Negan’s insane sense of morality takes center stage in Kirkman’s new chapter of his zombie epic, and to great effect. Every character is pushed to the brink of conflict, as things get more interesting in “The Walking Dead”. Kirkman is the master of a looming sense of dread. The inevitable battle with Negan is just around the corner. Rick and a small group leave the settlement to get “supplies.” Although it is not clear what exactly they are doing. As Rick and company leave, Negan arrives. He’s come early to collect his tribute.
WRITTEN BY: Robert Kirkman
ART BY: Charlie Adlard
RELEASE: June 12, 2013
With Ezekiel’s forces, Rick feels strong. There is a discussion about Negan’s forces, and nobody is entirely sure what kind of army The Saviors have. Rick says it himself “I’m no strategist.” Without Abraham around anymore, nobody can really plan a battle with any accuracy. The impending sense of doom is at an all time high.
The final moments with Negan allow the issue to shine. Negan is hated by almost everyone who comes into contact with him. He is vile and disgusting to them. He’s also ready to make a home among them. He settles down in anticipation of Rick’s return. Spencer approaches him, and we learn just what kind of guy Negan is.
It’s here where Kirkman takes a character who is morally vile, and makes them interesting. The resulting pages show Negan with a warped but respectable moral code, one that if followed would perhaps lead to a peaceful coexistence with Rick. Rick is on a collision course. Both of these men will come head to head, and one will die. Above all else though, this issue shows us that Rick may in fact be just as vile as Negan. Kirkman has no fear in showing us the darkest side of ourselves. He shows us people who are more monstrous and unpredictable than the atrocities that surround them.
Adlard’s art continues its constant upswing. The cover is a total treat, as it pays off by the end of the issue. The last three pages are sadistic and filled with tormented facial expressions. Adlard allows you to see right into Negan’s haunted eyes as the man makes some interesting choices.
Adlard’s art lingers on gore for the right amount of time. The final moments are delivered viscerally with a quick progression of intimate panels to larger splash panels. It helps convey the madness of the scene with relative ease, and compels you to turn the pages.
The Walking Dead #111 is another solid entry in the epic. The book is particularly hard to review on a monthly basis as Kirkman shines in the collected format. The pacing may be an problem for some, but overall it’s just another issue (pun intended) of The Walking Dead.
The characters are progressing in interesting ways, and the inevitable conflict looms closer than ever on the horizon. I only hope, with all this buildup that Negan and Rick’s confrontation is as glorious as these last few pages. Let’s kill some characters and lets throw things under the bus again, it’s about that time isn’t it Kirkman?
Reviewed by – Jimbus_Christ
Books like this don’t come around often. Fabulous art, amazing characters, an intriguing story, and an irresistible premise culminate into something immaculate in Gerard Way (of My Chemical Romance) and Shaun Simon’s “The True Lives of the Fabulous Killjoys” #1.
Killjoys is a riveting debut issue that begs to be read more than once. So dense and packed with information; even blinking could cause you to miss a beat of the story. The blurb at the beginning tells us about The Killjoys, a beloved team of heroes who hung out with a little girl. However the Killjoys were killed. The girl lived.
WRITTEN BY: Gerard Way & Shaun Simon
ART BY: Becky Cloonan
PUBLISHER: Dark Horse
RELEASE: June 12th, 2013
We follow the little girl. Introduced to her through a wonderful bit of radio banter that cements this as one of the most original books on the stands. The disc jockey banter is original and a great expository device that feels refreshing. To give away any beats of the debut issue would be a great disservice to the story.
The adventure begins almost immediately and launches into this musically inspired world filled with horrible creatures and sensational superheroes. The mystery surrounding the little girl is steeped in the intrigue of the characters that surround her. The mystery of who exactly the Killjoys were in this world remains profoundly interesting.
Cloonan’s art adds so much to the story. Her character designs are bold and original. She designs the Ultra V’s with a style that is reminiscent of anime, with a western influence. The characters spring off the page. The action punches you in the face. Cloonan’s excellent sense of visual style creates clean and easy to understand action scenes. A major conflict in the middle of the issue is beautiful, and slowed in the right moments with the little girl.
There are too many good things to say about “Killjoys” # 1. The art, story, and world are absolutely engrossing. The pace is unrelenting and throws us head first into this wild new place. It never feels overwhelming, and through following the little girl we learn as she does.
The final pages of the issue play out like some sort of incredible standoff, but with disc jockey narration. It is so unique and compelling that you’ll find yourself reading it two or three times. Cloonan’s art sells this moment with distant panels that slowly become more intimate as the action reaches a boiling point. Then BOOM. One of the best final panels ever seen in a debut issue assaults you.
If “Killjoys” wasn’t on your radar before, change your mind. This book is unlike anything else on the stands right now. The world is so original. It would be a travesty to miss this. If there’s a good thing to take from the breakup of My Chemical Romance, it’s that Gerard Way will have more time to write. This is comic books at their best, and I honestly cannot wait to get my hands on the second issue. I’m literally frothing at the mouth for more (Editor’s note: it’s true, I saw him frothing).
Reviewed by – Jimbus_Christ
The makers of the Saw video games are now hard at work on a brand new survival horror game called Daylight, which will be coming exclusively to the PC and PlayStation 4 later this year. It takes a page out of Slender’s book by throwing you in a dangerous situation armed only with a smart phone and a flashlight, and if you have a PlayStation Eye camera, it will even take pictures of you when something scary happens so you can share them with your friends.
Now, I’ve never been overly accused of having an excess of bravery, so I’m pretty sure my “scared face” isn’t all that flattering. If you’re ever in a self-deprecating mood, at least Daylight gives you the option of sharing your shame with those who will judge you.
An awesome return from its hiatus, “American Vampire: The Long Road To Hell” #1 delivers more great material for fans to salivate over. This issue contains a lot of visceral sequences and some surprisingly tender moments as well that have made the “American Vampire” series so popular. If you haven’t already, this one-shot special is the perfect opportunity to start reading about the “American Vampire” series.
WRITTEN BY: Scott Snyder and Rafael Albuquerque
ART BY: Rafael Albuquerque
PUBLISHER: Vertigo Comics
RELEASE: June 12th, 2013
Billy Bob and Jo are young lovers, fugitives of the law, who just crossed the wrong people. On their way to the chapel, they are suddenly attacked by a pack of vicious vampires. Their wedding date is put on hold as they have been turned into undead creatures with a sick, craving need for blood. When the lovebirds pick up a stranded hitchhiker, an orphan named Jasper, the three embark on a road trip to Las Vegas.
Writers Scott Snyder and Rafael Albuquerque have done a fantastic job building the relationship of his characters. The couple, Jo and Billy Bob, are different than Skinner Sweet, the main protagonist of the “American Vampire” series. The couple doesn’t like being vampires at all, and reject the thirst for blood. They don’t want to lose their humanity and are afraid of becoming monsters if they start killing. What these two really want is to get married, which was their dream become they were transformed.
Because the couple cannot have any children, they adopt the orphan, Jasper, and raise him as if he were their own. These three lonely hearts are trying to become a family, something they haven’t felt for a long time. Readers will find themselves rooting for the runaways, especially when Travis Kidd shows. There are strong evocations of Bonnie & Clyde from Jo and Billy Bob, as they desperately try to change their lives.
In his artwork, Albuquerque kicks up the character design of Travis Kidd a notch. Albuquerque draws Travis as if he were a young kung-fu fighting Elvis Presley and adds a samurai sword to his arsenal. In an impressive splash panel, Albuquerque captures Travis slicing off a vampire’s head. Albuquerque has the pose and swing down perfectly in this illustration. I would definitely like to see Albuquerque write and draw another tale in the near feature.
Albuquerque sure knows how to make his vampires nasty-looking and scary. When Billy Bob and Jo transform, you can see the blood veins popping out of their faces. With their fangs and nails elongated, they stare at Jasper with their glowing red eyes. In a great display of artwork, Albuquerque presents the emotional, better half of the couple just before turning them into ravenous monsters.
A fantastic read, readers are going to devour every page of “American Vampire: The Long Road to Hell” #1. If you’re a longtime reader, this is an untold chapter in the long and rich mythology. If you’re a newcomer, there is no way you will not become a fan of “American Vampire” after this.
Reviewed by – Jorge Solis
“The Crow: Curare” #1 is a riveting thriller that will bring a chill down your spine. With such a compelling mix of police procedural and crime drama, the narrative will definitely get the reader’s attention. This is a must-read for fans of the surreal, revenge-driven tales, and, of course, for fans of “The Crow” franchise.
WRITTEN BY: James O’ Barr
ART BY: Antoine Dode
PUBLISHER: IDW Publishing
RELEASE: June 12, 2013
In the dark and empty fields of Detroit, the police discover the murdered body of an innocent little girl. Since the ’70s, Detective Joe Salk has dedicated his entire time to solving her horrible murder. Since he has never found her killer, Salk spends every waking hour tormenting himself on his failure. He has sacrificed his own wife and children, even his retirement, because of the investigation. Now the crow, the spirit guide, has brought back the murdered victim from the grave. The dead little girl begs Salk to try one last time and solve her murder.
Writer James O’Barr speaks eloquently about the horrors of loss and mourning. Detective Salk is unable to let go and move forward in his life. Salk is haunted physically and mentally by the murdered little girl. In the opening pages, O’Barr presents Salk as an emotional wreck who is stuck in the past. Salk doesn’t realize what today’s date is because time hasn’t moved for him. He truly wants to change, but he is still obsessed with the unsolved case.
The topic does become a little heavy because the story centers around the death of a child. O’Barr surprisingly takes the “The Crow” tale in a different direction. The little girl is the victim of a violent crime, but she is more of an echo than a vengeful spirit. Because the little girl is still innocent, the detective is the one seeking out revenge for her.
In his sketchy artwork, Antoine Dode delivers such cringe-worthy illustrations, without revealing too much. At the crime scene, Dode drops hints that the little girl was violated before she was killed. While the medical examiner is doing the autopsy on the dead body, Dode keeps the girl’s face in a close-up. We don’t see the body being cut up by the medical examiner. We just see the wide-eyed expression on the girl’s face.
Dode makes great use of colors as the narrative transitions between reality and the surreal. When Salk is living his normal life, Dode paints the panels with a brown-yellowish tint. In the flashbacks, Dode uses blue and white tones to highlight the police procedural aspects. Notice how the little girl is always kept in the blue and white inks.
A terrific read, you will not be able to put down “The Crow: Curare” #1. If you’re a fan of police/crime thrillers such as “The Killing,” this title is definitely up your alley. I’m really looking forward to the next issue.
Reviewed by – Jorge Solis
Clive Barker and Brandon Seifert continue their work on “Hellraiser: The Dark Watch” next week with issue #5 hitting the shops. There’s not much we can say about this series that we haven’t already. It’s a solid entry into the “Hellraiser” franchise that is worthy of any horror fan’s time. If you’ve been disappointed with the numerous sequels (after the third film), this might just be the “Hellraiser” you’re looking for. Plus, Harry D’Amour is in it, which kicks ass.
WRITTEN BY: Clive Barker, Brandon Seifert
ART BY: Tom Garcia
PUBLISHER: BOOM! Studios
RELEASE: June 19th, 2013
Harry D’Amour may be the new high priest of Hell, but he’s learning quickly that doesn’t promise much in Leviathan’s realm. The Cenobites only follow him grudgingly, and seemingly are acting on orders coming directly from Leviathan… meanwhile, D’Amour’s allies on Earth begin to think Harry has been corrupted beyond salvation by his new position. As Leviathan makes his next move, will the estranged allies be able to rise to the challenge?
Master of Horror Clive Barker and Brandon Seifert (WITCH DOCTOR) along with artist Tom Gareia continue the new era of HELLRAISER!
Daniel Konze directed The Rise of Valhalla, a flashy looking indie zombie pic out of Germany.
“It is a film about the Third Reich, where the Nazis open the gate to Valhalla and hope to be able to win the war with the help of Viking zombies. However, the Viking zombies do not fight on the side of the Nazis and kill everything …”
The film is told from the point of view of resistance fighters who found the camp of the Nazis.
Check out the teaser trailer inside.
Boom! Studios has just sent out a visual press release announcing that they will be launching a new “Sons of Anarchy” comic book series this September. The series is based on the hit TV show that airs on FX. Whether it is a straight adaptation or a new storyline is yet to be announced. We also have no idea who the creative team behind the project is.
For those of you living under a rock, the TV series follows a man in his early 30s who struggles to find a balance in his life between being a new dad and his involvement in a motorcycle club.
BrinkVision will be releasing the Paranormal Ghost Hunter Horror film Muirhouse on Limited Edition DVD and VOD on September 17 in the U.S. & Canada.
Muirhouse allegedly has been scaring audiences worldwide with festival screenings at Shreikfest, Monsterfest, Fright Night Film Fest (winning best foreign horror film), and many more.
“In 2007 Phillip Muirhouse began a promotional book tour on supernatural phenomena. As a publicity stunt he was to be filmed inside a local tourist trap, The Monte Cristo Homestead, known as ‘the most haunted house in Australia’. He spent one night in the house. The events, which took place, were recorded in real time on audio devices and night vision cameras. By morning three people were discovered dead. This is the footage…“
The infectious Sci-Fi Channel Original Movie, Deadly Swarm is available for the first time on DVD August 13 from Lionsgate Home Entertainment. Created in the tradition of Arachnophobia and Snakes on a Plane, this horror flickstars Shane Brolly (Underworld franchise) and John Patrick McCormack (TV’s “The West Wing”) and is directed by Paul Andresen (Shockumentary).
“Seeking out a cure for his wife’s serious illness, scientist Dr. Schroeder (McCormack) heads deep into a forbidden jungle in Guatemala, trapping thousands of killer wasps. Working with secret military backing, it is Schroeder’s contention that the venom from the wasp’s stingers can be of great medicinal benefit. But when they try to illegally smuggle the wasps into the US, the truck they are on crashes and the wasps are set free to wreak havoc, making a direct path to a small unsuspecting town. It is up to an American entomologist Daniel Lang and a nosey writer Sandra Kern to stop these deadly wasps – as they lay eggs in their victims to hatch thousands more wasps – before it’s too late.“
It’s a slow news morning so why not watch some never-before-seen footage from the effects house responsible for the creatures in ‘s Alien 3.
Below we’ve embedded the two-part “practical jokes” reel, courtesy of studioADI.
“As if building for Alien3 wasn’t enough of a challenge, screwing around was in vogue. Let’s see them have this much fun with a computer…” they joke.
This is really cool stuff for the “completist” who wants to see every bit of footage ever recorded back in 1990-91.
Fantasia 2013′s Frontières International co-production market has announced this year’s off-Frontières projects, which are various films seeking financing (this mean, they are hoping to get made).
After announcing the 12 projects of its Frontières selection of film projects in May, the Frontières International Co-Production Market’s team is now happy to announce the event’s Off-Frontières line-up of projects, which feature additional up-and-coming talents and experienced filmmakers from the independent genre film world.
The Off-Frontières 2013 selection of the 2nd edition of the Frontières International Co-Production Market will consist of the following 12 projects:
Director: Josh Johnson (Rewind This!)
DEAD MAX (Québec)
Director: Patrick Boivin (Bunker)
Writer: Randall Lobb
Producer: Stéphane Tanguay (Jaloux) Productions Kinesis
EMERALD FALLS (Québec)
Director: Boris Rodriguez (Eddie: The Sleepwalking Cannibal)
Writer: Phil M. Rosenberg
Director/Writer: Zoé Wittock (First Feature)
Producer: Anaïs Bertrand (First Feature) Insolence Productions
Director: Franck Richard (The Pack)
Writers: Franck Richard and Florent Silieri
Producer: Fares Ladjimi (The String) Mille et Une Productions
SHE WHO MUST BURN (Canada)
Director/Writer: Larry Kent (The Bitter Ash)
Producer: Andrew Dunbar (First Feature) White Buffalo Films
SPAWNING GROUND (Canada)
Director: Michael Peterson
Writers: Kevin Cockle and Michael Peterson
Producers: Brendan Hunter (Lloyd the Conqueror), Brenda Lieberman (First Feature) Fresh Dog Productions
Directors/Writers/Producers: Michael and Shawn Rasmussen (Dark Feed) The Rasmussen Brothers
THE CAR (Canada)
Director/Writer/Producer: Sean McConville (Deadline) Frenzy Films
THE DARKNESS (Mexico)
Director: Daniel Castro Zimbrón (Táu)
Writers: Daniel Castro Zimbrón, David Pablos and Denis Languérand
Producer: Pablo Zimbrón Alva (Táu) Varios Lobos
Executive Producers: Jorge Michel Grau (We Are What We Are), Mayra Espinosa Castro (First Feature) Velarium Arts
THE MORTUARY COLLECTION (USA)
Director/Writer: Ryan Spindell (First Feature)
Producers: Larry Fessenden (The Innkeepers), Brent Kunkle (Stake Land) Glass Eye Pix
UNKNOWN DELIVERY (Québec)
Director/Writer/Producer: Maurice Devereaux (End of the Line) Les Productions Maurice Devereaux
Details of The Cronenberg Project, a multi-platform celebration of the work of one of the world’s greatest filmmakers, David Cronenberg, were announced today by Piers Handling, CEO and Director, TIFF and Noah Cowan, Artistic Director, TIFF Bell Lightbox. Running from November 1, 2013 to January 19, 2014, the core component of The Cronenberg Project is a comprehensive film exhibition titled David Cronenberg: Evolution, curated by Handling and Cowan. The exhibition, which will be presented at TIFF Bell Lightbox in the HSBC Gallery, explores the world of David Cronenberg by tracing his development and progression as a filmmaker through the themes of physical and psychological transformation that define his cinema; from telepaths and scientists to television producers and twin doctors. This also marks the first major original exhibition curated and launched by TIFF that will tour internationally with locations to be announced at a later date.
The Cronenberg Project also includes an experiential virtual museum called David Cronenberg: Virtual Exhibition; a full retrospective of Cronenberg’s films with multiple newly struck 35mm prints and new digital restorations; an interactive digital experience titled Body/Mind/Change, a Lance Weiler project and co-production with TIFF and CFC Media Lab; an art exhibition curated by Noah Cowan and David Liss titled David Cronenberg: Transformation, presented in partnership with the Museum of Canadian Contemporary Art (MOCCA); and two original publications celebrating the film and art exhibitions. David Cronenberg: Transformation will run from September 5 to December 29, 2013 at MOCCA, with the opening reception taking place on September 4 just in time for the Toronto International Film Festival.
“After collaborating with some of the most prestigious cultural institutions in the world to bring highly anticipated film exhibitions to Canada, we are excited to reach this major milestone at TIFF Bell Lightbox by originating a show of our own to share with the international community,” said Handling. “This exhibition underscores our commitment as an organization to Canadian film and its legacy, and presenting and celebrating David Cronenberg is a natural choice.”
“David Cronenberg is among the world’s great filmmakers and we feel fortunate to have worked with him on multiple projects over the last 30 years, including the creation of a Special Collection archive in TIFF’s Film Reference Library, which has yielded the most spectacular elements of this show,” added Cowan. “The Cronenberg Project is the culmination of this relationship and we are thankful to David and the many participating institutions and individuals who are collaborating on this enterprise to create a significant global impact on behalf of this extraordinary artist.”
Highlights of David Cronenberg: Evolution include key pieces and materials from Cronenberg’s extensive filmography—including costumes, props, photographs, audio-visual elements, art work and set-design drawings—such as the helmet from Videodrome (1983), the game consoles from eXistenZ (1999), the surgical tools from Dead Ringers (1988), the leg braces from Crash (1996), the typewriters from Naked Lunch (1991), and the pod from The Fly (1986).
David Cronenberg: Virtual Exhibition, launching online and in the CIBC Gallery on November 1, explores Cronenberg’s films through new scholarship and artistic explorations, including essays, academic writing, an interactive map and timeline, and a selection of rare behind-the-scenes footage and interviews with Cronenberg’s past and present collaborators. A natural extension of TIFF’s Higher Learning programming and Digital Resource Hub, David Cronenberg: Virtual Exhibition looks to enhance educational opportunities within the academic community and the public at large to stimulate ongoing research in Cronenberg’s filmography.
David Cronenberg: Transformation at MOCCA will feature six new, TIFF-commissioned artworks from leading Canadian and international contemporary artists who share Cronenberg’s inspirations from literature and philosophy—writers such as McLuhan, Burroughs and Ballard—and his fascination with biological horror, the human psyche and the merging of humans and media. Artists featured: Candice Breitz, James Coupe, Marcel Dzama, Jeremy Shaw, Jamie Shovlin and Laurel Woodcock.
Body/Mind/Change, a digital extension of David Cronenberg: Evolution, immerses users/audiences in a “Cronenbergian” world across three platforms—online, mobile, and real life—through an “artificial intelligence recommendation engine” called POD (Personal On-Demand). Users can sign up now at www.bodymindchange.ca to register for a POD and enter into this story-world experience, which will launch in October and culminate with a physical hub inside the CIBC Canadian Film Gallery. Body/Mind/Change provides the opportunity for the audience to become a part of the exhibition and to explore the dark landscape where Cronenberg’s stories live.
Evolution, the opening celebration for the exhibition David Cronenberg: Evolution, will take over TIFF Bell Lightbox for the evening of Wednesday, October 30, featuring live entertainment, interactive art installations, cocktails and hors d’oeuvres. Tickets are now on sale at tiff.net/cronenbergparty, proceeds will support annual film programming at TIFF along with education and community initiatives.
The 18th film from director Kim Ki-duk, Pieta is an unrelentingly tense and grim tale of family, blackmail, and, ultimately, revenge. The film centers around two main characters: Kang-do (Jeong-Jin Lee), a loan shark who is tasked with collecting money and interest from nameless industrial workers, often doing so by forcing them to sign insurance papers that then pay over the money when they are horribly injured, and Mi-sun (Jo Min-Soo), the woman that enters Kang-do’s life claiming she is his mother who abandoned him 30 years ago. Her entry into his life is a catalyst for change, forcing him to reevaluate his actions and who he is as a person.
The film takes place in the industrial slums of a Korean city where everyone seems to live a life of fear and misery, taking comfort in the small things that bring them what little joy they can find, such as a tender moment with their mother or a phone call where they find out the sex of their soon-to-be-born baby. Even the protagonist (if one is able to call him that) Kang-do lives an empty life. Completely alone and so starved for emotional and physical contact that he masturbates in his sleep, each day only holds for him the promise of inflicting pain and humiliation upon others. Jeong-Jin brilliantly portrays the obviousness that he takes no pleasure in his way of life, the weight of what he does a huge burden on his shoulders.
When Mi-sun (who is phenomenally depicted by Min-Soo) enters into the picture to repent for abandoning him, literally trying to force her way into his life, he is, obviously, skeptical and even highly aggressive to the idea at first. He yells at her, beats her, and sexually assaults her, all while trying to come to terms with the possibility that this woman could in fact be his mother. But as they begin to connect and build their relationship, there are some genuinely sweet and tender moments. However, these moments are haunted by the horrific moments that permeated the beginning of the film, making it impossible to truly enjoy the burgeoning love between a mother and son.
As their relationship grows, Kang-do begins to falter in his ability to do his work. He begins giving the borrowers second chances and ultimately quits being a loan shark. Things seem to be going well until a pivotal scene in which is mother goes missing. From here on out, each and every scene is filled with crushing tension as Kang-do goes on a mission to find his mother. I refuse to give away any more as what happens during the second half of the movie must be seen without outside influence or information for it to be as effective as the story warrants.
The film is shot in a manner that reflects the cold, dirty feel of the people and their environments. The camera matches the mechanical industrial movements of the tools with obvious zooms and edits. Through all of that, the film does not show gore or violence, letting the vast majority of these actions play out in the imagination of the viewer. The minimalist score also reflects the stark and austere living conditions of each character. A haunting moment occurs when Mi-sun is weeping uncontrollably and her cries fit perfectly into the soft melody that plays behind the scene, blending into the music.
What makes this movie so effective is that each scene builds upon the tension of the previous one. There is no hope. Rather, there is an unrelenting sense of grim despair that refuses to let up. Every time there is a chance for hope, for a single glimmer of light, it is quickly dashed away. Add to that the story and the heartbreaking, tragic ending, and Pieta ends up a film that will haunt you for days.
Here’s a small news bite, albeit extremely premature, about something in development over at Warner Bros. Pictures.
An insider tels us exclusively that the studio is out to writers to help them crack open Ghostland, which is described as a supernatural Jurassic Park meets Ghostbusters.
The story will begin when a scientist creates a “Disney World of the Undead” where ghosts are help captive in a haunted habitat. All hell breaks loose when protestors sneak into the park and shut it down.
You’ve got the containment unit/grid from Ghostbusters with the attraction style of Jurassic Park, which is a great idea. I also love the thought that there are protestors – which brings an interesting religious theme to the film.
Swedish directors André Hedetoft and Andreas Climent don’t quite understand that a BioShock movie isn’t looking for a director, it’s looking for financing. So, their fan-made video plea is only going to get them so far…
What we have is a live-action fan film from the Swedish directors inspired by “Bioshock,” one of the most popular video games of all time. Made on a super low budget and shot in one day, with post-production taking place over a period of several months.
Watch as a Little Sister delivers a goodie to Big Daddy.
Would you hire these guys to direct a BioShock film for Universal?
This year’s Men in Black? Sure. Check out this new international trailer for R.I.P.D., starring Ryan Reynolds, Jeff Bridges, Kevin Bacon, Stephanie Szostak, Mary-Louise Parker, Marisa Miller, Mike O’Malley, James Hong, Robert Knepper, and Tobias Segal.
In theaters July 19, “Nick is dead — at least, that’s how he remembers it — and teams up with another deceased detective, a gunslinger from the Old West (played by Jeff Bridges), to work for the elite task force, the Rest In Peace Department (hence the title), to track down the dead on Earth. (Due to overpopulation, some unsettled spirits haven’t gone where they’re supposed to, and are hiding out). Technically, R.I.P.D. officers (who are overseen by Mary-Louise Parker) aren’t allowed to kill anyone living, and aren’t supposed to interact with anyone from their previous lives, but Nick is haunted by the fact that he was murdered by another cop (played by Kevin Bacon), and can’t let it go.“
In limited theaters and VOD tomorrow (June 14th) from MPI/Dark Sky Films is director BJ McDonnell’s Hatchet III. Mr. Disgusting and I hit up the premiere earlier this week and he left fairly mixed on the film. I have to say I pretty much agree with this review, the movie was a lot of fun in spots but had some problematic character and narrative elements.
“I think McDonnell did an absolutely incredible job with what he was given and at the very least delivers some gore and thrills that hardcore horror fans are going to eat up. I had a pretty good time, even though I couldn’t shake the feeling I was watching a 10-year-old’s vision of ‘Friday the 13th.’”
Electronic group Aesthetic Perfection have released an official video for their new single “Antibody”. The song comes from an as-of-yet-untitled fourth album, which has an undetermined 2014 release date. The video was directed and edited by Mitch Massie, who is the man responsible for the now infamous “Forced Gender Reassignment” music video from Cattle Decapitation. The video reminds me of something that Marilyn Manson would do, with lots of latex, disgusting teeth, colored contacts, etc…
You can buy a digital copy of the single here and also check out the video below.
EDM mad wizard Celldweller has been featured in a new TV spot for Pacific Rim. His song “First Person Shoot” is heavily utilized throughout the 33-second clip and is now available as a free download. Simply head on below to watch the TV spot and to stream/download the song.