Okay, this is just genius.
YouTube user David Elmaleh has taken clips from AMC’s “The Walking Dead” and the latest trailer for Marvel’s Deadpool and combined them into The Walking Deadpool, a trailer that imagines Deadpool taking on hordes of zombies. The faux trailer wonderfully mixes the seriousness of the show with the humor of the film, all brought together by the gore and violence of both properties.
Seeing this makes me wish that studios would take super risks and actually create ridiculous crossovers like this, even if it’s just a one-off. I watch things to be entertained and this damn well entertained me!
This wasn’t a prank video, nor was it a scene from Bryan Bertino’s Mockingbird. This was real life, and fucking terrifying.
A woman in North Carolina told police she was attacked in her home by an ax-wielding clown, reports TIME.
A person wearing a clown mask and a multicolored wig had come by her residence at 4:30 a.m. Friday morning and began to swing his ax at her, the victim told the police in Hickory, N.C.
The site says she was able to take the mask off the attacker and discover that it was an acquaintance of hers, who then fled the scene. She was not injured in the incident.
Hickory Police Department spokesperson Chrystal Dieter told TIME that there was an “outstanding warrant” against the suspect.
“Any law enforcement officer who comes in contact with the suspect in question will have full ability to arrest him,” Dieter said.
Can you imagine having someone you know come attack you in a clown costume with an ax? Prank or no prank, this would traumatize me.
Photo Credit: Stock image from Thinkstock
We’re beyond thrilled to announce that this Friday, August 14th, we’re selling the first new Bloody-Disgusting t-shirt design in over five years! Designed by Cavity Colors, the shirt is a reimagining of our buzzsaw skull logo, only this time it’s a lot more meaty!
The shirts are printed on tagless, pre-shrunk, super soft 100% ring spun cotton shirts in all sizes.
These shirts are going up for pre-order over at Cloak & Coin and will be open for purchase throughout August. We’ll begin shipping them in mid-September.
Make sure to head over to the official Cavity Colors website to see more incredible original designs!
If you missed out on last weekend’s ScareLA event, there was a whole lot of fun to be had. As a means to give you a taste of the spooky shenanigans, our buddies over at Nerd Reactor have posted the following video of some of your favorite ghouls and creatures shaking their collective asses to Galantis’ “Peanut Butter Jelly.”
Check it out!
Keep a close eye on the official ScareLA website to find out what they’ll have cooking at next year’s event! Be there!
Someone major died.
Now, there’s only 3 episodes left. And only one thing is for certain… ANYTHING CAN HAPPEN.
Here’s the latest “Scream” promo that gives us a look ahead as MTV pushes into a second season.
What do you guys think of the adaptation of the Wes Craven film franchise? How’s this rendition of Ghostface? Are you sticking around until the end?
— SCREAM (@MTVScream) August 12, 2015
A few weeks ago, we posted about how the music from Psycho and It Follows was swapped and how it genuinely worked. Now, the same channel, House By The Video Store, is back with another soundtrack swap, this time switching up the music between Halloween and The Guest.
House By The Video Store writes:
In this video, William swaps the soundtracks of John Carpenter’s Halloween and Adam Wingard’s 2014 film The Guest. This is to help illustrate how important soundtracks are to a film, and to examine how well scenes work when you change the music or sound effects.
What do you think? Do these swaps work or is this a dud?
Blake Lively, pictured below, is set to star in Sony’s shark movie In the Deep, which has been described as a cross between 127 Hours and Jaws, writes TheWrap.
The big news is that Orphan and House of Wax‘s Jaume Collet-Serra recently came on to replace Louis Leterrier as director! He’ll be working from a script by Tony Jaswinski that Sony acquired in a bidding war last fall.
“In the Deep will pit Lively against a sadistic shark that has her trapped on a buoy 20 yards from the shore. The script is said to provide a strong emotional vehicle for a young actress, and Lively is a solid fit for the material.”
Lynn Harris and Matti Leshem are producing for Weimaraner Republic Pictures.
Does anyone by chance happen to have a gargantuan amount of frequent flyer miles that they’re not using that they’d be willing to give me?
If you’re in Helsinki, Finland at the end of this month, I’m going to go ahead and say that you should block out the night of Saturday, August 29th on your calendar. The reason, you ask? Well, it’s all about Flashback Future, a concert that features live performances from Perturbator, GosT, and Dan Terminus, which basically means it’s a night of pure retrosynth bliss and I’d lose my damn mind were I there. Hell, even John Carpenter himself is behind this event, as demonstrated by the teaser he recorded for it below.
More information can be found at the Facebook Event Page.
Joining TIFF’s Midnight Madness lineup this September is The Girl in the Photographs, Nick Simon’s horror that will hold its World Premiere in front of thousands of screaming fans.
Wes Craven executive produces the film that will be lensed by the veteran cinematographer Dean Cundey (Back to the Future, Jurassic Park), which marks his return to horror after lensing the original Halloween films.
starring Kal Penn, best known as Kumar in Harold and Kumar Go to White Castle, we also have the lengthy synopsis:
“Colleen’s life isn’t going anywhere. The small town natural beauty is bored with her dead end job at a grocery store and is ready to distance herself from her abusive boyfriend. In the midst of her turmoil, a pair of deranged serial killers begins leaving her photos of their mutilated victims. Her chance to escape comes in the form of Peter Hemmings (Penn), a hipster celebrity photographer who has traveled back to his hometown of Spearfish, South Dakota with a pack of models, intent on copying the killers’ intense and unapologetic artistry and use it for an important ad campaign. When he learns Colleen is their muse, Peter resolves to make her his own and use her as the centerpiece of a photo campaign in Los Angeles. But before Colleen can leave her old life behind, she must contend with the desires of her murderous stalkers who have chosen her last night in town to execute their most provocative work to date.”
Here’s the first hi-res still from The Girl in the Photographs.
The 40th Toronto International Film Festival runs September 10 to 20, 2015.
For the last several days we’ve been dishing out exclusive “Kill of the Day” images from Unfriended for you guys to dig on. Now that the flick is AVAILABLE, we have ’em all in one neat little place.
See if you missed any below!
Unfriended Release Details:
For a group of teenage friends, a devastating fate lurks on the other side of a computer screen in Unfriended, the first in a new generation of found-footage thrillers coming to Blu-ray, DVD, and On Demand August 11, 2015, from Universal Pictures Home Entertainment (it became available on Digital HD July 28th). Unfriended is a startlingly contemporary nail-biter from two modern masters of mayhem, executive producer Jason Blum (The Purge, Ouija, Sinister) and producer Timur Bekmambetov (Abraham Lincoln: Vampire Hunter, Wanted).
What starts as a seemingly innocent online prank produces a sequence of events that spirals out of control. During a routine group video chat, high school friends are terrorized by an unseen figure. The anonymous intruder implicates each of them in the death of an acquaintance, revealing damning secrets and transforming trusted allies into wary adversaries. Forced into a sordid “game,” the teens try to figure out who is behind the mysterious threat, but all signs point to a power from beyond the grave.
Playing out in real time almost entirely on a computer screen, Unfriended features a rising young cast that includes Shelley Hennig (Ouija, “Teen Wolf”), Moses Storm (“The 4 to 9ers: The Day Crew,” “About a Boy”), and Renee Olstead (“The Secret Life of the American Teenager,” “Still Standing”).
It truly was a meme-tacular weekend as ‘straightouttasomewhere.com’ continued to be embraced by the horror community. Seemingly everyone took their turn to upload graphics and think of movie locations & hilarious “outta” juxtapositions. After our first article with ones we made here’s an update collection that brought a smirk to our face.
Several new photos from the upcoming sci-fi film Star Wars: The Force Awakens have been released and can be seen below, courtesy of EW. The photos are a mix of images from the film itself and some from the set, showing cast and crew strategizing.
While the photos mostly show nothing new, there is a curious image of C-3PO with an unexplained red arm. Not only is it striking in its difference, it also looks a bit more “junky” than the rest of him. Maybe C-3PO gets the Skywalker treatment and loses a limb at some point? Then again, C-3PO has been torn nearly completely apart before, so that’s nothing new.
Star Wars: The Force Awakens is directed by J.J. Abrams from a screenplay by Lawrence Kasdan & Abrams, and features a cast including actors John Boyega, Daisy Ridley, Adam Driver, Oscar Isaac, Andy Serkis, Academy Award winner Lupita Nyong’o, Gwendoline Christie, Crystal Clarke, Pip Andersen, Domhnall Gleeson, and Max von Sydow.
They will join the original stars of the saga, Harrison Ford, Carrie Fisher, Mark Hamill, Anthony Daniels, Peter Mayhew, and Kenny Baker.
The film is being produced by Kathleen Kennedy, J.J. Abrams, and Bryan Burk, and John Williams returns as the composer.
Star Wars Anthology: Rogue One will follow Star Wars: The Force Awakens on December 16, 2016, with Star Wars: Episode VIII set for release on May 26, 2017, and the Han Solo anthology movie on May 25, 2018.
Star Wars: The Force Awakens comes to theaters December 18th, 2015.
As I walk up to the Egyptian Theatre, “Saint/Sinner” wristband in tow, I survey the scene for the world premiere of Alleluia! The Devil’s Carnival. To my right, the red carpet is crowded with stars and caged on either side by painted vintage signs that read “The Magician” and “The Tamer”. To my left, a carnie in tattered clothes stands atop his stage, a.k.a. a tired old box sporting yellowing stars, beckons those passing by to join him, as he points his crooked cane to the dancers below, who flash their elongated fingernails in the faces of those who stop and watch, and bounce their bellies in hypnotic movements; tantalizing demons luring men and women alike into the depths of the devil’s carnival.
It’s a cool Tuesday evening in Los Angeles, but the fire roused by the carnival director Darren Lynn Bousman has brought to town has already started to heat things up. This is where all the sinners come to play; a scattered group of lost souls have finally found their safe haven in the welcoming arms of Bousman and crew. Ladies in risqué lingerie dance around joyously despite the sad expression on their painted faces, a chorus of fallen angels slowly make the rounds, singing praises of heaven and all its glory, while a woman in the corner swallows a sword with ease before jutting it back out again, licking the blade in a playful manner. Clowns decorate the area, both living and inanimate, brought to life by the humans who sport their look, or by the bright rainbow lights that decorate their cardboard faces. All of the freaks have been let loose on Hollywood Boulevard, and it couldn’t be more strange and alluring.
Upon entering the theater, I find a ragtag team of misfits up on stage singing songs and making merry music, from a man playing a washboard to a drunken jester falling all over the other musicians and pretending to play the violin. They encourage the crowd to join in, and it’s not long before the entire arena is filled with loud, happy voices. A giant picture of a clown is projected on the wall behind them, and as the motley crew sways to the beat of their music on stage, their movements are captured and projected onto the screen just under the clown’s hands, like little traces of fire lapping at the hooves of the image they all bow down to. Soon, they finish their song, and bring aboard director Bousman, who expresses his gratitude to all of his devoted fans for coming, and stresses the amount of time and effort that went into the making of this film; a staggering four whole years of creative effort about to be shared for the first time with a room full of friends. As he thanks the crowd one last time, the lights dim, the devil appears, and the film begins to roll.
The movie begins at a startling pace, opting out of setting up the story with slow dialogue in favor of a scene that’s full steam ahead, by starting out aboard a roaring train, headed by Lucifer, carrying a band of lost souls to the doorstep of heaven. It’s unclear how the devil showing up at the pearly gates goes over in the higher court, for as soon as the scene is over, Lucifer is back safe and sound in his fiery pits, claiming that soon he will wage a war against God. Apparently, he plans to incite this war by playing his music so loud in hell that those in heaven can hear it, a move that’s anything but bold (or pleasant, one can assume, for those residing in the buffer zone of earth). Suddenly, Satan has a hooded visitor whom he tends to in his private quarters, choosing to recite a story to his new friend over making plans with the Ticket Keeper for the raid on heaven that he supposedly desires.
The visitor’s face remains hidden while he reads, but as he drags his claws over the pages of his large book, Lucifer tells the clothed person a story about two young girls who tried to get into heaven, long ago. The girls are Juno and Cora, and they may have started out as friends, but soon the competition of being admitted into heaven drives them apart when Juno lets her curiosity and thirst for knowledge run wild, while Cora, stricken with fear of being expelled, finds herself too fearful to let loose in the least bit. As Lucifer details the accounts of the two applicants trying out for heaven, he continually refers to them in a language that paints them as horses, even going so far as to refer to the more rambunctious girl, Juno, as “filly”, explaining how they are both merely steeds being trained to spend the rest of their lives after death as slaves to “the author”, a.k.a. God, or in Lucifer’s words, the “pious gangster”. To Lucifer, life in hell is far more bearable than that in heaven, because even if you’re being tortured, at least you still have your dignity.
Sporadic, confusing storytelling characterizes the latest effort from horror guru and Splat Pack member director Darren Lynn Bousman, with moments randomly strung together by songs that don’t further the plot, or ever seem to end. The flimsy premise seems like it’s just there in order to justify all of the musical numbers, which would be fine, if there were more than a just a few stand out pieces throughout. Not surprisingly, the best songs in the film are sung by God (Paul Sorvino) and Lucifer (Terrance Zdunich), but there is one memorable song that encompasses within it the one moment where everything that the film is trying to be briefly clicks and lives up to its potential — “Give Me Two Hallelujahs and an Amen” by the Agent (Adam Pascal). During this scene at a smoky dive bar in heaven, as Pascal belts out his beautiful voice over old carbon microphone, and the melody drifts out hazily unto the dreamy crowd, highlighted by foggy shades of red and blue, his date, Juno, smiles slyly from the corner, so covered in feathers that even her drink holds a mini boa. The band plays with soul, pounding out speedy swing music to all of the fast-talking, bobbed-hair wearing, jazz-obsessed attendees, and for a quick moment, the 1920s throwback is complete, and the film is a complete success. It’s too bad that the entire feature can’t be characterized with the same focus and vision.
There are moments throughout the film that hint at the masterpiece hiding directly beneath the product shown onscreen. The idea of heaven being just as, if not more evil than hell is an interesting thought, especially when writer Terrance Zdunich throws out lines like, “God, that divine pretender” and paints the creator as a big bully who’s impossible to please, and feels that he’s owed eternal rewards in return for making the earth and all of its inhabitants. There are some truly great ideas wrapped up in this messy, shallow display, but when the message is repeatedly bludgeoned over the viewers head, the subtext becomes text, and the lesson is far too obvious to be given any real authority in this otherwise cartoony picture.
At best, Alleluia! The Devil’s Carnival is a wonderfully kooky musical that celebrates the odd and unusual by painting the miscreants that plague hell in a fairer light than the seemingly perfect people who decorate the sparse interiors of heaven. At worst, it’s an inconsistent recreation of the first film that ends just as it’s really getting good. For the entire film, Lucifer speaks ill of God, and talks up his plans to attack heaven and engage in war with the man upstairs, while God only says the same, if not worse, about Lucifer. It’s all sacrilege and delightfully distasteful, but the only problem is, there’s no war. There’s not even a battle. Apparently, they’re saving the big showdown for the third and final entry in the series, but as a fan, shouldn’t we be asking why? Why does it take three movies to bring about any sort of action in a movie that’s all about death and mayhem? Why couldn’t they have cut down some of the unnecessary songs in favor of a little bloodshed? Why should we pay the price of a ticket and wait another three years just to see the conclusion of this tale? This is a story of empty threats, starring two big bads who sport names that draw more fear and power than their actual presence. For all of its talk and men puffing their chests up, in the end, Alleluia! is all anticipation, and absolutely no pounce.
I will say that no matter how I feel, or how disappointing this film seems to be, it’s still nice that The Devil’s Carnival exists. For all of those kids out there who like musicals, but can’t relate to any of their Stepford Wives type characters, Bousman has created some common ground; a world where all of the misfits can find each other and feel safe in their dark and twisted home away from home, with musicals made just for them — even if they deserve better, at least they have something that they can identify with, and appreciate on their own terms.
Civilization has crumbled. The last vestiges of the human race scavenge and fend for themselves by any means necessary. People dress in rags and culture has been reduced to a primitive, mythology-steeped landscape. It’s like a Renaissance fair on crack.
This is the backdrop for writer/director Asiel Norton’s new fantasy/sci-fi hybrid, Orion. The world he has created is rich with detail and combines astrology, the tarot, and symbolism into an orgy of comparative mythology. The story itself is simple and unfortunately leaves a lot to be desired. It ultimately feels like the shell of a movie with a lot of detail rather than depth.
David Arquette stars as the Hunter, a man who roams the post apocalyptic wasteland alone, living off rats and mumbling esoteric passages to himself. He keeps his eyes peeled at night for the Orion constellation, which as legend has it, will lead him to a city where he’s to fulfill his destiny. While he camps out in a crumbing parking garage, nearby Magus the magician (Goran Kostic) keeps the Virgin (Lily Cole) captive. When she gives birth, Magus buries her baby in accordance with a ritual that’s supposed to bring about the savior of mankind. This is all explained in whispered narration and chapter cards with old timey font.
The story is essentially this: our hero Hunter comes to Magus’ well defended home and attempts to rescue the Virgin, our damsel in distress. It’s Hunter’s destiny. Along the way he’s helped by the Fool (Maren Lord) and goes through one hell of a trial. With the story’s rather straightforward hero stuff, there’s a potential for more complexity that’s never fully realized. Orion feels like the basic outline of a film with nothing emotionally substantial to actually engage the audience.
The world the film presents is ripe for a more engaging story than the one Norton delivers. The costumes and locations are fantastic and the mythology is interesting enough, there just isn’t much else there. He uses the shaky, hand-held approach a lot and when the camera isn’t jostling around, we’re treated to long shots of Arquette pondering his destiny. I really like Arquette and feel like he’s underrated a lot of the time. So I was excited to hear he was doing this bizarre little indie film. If only he was given more depth to work with here rather than just repeating abstruse dialogue for 90 minutes.
Like the Hunter’s journey, getting through Orion is an arduous task.
Orion had its world premiere at the 2015 Fantasia International Film Festival.
Directed by Fouad Mikati
Available on VOD, Amazon Instant, iTunes, and more August 14, 2015
I just watched a film where for the better part of the entire presentation itself, the only question that could be asked was, “What the hell is going on here?” The movie in question is Return To Sender from director Fouad Mikati, and after having this delivered to my table, I’d unequivocally like to return it to the sender, simply in hopes of a better explanation for this film’s inane thought processes.
From the film’s opening, we’re introduced to a character that’s about as likable as a case of flaming hemorrhoids: Rosamund Pike stars as Miranda, a colder than ice nurse whose general demeanor ranges from “freezer burn” to “tepid” at best. Her friends are oddly at ease with her acerbic disposition, and after a violent home invasion and rape by a man (Fernandez) whom she mistakenly allows in, thinking he’s the blind date she’s been waiting on, her attitude takes a rather bizarre turn, from straight-up icy to even-keeled, and even a little bit passive towards the situation. What happens next is truly one of the stranger game-plans I’ve witnessed in cinematic history.
Miranda begins a letter-writing deluge to her rapist, now that he’s been convicted and sits in jail, and while dozens of her letters go unanswered – returned to sender, that is – she decides to up the game and try visiting him behind bars. Now what was in those letters, we’ll never know – is it a ploy for revenge? Maybe a hope of regaining some sense of herself after such a heinous attack? While not out if the ordinary, it just didn’t seem to fit here. Added to which is the well-traveled Nick Nolte as Miranda’s father, who is still mourning the loss of his wife and now spends his days puttering around (stumbling, actually) with his dog – yet ANOTHER lost cause of a role from an actor who used to hit heavily when he tackled a character, and now it just seems as if he’s there to fill a roster spot when “miserable, grizzled old guy” becomes available. Even Fernandez looked lost as a guy who was supposed to be this detestable sexual predator, adding to the mystery that was this presentation as a whole.
A multitude of scenes looked to be chopped off before simple resolutions could be offered, and while we manage to grab some kind of a resolution towards the film’s conclusion, even after all was said and done, you’ll still be scratching your head wondering what the hell you just checked out. Mikati’s second directorial assignment was regrettably an example in futility, with one question heaping on top of the other, inevitably creating a landslide of missed opportunities, and I just couldn’t recommend this movie to anyone, not even if this was up against a Saturday Lifetime network film, where this will probably end up anyways – SKIP IT.
MTV’s Scream series suffered a major casualty last night, as someone died at the hands of Lakewood’s vicious killer. It was the first murder since Riley’s brutal death back in episode three, and it was a particularly nasty one. Bloody-Disgusting had a chance to catch up with the victim and chat about their series exit. Check out our interview on the next page!
Obviously, ***MASSIVE SPOILERS*** are to follow.
Way back in 1940 the great Bela Lugosi starred in Jean Yarbrough’s The Devil Bat, which told the story of a mad scientist who develops an aftershave lotion that causes his gigantic bats to kill anyone who wears it. Yes. That movie happened with that plot. Now in 2016 we’re getting a sequel.
Written and directed by Ted Moehring, Revenge of the Devil Bat stars Gary Kent, John Link, Dick Dyszel, George Stover, Conrad Brooks, Shoshanna Ruth, Cedric Crouch, and Dave Ferrier.
The flick, which is being shot in black and white and is currently in production, is looking to up the ante on the blood and gore. Judging from the recently released teaser trailer, it has its heart in the right, albeit goofy, place.
Scream has been trying to find its groove all season. It reached it’s peak with episode three, the most Scream-like episode of the series, and reached it’s low last week, with its most wheel-spinning episode to date. “In The Trenches” isn’t the best episode Scream has done, but its certainly one of the better ones, with the bulk of the episode devoted to a sort of Scooby-Doo plotline as Emma, Brooke, Noah and Jake search an abandoned bowling alley for Will and other clues (I swear I’m not making this up).***SPOILERS TO FOLLOW***
First, RIP Will. I know I’ve complained about the character being uninteresting in the past, but he did have a pretty cool death (even if we only got to see the aftermath). Also, his kidnapping last week did something wonderful: it gave us a (mostly) bottle episode that put the central focus on the four main characters we are supposed to care about, but don’t (yet). It’s ironic that the entire episode was spent trying to save Will, and the group succeeded, only for him to fall victim to the killer’s Saw-like trap the next day.
I was kind of in love with everything involving this story line, no matter how dumb it got. I can’t believe there was a moment where Noah opened the door only for the killer to be on the other side. That was classic Scooby-Doo. I half expected for one of the kids to put on a costume to trick the killer into leaving them alone. After Piper, who is still useless, led the Scooby Gang to the spot where Will was kidnapped, the episode really kicked into gear.
The killer even got plenty of screen time in this episode, which is always welcome. The game of “hide-and-seek” was plenty of fun to watch play out, and he got in some good digs on Emma’s mom (“Your mom’s a lying whore!” will never stop being funny to me). One thing I don’t understand is how he stabbed Jake in what seemed to be the heart, yet Jake survived. Surely this means Jake must be one of the killers, right? He apparently missed every single major vein and artery, so it could just be another red herring. It’s just a little too convenient. My money is on Jake as one of the killers right now.
The bowling alley sequence is what Scream should be striving to do every episode. We got a chase with Brooke, phone calls with Emma, the core group of characters working together and a major character death. I’m not saying I need someone to die every week, but there should be some semblance of suspense. The reason last week’s episode fell flat for me is because I didn’t buy for one second that Audrey was in any serious trouble (she may be the killer, but let’s be honest, she wasn’t going to get caught last week if she was). Now that Will is dead, it may give Emma the kick in the ass she needs to become a more interesting character.
In other news, Maggie and Sheriff Hudson have a dinner date. Their relationship still isn’t particularly interesting, but we do at least learn that Detective Brock is off the case (“Aw, I’m going to miss her,” quips Maggie). It’s also the only reason Audrey is even in the episode, since she goes there looking for Emma and Noah. I’m a little bummed Audrey wasn’t included in the bowling alley scavenger hunt (The Scooby Gang does have five members, after all), but I’ll let it slide.
On the more annoying side, Brooke finally confronts her dad about the body he hid in the freezer. The reason this subplot is so irksome is that Mayor Maddox pulls the whole “It’s not what it looks like” bit, which means its probably just a red herring. Scream would be much better off if it just trusted it audience and had Brooke and her father have an honest conversation, but then it might lose an episode’s worth of material to milk later in the season (yawn). Brooke did find out that Jake was lying about Will being the only blackmailer, so at least that wasn’t dragged out for the rest of the season.
“In The Trenches” is definitely a step in the right direction for Scream. It’s still walking a fine line, but at least it’s finally starting to show that it’s having fun. With only three episodes left in the season, it doesn’t have much time left to make a good impression!
- Maggie is making her sausage and kale thing, which is only something she makes on big dates. I must have this recipe now.
- Piper is still sort of just there, with her only purpose to tell the corse group about Will’s abduction. Please give her something to do!
- “This is wrong. Your dad. My Mom” -Emma, seeming not to care about the Cruel Intentions-y fact she is saying as her and Kieran make out.
- Noah wearing a “Free Audrey” shirt made me chuckle.
- Someone needs to make a Tumblr of Jake’s reaction shots. They are awful.
- Piper saying “That masked freak showed up” just reminds me of this scene from the second Freaky Friday remake.
- Someone in the comments mentioned last week that Mr. Branson might be Bran’s son (get it?), a la I Still Know What You Did Last Summer. I can’t believe this didn’t occur to me before, as it would be equally terrible, lazy and hilarious at the same time if this is the direction the show was going.
- “God I hate bowling.” -Brooke, doing her best to complain about everything.
- Noah calls a spear a “knife-stick.” He’s so nerdy, you guys.
- “This is going to sound ridiculous but I’ll be right back.” -Making fun of this line from Scream lost its luster when Cabin In The Woods did it four years ago.
It’s been announced that Annabeth Gish will be reprising her role as Agent Monica Reyes in the upcoming six-episode season of Fox’s “The X-Files“. Reyes appeared in the final two seasons of the show opposite Robert Patrick’s Agent Doggett.
Gish is the most recent familiar face to come back to the series. Mitch Peleggi will be back as Walter Skinner and William B. Davis has confirmed that “The Smoking Man” is also set to return.
Show creator Chris Carter is once again behind the story, which premieres on January 24th, 2016.
If you’re a fan of both Crypt TV and the Shriekfest Horror Film Festival, prepare to have your tender minds completely blown. The aforementioned horror-friendly organizations are joining forces, with Crypt TV screening the winning short films on their platform. How cool is that?
As you may have guessed, Crypt TV CEO Jack Davis is understandably excited about the upcoming collaboration with the film festival. He expressed his undying enthusiasm in the official press release, saying, “Shriekfest is a long-time staple for the independent horror community, and we are honored to be a part of their program. We love working with the horror film community because it is one of the most supportive networks of creators and fans in filmmaking!”
Shriekfest Festival Director Denise Gossett is also pumped about the Crypt TV/Shriekfest partnership, saying, “I am very excited about teaming up with Crypt TV! Shriekfest has always been huge supporters of indie filmmakers, and Crypt TV is only going to add to this philosophy!”