “Hey, the world is as small as this box that we’re showing you,” and I just, I don’t think it’s true.
DC: Are you watching "Cosmos?"
SD: I love "Cosmos." Yeah, and look, you know, great science and great philosophy and great religion are mind-expanding. But you also get to the end of them and neither Neil deGrasse Tyson nor the Pope really wants to admit how much they don’t know, which is so much.
DC: Do you like to provoke the emotion of fear?
SD: I like to release the emotion of fear. I think that horror releases fear in people more than it creates it. I think that there is something good and healthy about doing that. When people come out of a good scary movie or a movie that is super tense and thrilling or shocking or scary, they don’t usually come out oppressed and thinking, 'Who can I go kill?' or 'I’m going to go beat my wife.' They usually come out laughing. There’s something that’s been lifted. Something’s been released. I think that’s one of the values of that particular counterpart in entertainment. It forces us to confront these fears emotionally and allows an avenue for release. Especially, when you’re talking about straight-up horror films like Sinister, that’s why that’s a film that’s perfect for people who are 18 to 24 years old because they have so much anxiety and the experience of a movie that really scares them is liberating and lightening for them.
DC: Does your shirt say deus?
SD: Yes, it says deus ex machina. I’m big on the deus ex machina. We all need a little deus ex machina. It literally means god in the machine. The term actually comes from ancient theater. There were a lot of classic plays that were written and all the characters would get backed up into a corner, and literally, the god machine would come down and solve the problem. The deus ex machine.
DC: We were talking earlier about how children and teenagers are much more susceptible to inexplicable things. Did you ever have those experiences growing up of things that go bump in the night?
SD: Oh yeah.
DC: Yeah? Is there one that you’ll never forget?
SD: Yeah, but I mean, I don’t talk about those. I can’t. It’s just not something I do.
DC: Is it because it scared you?
SD: Yeah, I mean, I felt a lot of fear as a child. That was the primary emotion I felt as a kid growing up. I know people who had worse childhoods than me who didn’t grow up with as much fear so part of it is my emotional makeup, but the worst things that happened to me as a child, three people know. So it’s that kind of thing so I don’t know if I can talk about it.
DC: What about horror films that are more about the horror of the human being like, say, Blue Ruin, did you see that?
SD: I did. It’s a terrific movie.
DC: Would you ever feel like you’d want to make a movie like that?
SD: Absolutely because I think that horror always gets that unspoken fear and unspeakable fear and sometimes it’s the fear of the evil in nature that can consume us. I mean evil in the sense of the catastrophic, murderous power that it carries over us. That’s one kind of horror, the natural disaster movie. Fear of the other, the supernatural. Those are the ones I’ve been most drawn to. I think those tend to be the ones that are the scariest, that tap into the deepest fears.
But I think probably the most significant ones are the movies about just the evil within humanity and the complexities of the evil within us and the unspoken and unspeakable evil within both the deranged human and the normal human. Seven is my favorite film of the last twenty-five years. I think it’s an incredibly profound film. I’ve seen it many, many times and it really puts me into a moral labyrinth where I discover myself thinking about things new every time I see that movie. I think that that’s stuff that only this genre can do, the dark thriller and the horror film.
DC: So, going back a little bit, going to see a horror film, as far as you imagine, can be almost cathartic for people in terms of releasing that emotion of fear. Are there other ways of doing that that might not have to do with subjecting yourself to a really scary horror film?
SD: Oh yeah, absolutely because using art, Gothic art, horror art as a way of doing that is one avenue and for somebody like me it’s an attractive outlet. I’m drawn to that. I like that kind of art and I crave that kind of art and entertainment. Here’s what I think, though; I think that I love the horror genre because it is the genre of non denial. It is the genre that goes into the things that you’re not supposed to go into and that people are scared to go into and for me as a creative person I try to go into material that I generally find upsetting and disturbing. So it’s not always a pleasant experience, especially in the writing stage, but that is a habit that everybody should have in their life. Even if you can’t stand horror films, I think that the best way to get past any fear is to confront it. It’s the only way. You've got to wrestle with it until it loses its grip on you. That’s the only way I have found and I feel like I’m fearless now but I think it took me my whole life to get here. I don’t think I started really feeling that way until the last five years and starting to feel finally free like, “I’m living my life without any fears.” But it’s because a perpetual almost addiction to, if something scares me, my instinct is to move toward it and wrestle with it until it doesn’t scare me anymore.
DC: Wow, because this seems like such a huge thing to confront.
SD: Yeah, it does but at some point you need to put a cap on it. But for somebody like me, I think it’s true for most people, I think it was this way uniquely for me though, when your fears are crippling it becomes something you get good at and then you don’t want to stop until all the big fears have been reckoned with, but I think it’s something everybody ought to do in some form.
Joel McHale, Sean Harris, Edgar Ramirez, and Olivia Munn star alongside Eric Bana. The film is a paranormal thriller produced by Jerry Bruckheimer Films. Derrickson directs a script he and Paul Boardman (The Exorcism of Emily Rose) wrote.
Look for it in theaters July 2, 2014.
New York police officer Ralph Sarchie (Bana), struggling with his own personal issues, begins investigating a series of disturbing and inexplicable crimes. He joins forces with an unconventional priest (Ramirez), schooled in the rituals of exorcism, to combat the frightening and demonic possessions that are terrorizing their city. Based upon the book, which details Sarchie’s bone-chilling real-life cases.
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People are obnoxious with their “unboxing” videos, where they record themselves opening something special in order to rub it in to everyone else’s faces (it’s a form of both gluttony and greed, if you ask me).
NonRandomNonSense took a jab at this cultural cancer with the following Se7en spoof video.
For those of you unacquainted with David Fincher’s 1995 masterpiece, it ends with Somerset (Morgan Freeman) opening a box delivered to his partner, Mills (Brad Pitt), whom watches for a distance. The reveal is that the package contains the head of Mills’ wife (Gwyneth Paltrow).
This absolutely hysterical short film reimagines the final scene from the perspective of Somerset’s cellphone.
Do you remember?
Gravitas Ventures has shared with Bloody Disgusting an exclusive look at the horror/thriller The Last Light, now available on VOD and iTunes!
“The Last Light tells the story of seven strangers who find themselves trapped in an abandoned building after an unexplained apocalyptic event. Not only are they haunted by memories of what they’ve lost, they are also forced to fight off mysterious creatures that hunt them down one by one.”
Written and directed by Andrew Hyatt (The Frozen), the film stars Ed Quinn (Eureka), Edward Furlong (American History X), Jeff Fahey (Planet Terror), Tahyna Tozzi (X-Men Origins: Wolverine), Molly Hagan (Election), and Yvonne Zima (Iron Man 3).
Horror icon Paul Naschy – who has portrayed the Wolfman, Frankenstein’s Monster, Count Dracula, the Hunchback and even the Mummy – has been resurrected and turned to Wax in Víctor Matellano’s first feature film.
“Wax tells the story of a young journalist employed to spend a night at Barcelona’s Wax Museum, where paranormal activities are supposed to be taking place. He must record everything happening there. In the museum there are different wax figures including Dr. Knox one, a sadist cannibal surgeon who loves dressing up as Vincent Price in House of Wax. Soon, the journalist will start feeling he is not alone….”
Jack Taylor, Geraldine Chaplin and Jimmy Shaw also star.
Naschy was brought back to life using his real voice (taken from old theatrical recordings), which comes from an animatronic wax figure.
Colin Arthur created all of the effects by hands, which are 80′s inspired.
Check out some pretty fantastic stills and a trailer.
Twentieth Century Fox Home Entertainment quietly released Joy Ride 3: Road Kill today on Digital HD, a few weeks before its June 17 Blu-ray and DVD date.
The new sequel finds director Declan O’Brien (Wrong Turn 4: Bloody Beginnings, Wrong Turn 5: Bloodlines) in the driver’s seat for another deadly detour. Our review is embargoed until next Monday. Take that information as you will.
In the third film, “The nightmare begins when a group of young street racers take a desolate shortcut on their way to the Road Rally 1000. But a chance encounter with Rusty soon turns deadly as he stalks, taunts, and tortures his next victims with deranged delight. It’s a full-throttle, pedal-to-the-metal chill ride packed with killer twists and turns!“
Starring Ken Kirzinger (Freddy vs. Jason) as the infamous Rusty Nail, the Joy Ride 3: Road Kill Blu-ray and DVD is loaded with extra features including a variety of deleted scenes, featurettes, behind-the-scenes content, and a gruesome unrated version of the film. They include: Pre-Vis Sequences, Road Rage: The Blood, Sweat and Gears of Joy Ride 3, Riding Shotgun with Declan: Director’s DIE-aries, Finding Large Marge and Audio Commentary.
Video game creator Edmund McMillen has posted another new song from the upcoming roguelike dungeon crawler The Binding Of Isaac: Rebirth. Below you can hear the new “caves” music “Sodden Hollow”, which is composed by Matthias Bossi and Jon Evans (aka Ridiculon). It’s an eerie, airy track with lots of space and breath.
Give it a listen below.
We don’t normally cover a lot of hip hop on Bloody-Disgusting but when this premiere came upon us we just knew that it was a perfect fit! In this exclusive “Sick Man” music video premiere from Detroit group Twiztid you’ll see horror favorites Sid Haig (House of 1,000 Corpses, The Devil’s Rejects) and Kane Hodder (Friday The 13th Part VII: The New Blood, Hatchet) in a video filled with blood, gore, and torture. And if you’re into it, then prepare yourself as this video is just the beginning! Get on down below to check out these icons in action!
Well, that was bizarre timing. I should have consulted the Ouija before assuming one of the three undisclosed Universal horror movies was one based on the board game.
This time, the spirits tell Bloody Disgusting that Ouija will open this October 24, 2014 via Universal.
Here’s the first reveal of the plot crunch, too: “In Ouija, a group of friends must confront their most terrifying fears when they awaken the dark powers of an ancient spirit board.”
“Bates Motel” and The Quiet Ones‘ Olivia Cooke stars alongside Douglas Smith and Bianca Santos.
Stiles White directs the supernatural thriller that is produced by Platinum Dunes partners Michael Bay, Andrew Form and Brad Fuller (The Purge, The Texas Chainsaw Massacre, Friday the 13th) alongside Blumhouse Productions’ Jason Blum (Paranormal Activity, Insidious series, The Purge), Bennett Schneir (Battleship) and Hasbro.
Universal Studios has updated its release calendar by reserving three dates for several of the newest features from Blumhouse Productions. They're just not saying what they are just yet. Read on for what we do know.
Universal will release the Blumhouse productions on September 25, 2015, January 8, 2016 and October 21, 2016. Interesting.
Blumhouse has numerous projects in the works including Visions, Mercy, The Veil, Incarnate, etc. Honestly you can take your pick. Who knows?!? These dates could also be set aside for something new altogether. Feel free to speculate. We'll let you know when we find out!