Known to horror fans for creating the graphic novel-turned-horror franchise 30 Days of Night, Steve Niles has also created a slew of other comic properties, one of which is the three-issue miniseries Breath of Bones. A while back Comic Book Resources nailed down a concept trailer for what a big screen adaptation would look like, and we figured it’d be cool to share now!
The story of a Jewish golem, the tale is soon making the jump to the big screen, and a director has just been announced. Read on!
Andrew Adamson (Shrek, The Chronicles of Narnia) is attached to helm the adaptation of the acclaimed Dark Horse Comics miniseries, written by Niles and Matt Santoro. Artist Dave Wachter received a 2012 Russ Manning Award nomination for his gorgeous work.
Breath of Bones is set during World War II and tells of a British plane that crashes into a Jewish village. The crash brings Nazi attention, forcing the villagers to defend themselves, with one rabbi and his grandson building a golem creature and bringing him to monstrous life.
Mike Richardson and Keith Goldberg of Dark Horse are producing the adaptation with Adamson and his producing partner at Strange Weather Aron Warner. Jeff Fierson from Strange Weather will executive produce.
The post See Steve Niles’ Golem Attack the Big Screen in Breath of Bones Concept Trailer appeared first on Dread Central.
Some quick casting news has come in for the upcoming flick Patient Zero as Deadline is reporting that “Game of Thrones” star Natalie Dormer has been set to appear in the Screen Gems action thriller that Stefan Ruzowitzky will direct from a script written by Mike Le.
Patient Zero focuses on an unprecedented global pandemic that causes the evolution of a new species. An aggressive form of rabies turns the infected into predators, addicted to violence. An inexplicably gifted human survivor with the ability to speak the new mutant language leads a hunt for Patient Zero and hope for a cure.
More on this one soon!
Geoff Shaw drew the cover plus the interior art for Judd Winick’s story, described as an “action-packed modern day myth.”
On the surface it seems like your average all-American tourist trap, but this snow-covered town hides a burning secret.
After centuries of lying buried within the depths of an icy mountain, the world’s last dragon egg finally hatches – endangering modern life as we know it. Now an unlikely group of dangerously unqualified, ordinary citizens must band together, battling the elements – and each other – to slay this menacing creature.
Issue #2 (of 5) releases in October.
The post Get a Peek Inside Judd Winick’s A Town Called Dragon Issue #1 appeared first on Dread Central.
Directed by Juanfer Andrés and Esteban Roel
Álex de la Iglesia (The Last Circus, Witching and Bitching) presents this neurotic tale about a shy dressmaker and the younger sister that loves to hate her, but first-time directors Juanfer Andrés and Esteban Roel steer away from the infectious mania seen in Iglesia’s work to offer up a much quieter, more gradual descent into the macabre. Buttressed by a great central performance and flourishes of dark humor, one of the latest offerings from Spain’s growing horror collective, Shrew’s Nest, is a clear standout at Fantastic Fest this year.
As the film opens, Montse (Macarena Gómez) – a demure amateur seamstress – seems quite harmless as she fits wealthy benefactress Doña Puri. Poor Montse suffers from fits of anxiety, but she assures Donã Puri that the “medicine” she’s been supplying has been helping to take the edge off. Seemingly cursed with a debilitating affliction and afraid to step out and start a clothing business of her own, Montse passes on that fear to her little sister (Nadia de Santiago), who, strangely, is only referred to as “la nina” throughout the story. (You’ll have to watch to learn if she ever reveals her true name).
Early on, it’s revealed that Montse suffers from an acute form of agoraphobia that prohibits her from stepping foot outside of their sheltered, 1950’s apartment until her disease (and her faith) are tested when an upstairs neighbor – a dashing Spaniard named Carlos (Hugo Silva) – takes a spill down the stairs, severely injuring his leg. He cries out, and Montse reluctantly unbolts the door and drags him into the spare bedroom where Carlos is about to endure an unexpectedly long stay. As the days go by, Montse turns into a kind of mad nurse, imprisoning Carlos (much like Annie Wilkes did to author Paul Sheldon), mixing water with her “medicine” to keep Carlos in a dazed combination of pain and appreciation. Alarmed at the events unfolding, Montse’s little sister sneaks in to warn Carlos that he’s actually being drugged with morphine and that their caretaker doesn’t intend to be rid of his company any time soon.
Haunted by the memory of her father (Luis Tosar from Sleep Tight), who chastises her character even in death, Macareno Gómez’s depiction of Montse carefully constructs a tragic emotional core, building on top of a cracked foundation destined to crumble and eventually collapse under the weight of her dark family past and her growing desperation in the present. Gómez’s performance nicely complements a well-paced story and honors a script that recognizes that its lead must be likable before the audience can both root for others to escape and secretly wish for Montse to prevail.
With a successful background in comedy, Gómez uses the decisive shift into a horror thriller during the climax of Shrew’s Nest to inject some amusement through quirks of personality that reflect Montse’s own disbelief at just how far events have escalated by final day’s end. It’s been “hectic,” Montse says, but effects veteran Pepe Quetglas (Pan’s Labyrinth) makes sure that the insanity bubbling up within Montse is equaled by his team’s twisted sensibility and his own gore-filled imagination. The explosiveness of the violence – in its setup, delivery, and reveal – transforms the uninspired interior of the lifeless flat into a funhouse of death that may prove too dangerous for anyone to ever escape.
The shrew, or shrew-rat as its described, has a tendency to burrow and, if cornered, prove venomous. The story that’s unveiled in Shrew’s Nest follows that kind of behavior in following a likable, delicate, frightened woman who is driven to commit acts of terror, only to wind up having to face her own personal horrors in the process. Driven by Goméz’s electric portrayal, Shrew’s Nest reveals how trauma turns to compulsion and how desperation can cause someone to resort to violence rather than hide in absolute darkness.
Since its release five long years ago, Valve’s addictive co-op shooter Left 4 Dead 2 has been censored and rated MA15+, once Australia’s highest rating for a video game. Under the new system, the game has had its silly censorship removed and it’s been given a new rating of R18+ — the ESRB equivalent of an M (Mature) rating.
If you’re an Aussie who’s been waiting for your fine country to get with the times, you can grab the uncensored version of the game on the Steam store. If you already own a copy, Valve has a free patch available to restore Left 4 Dead 2 to its gory glory.
For the curious, below you’ll find a video that highlights the changes between the original and censored version of the game.
I honestly don’t know where people get their creative ideas. Honestly, I’m quite often just as impressed by someone’s ingenuity and “out of the box” thinking as I am by the end product of their endeavors.
That’s what it’s like with Tumblr user jbetcom, who takes iconic album covers over the years and animates them, giving them an additional layer of depth and charm.
Below is a small gallery of covers from bands like Cannibal Corpse, Nightwish, Metallica, Korn, Public Enemy, and more! Click the link above to see even more covers.
Warning: Since these are GIFs, it might take a while to load them all.
In news that will have many of us violent video game veterans go duh, a new study published in the Psychology of Popular Media Culture has confirmed — again — that there is no correlation between the rate of consumption of video games and the number of crimes in the United States. So even though Grand Theft Auto V sold about a trillion copies, it’s monumental success didn’t inspire a bunch of folks to leave the safety of their homes to embrace a life of crime.
The study was conducted by researchers at Villanova University and Rutgers University. After analyzing actual facts, their findings are as follows…
“Finding that a young man who committed a violent crime also played a popular video game, such as Call of Duty, Halo, or Grand Theft Auto, is as pointless as pointing out that the criminal also wore socks.”
I couldn’t have said it better myself, though, for some reason, I always assumed socks were banned in prisons. Don’t they like putting bars of soap in them so they can beat their fellow inmates with them, or do I watch too many movies?
If you prefer your facts a wee bit more in-depth, here’s something for your mind to chew on:
“Annual trends in video game sales for the past 33 years were unrelated to violent crime both concurrently and up to four years later. Unexpectedly, monthly sales of video games were related to concurrent decreases in aggravated assaults and were unrelated to homicides.”
So not only are video games not leading people to bludgeon the elderly for their spare change, they may be keeping those who are inclined to partake in activities like that indoors.
“Searches for violent video game walkthroughs and guides were also related to decreases in aggravated assaults and homicides two months later. Finally, homicides tended to decrease in the months following the release of popular M-rated violent video games.”
In related news, the study did find a sore lack of sweet ass foliage in video games*.
*I made that up.
For the full report, head on over to GameSpot.
Okay, so I’m a day late with this. The Anna: Extended Edition actually arrived on Xbox 360 yesterday. Sorry about that. Honestly, this game fell off my radar after I tried (and failed) to immerse myself in the game when it released on Steam last April. I had to shut it off when I realized I was spending way more time looking for whatever it was I was supposed to do than I was having fun.
That’s not to say it’s a bad game — it just isn’t for me. It’s still incredibly creepy and comes with some solid scares. If this is what you need to prepare yourself mentally for the horrors waiting in October or are simply looking for a reason to dust off your aging Xbox 360, at $10, this is worth checking out.
Baltimore, Maryland progressive post metal collective Drewsif Stalin’s Musical Endeavors has released a horror-heavy video for their new track “Nightfall”, which features loads of fake blood and some damn solid practical FX, especially for being an indie production.
I’ve always had a love for horror movies and music, so I figured why not combine the two? After lots of fake blood, real sweat and (non-existent) tears, the moment has arrived!
Nightfall is here!
The video can be seen below and is also available for free download (below or through Bandcamp).
Even if, gaming gods forbid, Fatal Frame V: The Black Haired Shrine Maiden never leaves Japan, I still feel like talking about it. I mean, imports are a possibility, as the series’ fans have already proven passionate enough to localize the similarly Japan-exclusive Fatal Frame IV. I hope we don’t need to resort to it, but if we do, we will. So with that in mind, here are some screenshots from the next game, which releases on the Wii U later this month.
Death metal legends Cannibal Corpse have released an official music video for “Kill Or Become”, their latest single from A Skeletal Domain, which came out two weeks ago (iTunes). The video shows the band performing in a small shack while additional footage shows a man taking out zombies with a chainsaw. It’s pretty much exactly what you’d think of when you’re expecting a Cannibal Corpse music video.
Michael Myers is taking October and making it his bitch. Again.
SpectiCast has partnered with Compass International Pictures and Trancas International Films to bring John Carpenter’s immortal 1978 classic, Halloween, back to theaters worldwide beginning October 1, 2014, with select screenings available through October 31st!
The full theater list can be found at here.
For the first time ever, the digitally restored and re-mastered print, created under the supervision of the world renowned cinematographer, Dean Cundey, will be seen on big screens around the world. In the film, villain, Michael Myers has spent the last 15 years locked away inside a sanitarium under the care of child psychiatrist Dr. Sam Loomis. On October 30, 1978, Myers escapes and makes his way back home to Haddonfield, turning a night of tricks and treats into something much more sinister for three young women, including Laurie Strode, the breakout role for Jamie Lee Curtis. Dr. Loomis is their only hope, but will he find his shadow-dwelling patient in time?
“We are delighted to work with SpectiCast to bring this restored and re-mastered version of Halloween to movie screens,” says producer Malek Akkad. “We are excited for fans across the globe to experience this film like never before.”
Halloween 1978 will be appearing on more than 500 screens at select theaters in over twelve countries around the world.
For more information, visit HalloweenMovies.com.
Let’s get one thing out of the way, “The Amazing Spiderman 2″ should have ended about five minutes in. It is one of the most awful cinematic experiences I’ve ever had the pain of living through. I’m a fan of the source material, and I was never one of the people who was against the idea of a reboot. In the world of superhero comics reboots happen pretty frequently.
But the illogical script in this film was just so beyond comprehension I can’t even fathom how it made it past test audiences. Seriously. Electro commits to becoming a villain because Spiderman can’t remember his name. Luckily the fine folks at How it should have Ended have taken notice with this terrible film. If it had ended like this, I would have loved this movie.
Eat. Prey. Kill.
Described as a unique blend between Saw and The Texas Chain Saw Massacre, Sitges will be hosting the premiere of Starve.
Bloody Disgusting has the exclusive poster premiere…
“While researching an urban legend on feral children, three friends find themselves trapped in an abandoned high school where they are starved for the purpose of entertainment and revenge by a sadistic psychopath.”
Directed by Griff Furst, the film stars Bobby Campo, Mariah Bonner, Dave Davis, and Copper Huckabee.
Sitges will screen the film on October 3 @20:00, Brigadoon.
Bloody Disgusting is teaming up with the masters of technical metal, Wretched, to offer fans the chance celebrate Halloween in style. We have (3) autographed Wretched t-shirts (available in sizes S-L), (3) autographed copies of their latest album, Cannibal, and (1) head and intestine prop from their music video for “Cranial Infestation”, also signed by the band. Below is the entry form and all the details on how you can be one of three winners to score a package!
You can snag Cannibal and other Wretched merch via Victory Records.
There will be 3 winners in total:
-1 grand prize winner will receive an autographed Wretched t-shirt, copy of Cannibal, and head/intestine prop from “Cranial Infestation”
-2 winners will receive an autographed Wretched t-shirt and copy of Cannibal
SEE PHOTOS BELOW FOR PRIZING
When was the last time you saw this much gore on screen?
Available on iTunes and On Demand September 30th from Tribeca Film is the insanely gory indie The Demon’s Rook.
“Chaos descends upon a quiet town when Roscoe, the pupil of a wizard monk from an ancient race of demons, unknowingly opens a portal that allows an unspeakable evil to travel freely into our world. When three grisly beasts cross into our dimension, the living are possessed and the dead rise to destroy everything in their path. Armed with demons’ magic, Roscoe is the only fighting chance to put an end to their eternal path of destruction. ”
Check out this exclusive clip from the ode to the DIY creature-feature classics of the 1980’s.
Swedish supergroup of brutal death metal Bloodbath have released “Unite In Pain”, the first single from their upcoming album Grand Morbid Funeral. The track is the first time fans get to hear new vocalist Nick Holmes of Paradise Lost and he 100% nails his role. Head below to get in on some face-melting action!
Grand Morbid Funeral comes out November 17th via Peaceville Records. You can pre-order the album here.
Another late night, another trashy nineties horror watched with absolutely no regrets. Well, except for actually sitting through the damn thing. See “The People Under The Stairs” presents itself as this socially conscious horror movie about racial oppression, with a new type of horror from mastermind Wes Craven. The reality is a terribly written take on the haunted house story devoid of logic and character.
Seriously this thing comes across more as a zany cartoon than a horror movie. Don’t believe me, Jesus Christ, let’s walk through it. Ving Rhames speaks like a broad idiotic stereotype, and despite walking around like a major badass, he’s scared half to death by a grandfather clock, and attacked by a dog where he’s driven to tears in an instant.
That’s not the fucking worst part. Early in the film, Ving Rhames deliver’s his most prolific line yet, after laying face first in a fucking hole in the wall. Listen for the voice cracks, stay for the insightful quotes.
Look, just for the record. I find Evertt McGill to maybe be a victim in all this, more so than Wes Craven. His performance as Man is downright laughable. His dialogue is atrocious and his dedication to the performance is astounding. I mean for a chunk of the film he’s in a full gimp outfit.
But I’m digressing. See, the film is about a boy known as The Fool, who’s from this mythogically terrible place called “the ghetto” where wild dogs fight in slow motion to sexy saxophones. (No, Really.) He decides to break into the house of his mysterious landlord, a fortified prison of sorts that houses a collection of mysterious people inside the walls, and beneath the stairs. Their sexual moans echo throughout the basement. When The Fool is trapped and pursued by Man, to quote the film “the only way out, is in.”
That premise may not sound so bad. But I assure you this film is a strange nineties cartoon version of a horror film, that takes itself far too seriously. Some great examples are:
Or just this scene entirely.
Seriously the sound effects are schlocky and the entire message is muddled that it’s trying to communicate when it’s revealed that it was just 80’s metalheads left over from the painful transition to the nineties who actually dwelled under the stairs.
But the film does end with the entire block full of black people from the ghetto dancing in the street right after the house explodes into money thanks to an exploding stick of dynamite jerry-rigged together by the Fool.
Please spare yourself the pain, and don’t succumb to watching this piece of shit because Wes Craven’s name is attached. It’s not the man we once knew from Last House on the Left, it’s a cheap parody he became.
If for some reason you still want to see the film, here’s the best trailer I can find.
Reading “POP” by Curt Pires is like taking a culture studies class your freshman year taught by a disillusioned grad student who has a ponytail, drinks a lot of coffee, and says the word “Sheeple” a lot. Your freshly expanded mind will be immediately drawn to his bleak outlook on society, and you’ll quickly begin to adopt his animosity toward the corporate machine’s homogenization of art and the death of meaningful creativity in the age of marketing campaigns and pop culture by committee and product placement and like him you’ll seethe with disdain for the monetization of everything that used to mean anything. You’ll eat that shit up. I read “Pop” with one hand on my pitchfork and I love every second of it.
WRITTEN BY: Curt Pires
ART BY: Jason Copland
PUBLISHER: Dark Horse
RELEASE: September 24, 2014
Reviewed By Eric Switzer
“POP” #2 has got to have the coolest cover on shelves today. I say this because #1 had a really incredible cover, and I wonder how the four of them would look framed together on a wall in my living room next to a mass produced black-and-white Tyler Durden. The irony is not lost on me.
So Coop is still trying to figure out who Elle is and they have a run in with the Cartel while doing DMT in the woods and it looks like they might get caught but they escape just in time and there is a car chase and a pretty cool fight scene with the biker chick…
If you are reading “POP” then you know the book isn’t a huge standout because of the plot, but rather the tone. I read “POP” for the angst. I read “POP” to get angry. I read “POP” because it reminds me of a time when there was nothing worse than being a sellout and The Man wanted to crush my soul. Sometimes I wonder if he did, because you grow up and you get a job and you aren’t as worried about the things you used to think were life and death. You grow up and assimilate more and more the shortcoming in our culture don’t get to you as much, you don’t notice them or they don’t bother you. “POP” doesn’t let you forget. “POP” is here to remind you that the bullshit hasn’t gone away. The players have changed but the game stays the same. “POP” is a call to action.
It isn’t perfect, and it shouldn’t be. “Perfect” art is a Cheerios commercial. Its a Starbucks billboard. “POP” is an expression. Curt and Jason are exposing themselves, trying to expose some truth. The work is personal yet global. The message isn’t always clear or consistent, metaphors are a little mixed, but it starts the conversation. I don’t think “POP” has all the answers, it isn’t a new bible. But it makes me angry, and I really like that.
As expected, “Aliens: Fire and Stone” #1, details the events of the Hadley’s Hope, a colony on LV-426, and the events that led to the discovery of the ship on LV-223 in the first issue of “Prometheus: Fire and Stone”. This type of segmented storytelling gives the entire event an enormous scope and weight. Because of the alternating release schedule of the books, each issue will almost certainly deliver a deeper understanding of both books (if not all four) and finally put these franchises in the cohesive universe they ought to be in. It is unlike any event I’ve read before, and I’m loving every second of it.
WRITTEN BY: Chris Roberson
ART BY: Patric Reynolds
PUBLISHER: Dark Horse
RELEASE: September 24, 2014
Reviewed By Eric Switzer
When “Prometheus: FIre and Stone” #1 was released, I praised it for being tonally consistent with the film and reading almost like a sequel. “Alien: Fire and Stone”, however, isn’t afforded the same quality because the “Alien” franchise has so much more to draw from and compare to than the singular “Prometheus” film, this is an inherently different book. Instead what “Alien: Fire and Stone” has going for it is a carnage-tastic opening scene and a pace that will have you holding your breath from beginning to end, not to mention some of the coolest panel compositions I’ve seen this year.
This issue doesn’t do exactly what I expected, and I like that. “Prometheus” #1 sets us up to follow the story of the fall of Hadley’s Hope, a tragedy that ends with the escape ship reaching LV-223. Instead we see Hadley’s Hope fall in the first few pages and the escape ship reach LV-223 by midpoint in the book. By keeping the events in both “Aliens” and “Prometheus” in the same setting I think we are going to see a lot of really cool interconnection between the books, more so than I expected.
Where this book falls short of “Prometheus” #1 is in the execution. Unlike “Prometheus”, this book starts amidst a crisis and characters are introduced haphazardly and without the kind of development we saw in “Prometheus”. Secondly, I hate to say it because so much of the art in this book is so damn cool, but I found myself having to flip back more than once and reexamine a previous pages to figure out what was going on. It is unfortunately distracting and the book loses a little bit of momentum when the action is muddled and I have to really study the panels to follow it.
Neither of these complaints are enough to turn me away from such an exciting event and I can encourage you enough to pick up both “Aliens” and “Prometheus” right now. Up next is Joshua Williamson with “Predator” #1. He has been killing it on BOOM!’s “Robocop” and I can’t wait to see his take on Predator.
Epic Switzer AKA Eric is an aspiring filmmaker and screenplay writer living in Los Angeles. His work tends to focus on the lighter side of entropy, dystopic futures, and man’s innate struggle with his own mortality. He can be found on twitter @epicswitzer or reached via email at email@example.com.