Starring Manuela Velasco, Ismael Fritschi, Paco Manzanedo, Héctor Colomé
Directed by Jaume Balagueró
Distributed by Entertainment One
Writer/Director Jaume Balagueró, co-creator of the [REC] franchise, hops back behind the wheel to bring the mythology to a close with [REC] Apocalypse. Heading back to the building where the demonic outbreak thrilled us all in the first two movies, Apocalypse begins with a team of military personnel climbing the stairs in a search for survivors and with the intention of planting explosives on the way that will completely level the site.
With time running short before the building is destroyed, the team are just about to evacuate when a scared and shaken Ángela appears, and rescue seems certain. Of course, known only to the audience at this point is the fact that Ángela now carries the parasitic source of the infection within her.
Abruptly, the setting shifts to an unknown location where Ángela and her rescuer, Guzman (Manzandeo), awaken from sleep to discover that they are now held captive aboard a massive freighter in the middle of the ocean. Said freighter is a research vessel, aboard which a gaggle of scientists hope to discover the mystery behind the virus and develop a vaccine.
Naturally, things are due to go very wrong – and when the parasite is discovered to no longer be inhabiting Ángela’s body and virus-infected monkeys start turning the crew into super-fast, monstrous zombies, the search for a cure shifts to second place behind basic survival for all on board.
In keeping with Paco Plaza’s previous entry, [REC] Genesis, Apocalypse takes a standard cinematic approach to its visual narrative, abandoning the thrill-ride found footage take of the first two films (the footage that forms those initial entries, however, is used as a plot device here). In a nod to Plaza’s film, one of the denizens of the ship is the sole survivor of Genesis‘ ill-fated wedding party – a confused old lady who still believes that she’s attending the happy event.
Cutting straight to the point: [REC] Apocalypse is not the balls-to-the-wall finale that every fan of the series wanted to see after Genesis‘ more comedic approach. It takes much too long to get going and, more crucially, makes the crime of giving series stalwart Manuela Velasco next to nothing to do for most of the runtime. For more than half of the film, Ángela is little more than a bewildered victim, offering very little to the story given that her hosting of the ancient entity behind the infection has absolutely no effect on her character’s behaviour whatsoever. It isn’t until much later in the game that she starts the ass-kicking – but for many, it’s too little, too late. Those expecting to see her spend some time as the ultimate evil (given [REC] 2‘s wonderfully wicked finale) are also going to be very, very disappointed.
And speaking of the evil itself – the demonic parasite that hid within the Madeiros girl and spread its unearthly influence into the souls of the infected? Well, Balaguero also makes the decision in Apocalypse to completely abandon the religious and supernatural aspects that made the series’ antagonist so interesting, in favour of a purely biological approach. It’s thoroughly bland and incongruous with what came before; at this point, we aren’t coming to a [REC] film just to see more running zombies and infected monkeys. But that’s what we get.
Yet despite this core disappointment, there’s no denying that Apocalypse, when it gets going, is a thoroughly thrilling and effective horror flick. It looks great – Balaguero is a director with a dependably striking eye – and the claustrophobic corridors of the ship make for a palpably tense atmosphere. Appreciably, Balaguero isn’t afraid to crank out the high-impact action, brutal violence and splashy gore, but needed to rein in the shaky cam antics a little more – after all, this is no longer hand held found footage.
Ismael Fritschi steals the show as supporting character Nick, techie nerd and self-professed biggest fan of Ángela Vidal, and it’s in the latter stages where the two join forces in their attempt to escape the boat alive that Apocalypse soars – throwing threat after threat at the pair with relentless intensity and a sense of true danger.
And yet, while those later scenes begin to make the rest of the project seem worthwhile, the entire series is brought to a close with a copout ending that promises more to come while merely delivering an insult to the viewer’s intelligence in itself. [REC] Apocalypse is a hugely frustrating piece of work – on one hand, we have a capable and intense zombie flick (with a bit of creature feature thrown in) let down by its early pacing, but on the other we have one of the most disappointing finales to this particular series that fans could ever have expected. Despite the moniker, there’s nothing apocalyptic about it – in fact, the scale could hardly have been smaller.
There’s enough to like here on a general level, but as a [REC] film – and especially as the closing chapter to what is a phenomenal series – Apocalypse drops the ball on far too many mythological elements to be truly worthwhile. So while you’ll enjoy it for the visceral thrill, you’ll still feel cheated when the credits roll. Sorry guys… but this isn’t the climactic finish that we needed.
Entertainment One brings [REC] Apocalypse to UK DVD sporting a 25-minute ‘Making of’ featurette that actually delivers the goods that one hopes to see in this kind of thing. Tons of on-set footage is coupled with short interviews with plenty of people involved in the creation of the film, and Manuela Velasco sticks on her reporter’s hat once more to lead a camera around the set and point out various features of the shoot. It’s good stuff – but that single extra is all you’re getting on this particular release.
Extreme metal band Cattle Decapitation have announced via Facebook that they have completed mixing and mastering their new album, which is the follow up to 2012′s Monolith Of Inhumanity. The band went on to state that although the album is finished, it will not see a release date for at least five more months due to, “…the vinyl industry blowing up.”
The band wrote:
We are finally done mixing and mastering our NEW ALBUM! Because of the vinyl industry blowing up, our album won’t be out for about another 5 months and will be released mid-summer! In a few months we will announce the album title, tracklist, pre-orders and the cover artwork by Wes Benscoter, which in our opinions, is our best album cover yet! Its gonna be agonizing for us to wait this long as we are very stoked on how this came out and are anxious to show you all this beast of a follow-up to 2012′s Monolith of Inhumanity!
Sorry for the wait but trust that we will be spending this time creating killer merch, pre-order bundles, a new set with songs you haven’t heard in a long while and plotting our world tour!
We’ve long been supporters of the band on BD and many of us are big fans of the group. I can’t wait to hear and see what the guys have in store for us this year!
It’s time to close out this long, busy day with yet another teaser trailer for an upcoming TV show, and up now is Fox’s “Wayward Pines.” In this new video Terrence Howard teases his character, Sheriff Arnold Pope, and what lies ahead in “Wayward Pines.”
About “Wayward Pines”:
Fox Broadcasting Company (FOX) and Fox International Channels present the 10-episode, intense psychological thriller “WAYWARD PINES.” The highly anticipated event series, based on a best-selling novel and brought to life by suspenseful storyteller M. Night Shyamalan (The Sixth Sense, Signs) and executive-produced by Shyamalan, Donald De Line, Chad Hodge, and Ashwin Rajan, will premiere Thursday, May 14 (9:00-10:00 PM ET/PT), on FOX, while also debuting simultaneously in more than 125 countries across Asia, Africa, Australia, Europe, and Latin America. The global “WAYWARD PINES” debut will be the world’s largest day-and-date launch for a scripted series ever.
Related Story: Enjoy Life and This New Teaser for Fox’s Wayward Pines
The series stars Academy Award nominee Matt Dillon (Crash) as a Secret Service agent on a mission to find two missing federal agents in the bucolic town of Wayward Pines, ID. In addition to Dillon, the stellar cast includes Academy and Emmy Award winner Melissa Leo (The Fighter), Academy Award nominee Terrence Howard (Crash, Hustle & Flow), Carla Gugino (“Entourage”), Shannyn Sossamon (“How to Make It in America”), Toby Jones (Infamous, Tinker Tailor Soldier Spy), Reed Diamond (“24,” Much Ado About Nothing), Tim Griffin (“Prime Suspect”), Charlie Tahan (Charlie St. Cloud), and Academy Award and Emmy Award nominee Juliette Lewis (Cape Fear).
“WAYWARD PINES” is a production of FX Productions. The series was developed for television by Hodge (“The Playboy Club,” “Runaway”) and executive-produced by De Line (Green Lantern, The Italian Job), Rajan (Devil), Hodge, and Shyamalan. Hodge wrote and Shyamalan directed the premiere episode. “Like” “WAYWARD PINES” on Facebook at facebook.com/WaywardPines. Follow the series on Twitter at @WaywardPinesFOX and join the discussion using #waywardpines. See photos and videos on Instagram by following @Wayward Pines.
The post New Wayward Pines Preview Makes Some Tough Choices appeared first on Dread Central.
It’s back! After being pulled earlier yesterday morning, the new Insidious: Chapter 3 trailer is here to feast on your soul!
Leigh Whannell, co-creator of the terrifying horror franchise, directs the third film that now has a lengthy new trailer from distributor Focus Features. It’s loaded with all sorts of scary goodies that look to further the story (pun intended). While the sequel was critically panned, I quite enjoyed it, and can only expect this to be even better. I’m really amped to see if Whannell, who co-created Saw with James Wan, can breakout with Insidious 3.
“This chilling prequel, set before the haunting of the Lambert family, reveals how gifted psychic Elise Rainier (Lin Shaye) reluctantly agrees to use her ability to contact the dead in order to help a teenage girl (Stefanie Scott) who has been targeted by a dangerous supernatural entity.“
The full cast of Insidious Chapter 3 includes Dermot Mulroney (August: Osage County) and Stefanie Scott (Jem and the Holograms) starring alongside Lin Shaye, Angus Sampson, and Mr. Whannell, with the latter trio reprising their roles from the first two movies in the franchise.
Focus Features will release Insidious: Chapter 3 domestically nationwide on June 5, 2015.
Stonewall actor Karl Glusman has joined Nicolas Winding Refn’s The Neon Demon, the female-driven horror tale starring Elle Fanning, reports Variety.
The pic also stars Keanu Reeves, Christina Hendricks, Abbey Lee (Drive), Jena Malone (The Hunger Games: Mockingjay Part 1), and Bella Heathcote (Dark Shadows) and is Refn’s follow-up to Only God Forgives, starring Ryan Gosling. It is being financed by Gaumont and Wild Bunch.
Refn’s partner, Lene Borglum (Valhalla Rising, Only God Forgives), is producing via their company Space Rocket. Refn and Mary Laws penned the script.
Production is set to begin on March 30.
Thanks to eagle-eyed Bloody reader ‘Joe’, we now know that Lew Temple (“The Walking Dead”), Devin Sidell and Sheri Moon Zombie have all joined Rob Zombie’s 31, his Halloween-themed slasher that’s now in production.
Devin Sidell will be playing “Georgina Victor”. Temple starred in Zombie’s Halloween.
Malcolm McDowell plays ‘Father Murder’, the owner of Murder World for which the film is based.
Judy Geeson plays ‘Sister Dragon’, who runs Murder World alongside McDowell. She joins David Ury, who will be playing Schizo-Head, one half of murderous team of brothers living inside Murder World. Lawrence Hilton-Jacobs was recently cast as Panda Thomas, with Elizabeth Daily (E.G. Daily) playing ‘Sex-head’, and Torsten Voges as the insane partner of Death-Head. Richard Brake will portray ‘Doom-Head’.
Daniel Roebuck plays Paster Victor, an unfortunate participant in last year’s game of 31.
“31 follows five carnival workers who are kidnapped the night before Halloween and held hostage in a large secret compound known as Murder World.
Once there, they have 12 hours to survive a terrifying game called 31 in which ‘The Heads’- murderous maniacs dressed as clowns – are released to hunt them down and kill them.”
Todd Strauss-Schulson’s The Final Girls has received overwhelmingly positive reviews coming out of SXSW. The comedy plays with the conceits of traditional ’80s slashers by literally deconstructing them from the inside out. I’m really digging the vibe of this freshly released first clip that features a group of young actors best known for comedies like Silicon Valley, Arrested Development, and Workaholics.
Max is a high school senior who is mysteriously transported with her friends into a 1980s horror film that starred Max’s celebrated scream queen mother. Trapped inside the movie, Max finds herself reunited with her mom, who she lost in real life. Together with Max’s friends, they must fend off the camp counselors’ raging hormones, battle a deranged machete-wielding killer and find a way to escape the movie and make it back home.
The Final Girls stars Taissa Farmiga, Malin Akerman, Thomas Middleditch, Adam DeVine and Nina Dobrev.
I don’t want to run the risk of contributing to an already crowded room with the controversy surrounding DC Comics decision to pull Rafael Albuquerque’s variant cover for June’s issue of ‘Batgirl’ #41.
As you may or may not know, “Batgirl” has gone through a youthful transition as of late. The title has a renewed sense of optimism akin to what it was like when Mark Waid took over Daredevil. “Batgirl” has never been a title where the main character has gone through a long slog through a depressing hell, but there was a time. Alan Moore’s The Killing Joke, took the character and pushed her to the limit. It was an attempt to make Commissioner Gordon go insane, but saw his daughter permanently disabled at the hands of The Joker. It often is cited as one of the best Batman stories of all time, but here today, when violence against women is no longer a narrative device in comics, it’s not cool.
I mean, a cover is something NOBODY can opt out of. It’s something on display on the shelves, and its something that you can’t control your gut reaction to. And the image is haunting. It has a vague tone of sexual violence that can’t be denied amidst a slew of other covers featuring the clown prince of crime that are comparatively happy in their own right. The reality of comics, and mainstream superhero books is that the scales have been out of balance for a very long time.
Luckily DC Comics has been making a valiant effort to restore some semblance of gender equality in their titles. Batgirl doesn’t have a boob-window, and her costume is more practical than sexy… finally. But releasing this cover shouldn’t be considered a misstep on their path to righteousness. It’s an oversight at best. Variant covers are not for everybody, they’re for the avid fans, the ones who get the reference, the ones who know how “Batgirl” overcame this bad history.
But, here’s the kicker with being a huge company, they have to be treated like they’re for everybody. You can’t have some 14 year old girl who loves “Batgirl” with all her heart see this cover and send her down the horrible path to Alan Moore’s The Killing Joke it’s not what this book is about. It’s not what comics is about either, comics is about community, and being included. Taking this cover off the shelves wasn’t just a good decision, it was the only one, because you can’t opt out of a cover, but you can opt out of whatever is inside.
Whether or not the image was made in good taste is beside the point. I for one love it, but I get why it doesn’t work. It’s scary, its tonally inconsistent with the book, and its not very empowering. The correct way to do this cover, reverse the roles. Have Batgirl overcome this black dot on her history by showcasing her ability to overcome The Joker with a smile.
In DC’s official statement on the situation, it’s indicated that “threats of violence and harassment” were made following the release of the image. Both Albuquerque and DC Entertainment’s full statements on the cancellation of the cover follow in full.
My Batgirl variant cover artwork was designed to pay homage to a comic that I really admire, and I know is a favorite of many readers. ‘The Killing Joke’ is part of Batgirl’s canon and artistically, I couldn’t avoid portraying the traumatic relationship between Barbara Gordon and the Joker.For me, it was just a creepy cover that brought up something from the character’s past that I was able to interpret artistically. But it has become clear, that for others, it touched a very important nerve. I respect these opinions and, despite whether the discussion is right or wrong, no opinion should be discredited.
My intention was never to hurt or upset anyone through my art. For that reason, I have recommended to DC that the variant cover be pulled. I’m incredibly pleased that DC Comics is listening to my concerns and will not be publishing the cover art in June as previously announced.
With all due respect,
We publish comic books about the greatest heroes in the world, and the most evil villains imaginable. The Joker variant covers for June are in recognition of the 75th anniversary of the Joker.Regardless if fans like Rafael Albuquerque’s homage to Alan Moore’s THE KILLING JOKE graphic novel from 25 years ago, or find it inconsistent with the current tonality of the Batgirl books – threats of violence and harassment are wrong and have no place in comics or society.
We stand by our creative talent, and per Rafael’s request, DC Comics will not publish the Batgirl variant. – DC Entertainment
So, you think you’re a connoisseur of the zombie genre, eh? Think you’ve seen them all, know them like the back of your hand, and could survive any zombie apocalypse scenario? Well, let’s put that to the test, shall we?
Below is a fun quiz that asks you to identify which zombie belongs in which movie. Just let the quiz present the movie title and then select the appropriate pictures.
If you’re the competitive type, know that I nailed it, getting a score of 15 out of 15. So check out these zombies and see if you can beat me!
Giallo Disco Records has announced two new releases for fans of horror-inspired retrosynth!
The first release they’ve got lined up is Garofano Rosso‘s self-titled EP, which features five tracks from Italian producer Giorgio Luceri, who is known for his work on the Mathematics label.
The EP described:
Echoes of Tangerine Dream’s Thief OST mixed with what could perhaps be the imaginary soundtrack to Miami Vice if it had infact been set in Rimini and starred Maurizio Merli as Sonny Crockett. These are not however just mere mood pieces, but take the sun, the sea and the body-count straight to the dancefloor.
You can stream the EP and purchase it via Bandcamp.
The second release is for Broken Arrows and their 4-track So Few Truths EP. Broken Arrows is a London-based duo comprised of Bill Ambrose and Spruxx.
Read this twisted description and tell me that you’re not fascinated:
Broken Arrows are the sound of a slime coated pansexual Club D’Amore as populated by malfunctioning ED-209s getting real freaky. Taking cues from classic EBM, Minimal Synth, these three dark-fucking-wave destroyers are complimented by a remix from the one-man-brutalist-factory known as Drvg Cvltvre, taking the title track and twisting it into a reimagined 8-bit NES grinder / grindr.
This EP is also available for order through Bandcamp.
Both albums will be available for vinyl order in the coming days via Mondo. Below are samples from each EP.
Hailing from Friday the 13th and Texas Chainsaw Massacre director Marcus Nispel comes Exeter, which looks like “Scooby-Doo” meets Evil Dead meets The Exorcist.
After years on the shelf, a deal has been struck that will release the film exclusively on DirecTV July 2 followed by a theatrical release by Viva Pictures later this year (THR).
In the film, “During a sex, drugs, and rock-fueled party, six small-town teenagers find an old vinyl record and decide to play it backwards in order to listen for any subliminal/satanic messages. Lo and behold, a seemingly malevolent spirit quickly infiltrates the group, wreaking havoc as it moves from one body to another. Eventually, however, it’s revealed that the spirit in question is actually trying to convey a message… and that the real source of horror isn’t particularly paranormal, but rather something (or someone) much closer to home.”
Gage Golightly, Kelly Blatz, Brittany Curran, Brett Dier, Nick Nicotera, Michael Ormsby, Nick Nordella, and Stephen Lang star.
I’ve seen Terminator 2 enough times to know that you should NEVER use it as inspiration for scientific advancements. Seriously, who would watch that movie and think to themselves, “I think that’s a good course to go on!”
However, the scientists over at University of North Carolina have published a paper where they show off a new form of 3D printing that uses “continuous liquid interface production”, which was inspired by the T-1000, originally played by Robert Patrick. They’ve also created a new company by the name of Skynet Carbon3D that will be the platform by which they mass produce and sell these new printers.
Currently, 3D printers work by printing layer after layer on top of one another. This new printer instead works by printing the object directly out of a bath of liquid resin using a process known as photopolymerization.
Below is a video that shows off the printer in action and you can head over to Vox to read more about the process and the science behind the machine.
Conceived and executed as only Scoli can, American Barbarian stretches the comics medium to its limits, which J. Caleb Mozzocco of Comic Book Resourcesdescribed as “pretty much the best thing ever.”
American Barbarian tells the complete tale of Meric, the last American on a revenge quest across the POST-post-apocalyptic landscape of New Earthea. The half-tank/half-mummy Two-Tank Omen murdered Meric’s family and payback is due. The young barbarian will fight every zombie, mutant motorcycle gang, and robosaur (robotic dinosaur) if that’s what it takes to keep the American Dream alive.
“It’s a distillation of everything I love about the comic book medium and its history, especially the tawdry bits,” said Scioli. “I love trash and when you love trash, no matter where you go, you’ll always find friends. It’s an international language.”
American Barbarian: The Complete Series collects Scioli’s experimental webcomic in its entirety along with the never-seen-before process section “American Barbarian Apocrypha.” The story changes gears and shifts tone both in its writing and in its artwork. Kirbyesque cartooning gives way to watercolor and photocollage. It’s Jack Kirby meets Robert E. Howard meets Chuck Jones.
HC • FC • $29.99 • 256 pages • 6” x 9”
DIAMOND CODE: DEC148032
A&E, who is already telling the Psycho prequel, “Bates Motel”, is now taking on another horror classic.
The network is teaming with “Teen Wolf” showrunner Jeff Davis and actor-screenwriter Brandon Boyce to adapt the Swedish vampire story, “Let the Right One In”, says THR.
A&E landed the story, about a bullied teen boy who befriends a young female vampire — based on the best-selling Swedish book by John Ajvide Lindqvist that was subsequently adapted into the critically acclaimed 2008 movie directed by Tomas Alfredson — following a bidding war with Showtime.
Showtime’s “Dexter” and “Penny Dreadful” are so good that it hurts knowing they bowed out and let A&E, home to “Storage Wars”, win the classic coming-of-age vampire story.
The drama follows the boy and female vampire, who lives in secrecy with her mysterious guardian. When a series of strange murders pops up in their small Vermont town, it attracts the attention of a federal marshal with a mysterious past of his own.
The property was optioned from Hammer Films Productions, which produced the 2010 English-language film adaptation Let Me In.
Just the other day franchise star Jessica Lange exited the “American Horror Story” universe, leaving the reigns to the infamous Lady Gaga.
Now, with the fifth season in full swing at FX, co-creater Ryan Murphy has added Wes Bentley to the cast of “American Horror Story: Hotel”, returning this fall.
Lady Gaga, Matt Bomer and Cheyenne Jackson have previously been cast. Bentley, who appeared in “Freakshow” as Edward Mordrake (pictured), will be a series regular this time around.
We’ve been truth to figure out what “American Horror Story: Hotel” will be about. We came up with three theories, tagged here. Which do you think it is, if any?
In terms of Lange’s exit: “Yes, I’m done,” she told the PaleyFest audience. “We’ve had a great run here. I have absolutely loved doing these four characters that I’ve had the opportunity to play. In all the madness, I’ve loved the writers, my actors, Ryan and the whole, I mean, insanity of it, shooting here, shooting in New Orleans, the stories, everything.”
We will miss her.
If it’s wacky zombie mayhem you want, now is the best time to boot up those neglected copies of Dead Rising 2 and Dead Rising 2: Off the Record that have almost definitely been sitting in your Steam library, gathering dust. Today, both games have finally dropped support for Games for Windows Live, replacing Microsoft’s DoA gaming service with Valve’s Steamworks.
This move comes with some potential issues however, as the transition only works if you purchased the game(s) on Steam. If you bought a digital copy through GfWL, then you’re stuck with it. The activation code in GfWL retail copies can be redeemed on Steam.
Also worth mentioning is the fact that Marketplace DLC won’t carry over to Steamworks. “DLC content purchased directly from Microsoft’s GFWL Marketplace store will not carry over to Steam due to the lack of CD/activation key,” writes Capcom in a post on their Unity blog.
Both games have tools built in to transfer save data and achievements to Steam, so you won’t lose any of those, and now each game has added support for matchmaking, achievements, leaderboards, cloud saves and, eventually, trading cards.
Having its World Premiere at the upcoming Tribeca Film Festival is Stung, a new horror about a giant wasp.
Now, ahead of the premiere, a new international trailer flies in from the story of a two catering staff at a fancy garden party who battle a mutated species of wasp.
“For catering staffers Paul and Julia, Mrs. Perch’s fancy garden party at her remote country villa is nothing out of the ordinary. A mishap with toxic plant fertilizer leads to the most unwelcome of dinner guests: giant killer wasps. Director Benni Diez takes audiences on a thrilling, gory rollercoaster ride from campy to creepy, in this delightful and dreadful creature-feature.”
Matt O’Leary (Frailty, Death Sentence), Jessica Cook, Peter Stormare and Lance Henriksen (Aliens) all star in the horror comedy.
Benni Diez directs and Christian Becker and Benjamin Munz of Munich and Berlin-based Rat Pack Filmproduction produce.
Stephen King is a master of horror. We know this. His son Joe Hill? I think he’s well on his way of joining his father with such classic works as “Horns” and “Locke and Key”.
Both were blessed with the opportunity to see Guillermo del Toro’s next haunter, Crimson Peak, a ghost tale starring the superior Tom Hiddleston alongside Mia Wasikowska, Jessica Chastain, Charlie Hunnam and Jim Beaver.
And when King and Hill give their stamp of approval, that’s when I get excited. I consider both to be an authority on horror.
While Hill loved it just as much as King, the latter called it “terrifying,” and went as far as to compare his first viewing experience to that of Sam Rami’s Evil Dead.
Was treated to a screening of Guillermo del Toro's new movie, CRIMSON PEAK, this weekend. Gorgeous and just fucking terrifying.
— Stephen King (@StephenKing) March 16, 2015
CRIMSON PEAK electrified me in the same way Sam Rami's EVIL DEAD electrified me when I saw it for the first time way back in the day.
— Stephen King (@StephenKing) March 16, 2015
Hill raves about the beauty and compares it to another classic:
Remember that list I tweeted the other day, the 13 most beautiful horror films. CRIMSON PEAK is the most beautiful of all.
— Joe Hill (@joe_hill) March 15, 2015
CRIMSON PEAK is Del Toro's blood-soaked AGE OF INNOCENCE, a gloriously sick waltz through Daphne Du Maurier territory.
— Joe Hill (@joe_hill) March 15, 2015
Crimson Peak, in theaters October 16, begins “In the aftermath of a family tragedy, an aspiring author is torn between love for her childhood friend and the temptation of a mysterious outsider. Trying to escape the ghosts of her past, she is swept away to a house that breathes, bleeds…and remembers.”
“Bates Motel” returned tonight with a much faster paced episode after last weeks slog of a premiere. As is typical with Bates, there were still some issues with plotlines that no one cares about, but it was definitely an improvement. Before I get into my critique, let’s go over everything that happened.Recap
Norma goes to check on Annika to not-so-secretly check to make sure her bathroom window shade is working after she caught Norman spying on her last week. After going to ask Emma about her to no avail, she walks in to see Norman taxidermy-ing (I’m fully aware that this is not a real word) a small goat. Norman claims to not know anything about about her whereabouts. Meanwhile, Hunter, Caleb and Dylan are having sort of a male bonding session over by the pot farm.
Norma just can’t seem to let the Annika thing go, so she asks Emma (again) about her. After Emma tells her that Norman went on a ride with her, a light bulb clicks in her head. She knows Norman had something to do with Annika’s disappearance. After scolding Norman, she gets a kind of half-excue out of him and the (understandably) doesn’t buy it, so she makes him show her exactly what happened that night. Then, of course, Norman slips up and uses the word “was” to describe Annika. Norma catches the slip-up (yay Norma!) and Norman starts acting all creepy. Norman informs Norma that he has started dating Emma, and she seems giddy at the thought. Later, while talking with Emma, she starts to get a little handsy with him and he freaks out a bit before abruptly leaving.
Back at Dylan’s, a seemingly rabid dog attacks Hunter’s dog and Caleb shoots it. Okay.The next day, a bearded homeless looking man named Chick comes up to Dylan looking for his pet dog, and seems unusually interested in the tomatoes (tow-mah-toes) he is planting. This storyline is getting so exciting! Later, Emma suggests that her and Norma go through Annika’s room and they find an invitation for the club that gives the episode it’s title: The Arcanum Club, which Emma explains is a very exclusive hunting club. While leaving the room, Sheriff Eyeliner Romero checks out of the motel and gives Norma what I assume is a check written for an enormous sum of money. and skips town.
On Emma and Norman’s date, the TV-MA icon shows up to remind us that something crazy is about to happen, and it turns out to just be two teenagers discussing sex (because Americans are prudes). Emma is laying the sexual innuendos on thick, and the two delve into their sexual histories (probably not a good conversation to have with Norman Bates). Then she calls Norma out for trying to keep Norman a child, which may be responsible for his guilty sexual feelings (yay Emma!).
Norma drives to the Arcanum Club meeting and is asked for the password, which she doesn’t know (really, Norma?). So she drives around the side and climbs over the fence (in her evening gown, no less) and pulls a Norman and spies on the party through a window. Inside, the gay neighbor from Desperate Housewives (Kevin Rahm) is overlooking two people have sex (there’s the TV-MA material). Romero busts her and she explains to him why she’s there. She also tells him that Norman was the last person to see Annika.
Over in the forest, Dylan and Caleb go spy on Chick, only to dins a woman nursing a baby. Chick comes out and admits that he doesn’t own a dog. He takes them into his gun warehouse and has a weird conversation with him about rules. Then he asks him about the weed he’s growing (ughhhh) and Caleb has to take it one step so far and insult Chick to his face, which means this storyline will probably drag on for the rest of the season.
On her way home, Norma sees a sign for Lee Berman’s bypass (remember that thrilling storyline from last season?) and proceeds to kick the shit out of it, only to run it over once she gets back in her car. Emma and Norman arrive home and begin making out. Norman cuts the session short, to Emma’s disappointment. After Emma leaves, Norma comes home and breaks down in Norman’s arms, while he consoles her and tells her everything is going to be alright. Cut to the lake, where a woman’s body has just floated to the surface.
Like I said, this was a much faster-paced episode than last week. People actually communicated! Emma told Norma about Norman riding into town with Annika and Norma told Romero by the end of the episode! We also had Norma be smart and not just ignore Norman’s creepy behavior and excuses about his drive with Annika. She took initiative, which isn’t something we see quite often when it comes to Norman’s murderous tendencies. The show is always better when it focuses on Norma and this episode was no exception.
Special mention should also be made of Freddie Highmore, who is making Norman’s transition into full on psycho very well. He gives Norman so many looks and little moments that really show you how crazy he is becoming and his scenes with Olivia Cooke were appropriately disturbing. Their date was incredibly awkward and hard to watch, but I’m glad it finally gave Cooke some of the attention she was missing last season.
Last, and certainly least, we have Dylan’s subplot, which is growing even more ridiculous than I ever could have imagined. I didn’t actually think this was possible, but the writers seem determined to make it as “out there” as possible (that tomatoes thing was just plain weird). Chick was a creepy character and he was mildly entertaining in his final scene, so I’m withholding judgment on this until it gets developed a bit more. My expectations are very low, though.
Bates Motel is still setting things up for the rest of the season, but I found myself significantly more interested this week. Most of the plotlines that are being set up have the potential for an amazing payoff, and I hope the show follows through with them. Revelations and reveals were made much more quickly than the series is typically known for. Here’s hoping this trend continues next week!
- “She doesn’t strike me as a hiker.” That is Norma’s polite was of saying Annika was a hooker. Classic Norma.
- I loved how the camera lingered on Farmiga’s face when Emma told her Norman rode into town with Annika. You could just see the light bulb go off in her head and her facial expression was perfect.
- “Because you can’t keep getting into cars with unquestionable women. SLUTTY.” Nice to see that Norma echoed my thoughts from last week about unhinged/older women being attracted to him.
- Emma is apparently a connoisseur of Ramen. Good to know.
- Really starting to worry about Emma’s safety now. Surely they won’t kill her off this season, right? RIGHT???
- The visual of Norma running to the Arcanum Club party in her evening gown was amazing. I love it when the give Norma some physical comedy.
- On that note, Norma yelling “I hate you, you stupid piece of shit sign!” was also quite hilarious.
- Oh yeah, Annika is dead. In case you cared.
- Sorry again for the lengthy recap/review! I’ve come to accept the fact that so much shit happens on this show that it’s just going to be long. But I’ll actually label the recap and review so if you watched the episode you can just jump to the review.
I remember buying my copy of Silent HIll 2 and driving home at what felt like warp speed, all so I could venture into that foggy, mysterious, dangerous town. As with most people, one of hte first things that enchanted me about the game was the gorgeous, sublime soundtrack, which drifted from ambient beauty to industrial ugliness, oftentimes with mere moments in between. And perhaps the most famous of these tracks was the theme song, “Theme Of Laura”, which was heavily utilized during the game’s marketing campaign.
It’s always interesting to see how people will take that music and find their own way to add to it, to take it somewhere that it hadn’t been before. That’s precisely what Adam Matlock did with his cover of the track using only an accordion and a tambourine. It gives the track a decidedly Parisian feel, as though Silent Hill’s power and influence traveled into Europe.
That, for me, raises an interesting concept: What if the powers that make Silent Hill the terrifying location that it is escape and its influence spreads? What locations do you think would be fascinating to venture into if Silent Hill took it over?