Starring Stephen Lang, Kelly Blatz, Brittany Curran, Brett Dier, Michael Ormsby
Directed by Marcus Nispel
Distributed by Studiocanal
Assisting the local clergy, led by Father Conway (Lang), small town teen Patrick (Blatz) is helping clean up the old, abandoned Exeter asylum and crematorium. A foreboding place with a chequered past filled with rumours of abuse and supernatural happenings, the asylum met its functional end after being gutted by a massive fire.
When his friends decide to use his access to launch a huge, off-the-hook party, Patrick and a core group of friends stay behind once the booze-laden festivities have ended and most of the revellers taken off. Enjoying their own personal after-party alongside a girl called Reign (Curran), with whom Patrick has become smitten after meeting her the night before, the gang get to talking about the horrific past of Exeter and the whispers of satanic practices.
This leads the group to try out the old ‘light as a feather, stiff as a board’ party trick on Patrick’s younger brother, Rory (Ormsby), which seems to be enough to get him full-on possessed by an evil spirit.
Things go from bad to worse as the search for help for Rory is made much more pressing when the building locks itself down and the evil spirit sets about body-hopping, leading to a series of gory deaths, bodily mutilations and much running and screaming.
On first examination, The Asylum feels like a complete mess. Tonally, it’s all over the place – smatterings of comedy feeling completely mismatched to Nispel’s signature dark and gritty visual style. One moment, you’re in a particularly brutal and seriously-presented horror sequence, and the next you have comedy that feels very much out of place cutting into the proceedings. That’s not to say that the comedy is overt – there’s no slapstick, for example – yet it seems curiously ‘off’.
The original title of the film, Backmask, makes reference to the alleged practice of recording satanic messages on records that could only be heard when played backwards, and the opening scene appears to indicate that this will be a central mechanism in the story – a tortured soul trapped in, and released from, a reversed record, perhaps – yet it’s actually an entirely incidental element, mentioned only in passing.
Given the name change, first to Exeter and now The Asylum, that shouldn’t objectively be an issue – but it’s indicative of what many are going to find when they step into Nispel’s first attempt at an original horror flick: it isn’t at all what you’re expecting.
There’s a deeper mystery at the heart of The Asylum, pulling a number of threads as the film moves towards a finale which, while it does manage to just about explain itself, feels miserably cack-handed and open to more questioning than it would apparently like to be. But the awkwardness of the finale casts the mind back to how well presented the preceding scenes, especially the graphic mayhem and some great gore gags, actually were… and all of a sudden something about it sparks a greater curiosity.
And it’s then that you’re able to become far more forgiving of the film when you approach it for a second play – it’s a strange one, but once you know what to expect, picking up on the dark comedy aspects becomes much easier, alongside spotting the visual clues as to where it’s all going, which very capably escape attention on the initial run.
While elements such as a character loudly crying about somehow being stabbed with a spoon, or pulling up a DIY Exorcism app on his smart phone – which the gang decide to go ahead with trying out, unsure if the app is serious or fake – tend to feel off the mark to the uninitiated, when you approach The Asylum from the right angle it actually does work. It just feels odd when paired with the aforementioned crumbling, oppressive visuals and the completely earnest performances from the cast.
Speaking of the cast, everyone does a bang-up job here – especially leading man Kelly Blatz as the likeable Patrick (though honestly, very few of these teens approach likeable status easily), Michael Ormsby as Rory (looking to all the world like a miniature Jason Mewes) and Brett Dier as Brad, whose sudden turn of faith during one scene is a really great visual gag.
In essence, if you expect a hardcore horror flick then you’re going to be very disappointed in The Asylum. It isn’t scary, but it is funny and endearingly cynical, intentionally revelling in the absurdity of it all. Despite the presentation, Nispel hasn’t made a straight-up horror film, here. He’s made a party movie – loud, gory, and for the most part nicely paced – and you’ll need to have at it from a beer ‘n’ pizza position for it to click in any way. If you can do that, you’re going to have some fun.
The film loses points for feeling confused in itself – something which is no doubt ably reflected in the multiple title changes and sense of uncertainty in its marketing. It’s a sure thing that many are going to pick this one up with the expectation of a straight-up demonic possession horror flick and walk away bemused and dissatisfied. The Asylum is a peculiar experience; a definite oddity that seems only ever a moment away from completely falling apart. But it isn’t actually a bad one.
Studiocanal brings The Asylum to UK DVD in a bare-bones package. Not even a trailer to be had.
It was the series that changed comics forever. And at long last – it will be completed. This September, a tale that began 25 years ago will finally be told in MIRACLEMAN BY GAIMAN & BUCKINGHAM #1! Visionary comic legends Neil Gaiman (Sandman, 1602) & Mark Buckingham (Fables) bring you a new Age of Miracles and a story of epic proportions! Kicking off The Golden Age storyline and then continuing into the unfinished The Silver Age & The Dark Age arcs, Gaiman & Buckingham’s lost Miracleman story will finally see the light of day!
Uttering a single, long-forgotten word, Michael Moran transformed from the ordinary into the extraordinary – and Miracleman was born! Years out of print and left unfinished, Marvel Comics is pleased to bring these iconic and trailblazing stories back to print for an entirely new generation of fans. Now is the chance to jump on board one of the most groundbreaking stories in comics history before these two industry titans bring you the cataclysmic conclusion to their famously unfinished storyline!
“That Neil and Bucky can finally finish the story they started, is a great relief to still-gasping fans — myself among them,” says Marvel Editor-in-Chief Axel Alonso.
Gaiman and Buckingham reunite with series colorist D’Israeli and award-winning letterer Todd Klein to create the definitive Miracleman. Each issue has been remastered directly from the original artwork and will feature extensive additional content including scripts, original art, sketches, rare promotional pieces — and more! Look for this exciting jumping on point this September 2nd when MIRACLEMAN BY GAIMAN & BUCKINGHAM #1 comes to comic shops!
Plus, get caught up before September with Miracleman Book One: A Dream of Flying, Miracleman Book Two: The Red King Syndrome, and Miracleman Book Three: Olympus – available digitally and wherever books are sold!
Season 1 of Marvel’s Agents of S.H.I.E.L.D. set the bar pretty high for movie tie-in episodes: the fall of S.H.I.E.L.D was a pivotal point for the show and the MCU as a whole, and even though the connection between “Agents” and “Age of Ultron” has been downplayed in comparison, my expectations have never-the-less been high. Despite middling reviews and the ever present fear of MCU over saturation (shudder the thought) my anticipation is through the roof and “The Dirty Half Dozen” does much, especially in its final moments, to stoke those fan flames.
Coulson, despite turning himself in, is in a strong position. He basically high roads Gonzales and leverages sense of morality to come back and immediately start calling the shots again. In reality Coulson is less motivated by the notion of rescuing Mike and the other captives and more interested in collective whatever data Hydra has that ties into his “Theta Protocol” and whatever his involvement with the “Age of Ultron”events will turn out to be. Coulson highlights one of the most glaring crutches this show has dramatically when he reminds Mae that everyone has a secret, including, apparently, Gonzales and whatever he is hiding in the hold. The constant promise of new secrets revealed is a cheap thrill as far as I’m concerned and personally I wish more time was spent building out this connected universe rather than trying to “Lost” us all the time. Regardless, the plan is set in motion to take down another Hydra facility and Gonzales and Coulson are, for the time being, on the same side. Gonzales agrees to facilitate the rescue mission because he can’t back down to a good old fashioned Hydra assault, and because he’s hoping Team Coulson is gonna bite it.
Speaking of Team Coulson: Evil Ward is the glue that holds the group together. It was actually funny in that break the tension kind of way, it may have gotten a little too funny for the circumstances but each of their performances kept me bought in despite the way everyone was hamming it up. It was so enjoyable to see the gang back together again now that the dynamics have changed so much. It brought my attention to how quickly this show evolves and how dynamic the MCU is capable of being. There is no status quo for things to resort to every couple years like in comics. The form is too short yet it can continue on indefinitely (Feige claims to have plans for films through 2028). It occurs to me how ideal this format has become for the connected universe super hero genre.
Oh God that oner. There was some incredible choreography that recalled for me “The Raid” and the rapid in-and-out has an uncanny quality to it that is almost like nothing I’ve ever seen. It was the first moment of cinematographic triumph we’ve seen in the series and it gives me high hopes that we’ll see more ingenuity like this in the future.
“The Dirty Half Dozen” is a slow jerk that not only amped me up for the film but delivered a satisfying full circle when the team reunited on a mission. The show has all the same flaws its always had but it also has an indelible charm, a substantial place in the MU, and the occasional hint that it can and will be so much more.
– “Call the Avengers” and men of metal
– Simmons fucking killed Bakshi
– Evil Ward is now my favorite
– Dat oner tho
– Petty Mae…
– 2/3 of the episode was arguing about the mission
– Secrets as a plot device
As a kid, I used to create little stories in my head when I was bored. I had a wandering mind, so I’d frequently create elaborate plans on how to escape from a horde of ninjas given my surroundings, or picture how all the players on the football field would fare against a dragon. Many a grown-up event was sat through by imagining two armies battling it out in the middle of the room. It never really left me, which is probably explains a lot about me. The downside is that I frequently became convinced that the place I inhabited was haunted. I was usually fine for a few days in a new place, but as soon as my mind got used to it, I became convinced that there were monsters and ghosts around every corner. Fun Fact: I still sleep with my sheets over my head as a kind of habit. Also, it keeps the Yeerks out of my ears.
Well good news, because the good people at Novum Analytics are turning my childhood trauma into a video game! My therapist will be thrilled.
Using advanced algorithm space magic that might as well be witchcraft, the developers aim to turn your house into a more haunted version of your house. Check out their Indiegogo page here for more info on their tech and design philosophy. There’s a lot of info here, and if I had the technical know-how to decipher it all for you guys, I wouldn’t be making dick jokes on the internet for a living.
It all sounds a bit too good to be true, and I’ve been burned before from the sweet promises of crowdfunded sirens, but the tech demos are pretty impressive. As of writing, it has already gotten $1,335 of its $70,000 goal in just 10 hours, so with 40 days to go it will probably make it. As the lead developer says early in his pitch video, “why doesn’t a true augmented reality horror game exist yet?” The answer to this question has always been a lack of technology, but the team looks like they might actually go the distance with this one.
Now getting into my wheelhouse of the scary bits, the game does have a great practical effects design. To be blunt, this is a game that will likely utilize a lot of jump scares, so it is nice to know that the creepy things lunging at me will look good and not like bad .JPEGs. So far, the scares look impressive, so I am eager to see how it will actually pan out as a final product.
Another cool factor is the game’s use of the properties of the phone to deliver scares. Using the microphone to track ambient sound in the room, the output from the headphones will sound like it is coming from a direction that the visual mapping indicates is a place sound could actually be coming from. Walking by a hallway might prompt a growl from your right, which when turning reveals a spooky skeleton. Think that kind of thing, and never sleep again.
What got me the most excited was the creative yet basic use of lighting. The game has to be played in the dark, using the phone’s LED as the sole light source. This allows the game to tweak the brightness as it needs to scare you, which I hope means more than just turning off and on again with Kayako all up in my grill. It’s a simple concept, but one that could have easily been overlooked.
So if this sounds like your kind of thing, which it probably does because you are reading an article on DreadCentral, then go check out their Indigogo page and toss them a few bucks. For just 5 bucks you get the full game on release, so what’s the harm? Lets make this Night Terror dream a reality!
The post Night Terrors Turns Your House Into a Spooky House appeared first on Dread Central.
There are a lot of questions regarding Jurassic World and how it relates to the other films in the dino-sized franchise. Recently director Colin Trevorrow pulled back the curtain a bit.
“Of course, Jurassic World isn’t a mere re-creation of Jurassic Park; it’s a direct sequel to the original, set some 20 years after the events of Spielberg’s film. (According to Trevorrow, the previous sequels aren’t being written out of continuity so much as placed to the side, as they both unfolded on a different island.) In that time, a functioning theme park has been constructed on Isla Nubar, overseen by operations manager Claire Dearing (Bryce Dallas Howard) and employing hundreds of staffers, including velociraptor trainer Owen Grady (Chris Pratt).”
Via Slashfilm pertaining to the T-Rex from the first film being back:
She is 22 years older. But she’s not limping around. It’s going to move a little bit differently, but it’ll move differently because it’s older. And we’re giving her some scars and we’re tightening her skin. So, she has that feeling of, like, an older Burt Lancaster. And this movie is her Unforgiven.
Chris Pratt, Bryce Dallas Howard, Ty Simpkins, Nick Robinson, Irrfan Khan, Vincent D’Onofrio, Jake Johnson, Omar Sy, BD Wong, and Judy Greer star in the film, which will be released June 12th in 3D by Universal Pictures.
Colin Trevorrow (Safety Not Guaranteed) penned the script with Derek Connolly and directs. Steven Spielberg and Thomas Tull executive produce, and Frank Marshall and Pat Crowley produce Jurassic World.
This is a new sci-fi terror adventure set 22 years after the horrific events of the original Jurassic Park.
We see a group of youngsters camping and boozing it up as “iZombie” Episode 1.07, “Maternity Liv,” opens. It’s a cool little gathering until a strange young lady comes wandering into their site looking rather unhealthy. She collapses and dies shortly thereafter. The woman was pregnant, and although she herself bit the big one, we quickly learn that the baby survived.
Shortly thereafter we eye the woman’s parents in the morgue, identifying their deceased daughter. While there, Clive asks if they’ve got any idea who would want to do such a thing, and the father immediately pegs Dillon Munson, the woman’s ex-boyfriend, as the SOB responsible.
The brain eating gets under way, Liv gearing up to dive into the woman’s life as she once knew it. She immediately begins feeling the effects, maternal instincts she’s never experienced coursing through her. She’s immediately sensitive to just about everything around her. And while juggling those emotions, she receives her first vision, a look at the woman’s parents roughing her up, apparently attempting to keep her from her boyfriend – who takes a punch to the face from her father in the same vision.
Liv stops by to see Clive and declares her belief that the dead woman’s own parents locked her away for months, subsequently leading to her death (declared a result of extreme shock). Dillon is brought in for questioning. He’s a known figure to the police force, but he doesn’t seem as guilty as anyone expects, despite his grating arrogance. In fact, he provides a clue: Dillon saw his girl picked up by someone in a dark pickup truck and noted the out of the ordinary barking from dogs. It could mean nothing, but it could be a pivotal clue.
Meanwhile Major continues his own investigation of “The Candy Man,” bringing a local reporter into the fold, while Liv meets up with Lowell briefly. The affection they felt just a week ago seems to have fizzled quite a bit. Liv’s a little confused by the discomfort Lowell is giving off, but Ravi is anxious to just get back to looking into work. While these two juggle interesting conversation, Babineaux shows up to express his disdain for Major, as he’s had his new reporter buddy take the current string of missing cases to the papers, where it is noted that local police haven’t done a damn thing to resolve the problem.
We cut away to a scene in which Liv pays her mother a visit at work. Her brother is also there, bumming money. Both women bombard the youngster with a nice healthy lecture. What’s really relevant about the scene, however, is the fact that Liv’s mother hands the kid a few job applications, one of which is for Blaine’s butcher shop. The CW is lining up a deeper conflict with Blaine, and the promise is rather significant. If Liv’s brother gets a job with Blaine, his safety will be immediately put in jeopardy, and the growing rivalry between Liv and Blaine will reach profoundly dangerous levels.
Clive continues digging on the current case, and a paper trail again hints that the grieving parents may not be in as much anguish as they’ve been letting on. Clive and Liv head over to what is apparently the couple’s cabin, and after hearing some disruptions inside, they make entrance, where they find a hand-carved crib in the basement. It looks like it’s been there for some time, but that certainly doesn’t prove the parents’ guilt. The suspicion, however, lingers, even more pronounced now.
A brief commercial break, and we return to find Liv experiencing another one of her visions. At some point there was definitely some fishy business happening, and it initially looks as though it could have happened in the basement. A girl (presumably the deceased) can be heard crying while a stranger is seen sucking away on a cancer stick outside her window. Who the man is remains unknown for the time being. While Clive and Liv are in the basement, the parents arrive, and we segue into a revealing discussion between them and Clive. They’re quite forthcoming, and they’re beginning to look not as guilty as home viewers have been led to believe.
Liv clears up her vision, stating her belief that the stranger she saw was an animal control worker. That would help to explain the vehicle Dillon described; it also helps to make a little sense of the strange barking dog claim. What follows is a look into local animal control. In the investigation room an employee brings pictures of all animal control officers, but the man in Liv’s vision is nowhere to be seen. And then they learn that one Gerald Denny was recently fired for peeping in windows. But a look into Gerald’s recent whereabouts quickly eliminates him as a suspect, as he’s been behind bars for months.
Liv and Lowell later reunite, and Liv finds a little clarity in their current conundrum. As it turns out, Lowell recently feasted on the brains of a homosexual man. That explains the man’s lack of interest in her. There’s still hope for Liv and a romantic future. Yes, you can all breathe a sigh of relief… our zombie heroine isn’t doomed to loneliness forever.
It’s back to reality for Liv, who has yet another vision. This time we look through the eyes of our victim, Emily Sparrow, as she hangs from a window. Two women are staring at her, warning her that she’ll be caught if she continues her attempt to flee. And then she falls from the window, and Liv’s special insight fades away. She takes the 411 to Clive, who also has a few theories working for him, like the belief that the girl may have been trying to get back to her family’s cottage before collapsing and dying. Clive’s intuition leads them to a new suspect, who just so happens to be married to the same woman from animal control who was in the investigation room just minutes ago.
Before we wrap our current mystery, we spot Major trailing the man who beat the hell out of him just an episode or so ago, the man he believes to be “The Candy Man.” After the man stops and exits his vehicle, Major takes it upon himself to break into his car, where he learns the man’s name (Julien Dupont) and uncovers a brain in a plastic food carrier. Just as he makes this gruesome discovery, police arrive on the scene and slap a pair of cuffs on him. Meanwhile, Julien explains to the police that he works for Blaine and that he’s making a delivery of “gourmet” animal brains. As expected, our big bad villain walks away while Major is carted off to the station.
As Major is making a case to be branded a convict, Liv and Clive have moved in on their suspects. They approach the couple’s residence with a little watching on their minds, but our now obviously guilty party opens fire on their vehicle from within the house. The cavalry is quickly called in, and moments after they descend on the house, two more bodies pile up as the captain, who takes a bullet in the raid, snaps and goes full-on zombie mode, gunning down the man and woman. While the shootout ensues, Liv finds the other girls that she saw in her vision and brings them to rescue. There’s an ugly bit of business at the end of the episode involving the mice Ravi is experimenting on, and we’re sure to see more about that in the coming weeks.
We’re seven episodes into the inaugural season of “iZombie,” and the machine is running smoothly. The wit is still alive and loudly projected. Rose McIver is proving that she was born to take on this role, and for the most part the conflicts that our protagonists face on a weekly basis haven’t disappointed. There’s just enough depth and variety from episode to episode to hold viewers, and if all goes well, we’ll be gifted more than a single season of this fun alternative to some of the darker zombie fare out there.
“iZombie” Episode 1.08 – “Dead Air” (airs 5/5/15)
LIV HAS A VISION THAT MIGHT BE A GAME CHANGER — Liv (Rose McIver) and Clive (Malcolm Goodwin) work together to solve the murder of a morning radio talk show host who specialized in relationship straight talk. Liv becomes filled to the brim with insight after consuming the brains, making Clive extremely uncomfortable when Liv starts getting personal.
Meanwhile, Peyton (guest star Ali Michalka) steps in to help Major (Robert Buckley), and Blaine (David Anders) issues a warning.
Lastly, Ravi’s (Rahul Kohli) unexpected romantic connection has the potential to make things awkward for Liv. Zetna Fuentes directed the episode written by Aiyana White.
The post iZombie: Recap of Episode 1.07 – Maternity Liv; First Look at Episode 1.08 – Dead Air appeared first on Dread Central.
Jurassic World director Colin Trevorrow has opened up about the film’s Tyrannosaurus Rex and the information is incredibly badass! In an interview with Slashfilm, Trevorrow explains that the T. Rex we see in the film isn’t a brand new dinosaur. Rather, it’s the same one from Jurassic Park, the one that injured Dr. Ian Malcolm (Jeff Goldblum)!
She is 22 years older. But she’s not limping around. …it’s going to move a little bit differently, but it’ll move differently because it’s older. And we’re giving her some scars and we’re tightening her skin. So, she has that feeling of, like, an older Burt Lancaster. And this movie is her Unforgiven.
Trevorrow also goes into greater detail about their usage of CGI versus practical animatronics, which you can read about at the above link.
Personally, knowing that the T. Rex from the first movie is back in this sequel just shot my excitement level through the roof. Seeing the T. Rex for the first time in theaters back in 1993 still ranks as one of the most memorable movie experiences of my life. This almost feels like seeing an old friend back on the screen.
Mary Sibley finally comes face-to-face with Countess Marburg in Sunday night’s Episode 2.05 of “Salem,” entitled “The Wine Dark Sea” (directed by Peter Weller of RoboCop fame); and we have a few stills from the ep to share. What we really want to know, however, is when Mary’s going to meet up with John Alden again… that should certainly generate some fireworks!
“Salem” Episode 2.05 – “The Wine Dark Sea” (air date 5/3/15)
Mary (Janet Montgomery) learns the explosive truth about her mysterious tormentor as Countess Marburg (guest star Lucy Lawless) sets sail toward Salem. Hathorne’s (guest star Jeremy Crutchley) unsavory political machinations take a turn for the worse, leading the witches to take new measures to respond to the threat.
Meanwhile, Mercy’s (Elise Eberle) grisly preparations to enact her revenge reach new heights, drawing two reluctant participants closer in the process, while John Alden’s (Shane West) search for answers yields a valuable return. Mary takes the fight directly to her newest foes… and a terrifying surprise awaits her. Written by Al Septien and Turi Meyer; directed by Peter Weller. Guest stars include Michael Mulheren as George Sibley, Sammi Hanratty as Dollie, and Thomas Francis Murphy as Rev. Lewis.
The post We Swam The Wine Dark Sea for These Images from Salem Episode 2.05 appeared first on Dread Central.
Damien, the six-episode series based off the mythos of The Omen, has moved from Lifetime to A&E and, at the same time, gained an additional four episodes, bringing the series to a total of 10 episodes, says Variety.
The show is a direct sequel to the 1976 film and follows Damien Thorn as an adult dealing with his dark past. While it was originally meant to debut this year, the site adds that we should expect it now to air in 2016.
The show’s synopsis reads:
The ten-episode ‘Damien’ follows the adult life of Damien Thorn (James), the mysterious child from the 1976 film who has grown up, seemingly unaware of the satanic forces around him. Haunted by his past, Damien must now come to terms with his true destiny — that he is the Antichrist, the most feared man throughout the ages.
Late last year we reported that Bradley James (“Merlin”) landed the title role as Damien Thorn. The show is being written and executively produced by Glen Mazzara (“The Walking Dead”).
Today, I learned the difference between the average, run-of-the-mill video game conspiracy theorist — like the numerous fans who spent an inordinate amount of time investigating the freshly canned Silent Hills — and whatever it is that we should be calling the most diehard of diehard fans who worship the Five Nights at Freddy’s games.
They’re each comprised of the same ingredients, such as a passion for a certain topic and an alarming amount of free time with which to obsess over it, but the difference comes in the amount of crazy that’s involved. The amount of crazy the latter group demonstrated this week reached a new high, or low, depending on how you look at it, as countless Five Nights fans decided it’d be a good idea to use some random numbers to justify harassing a pizzeria in Virginia.
It all started when some fans noticed the numbers 7 and 8 were all over the HTML code in Five Nights creator Scott Cawthon’s website. Employing the magic of conspiracy logic, this entirely random fact was magically transformed into Google Map coordinates which pointed to one of this country’s seemingly infinite number of pizza joints.
A random review on the pizzeria’s Google Plus page that mentioned robots killing a kid is all these people needed to launch a full assault on the unsuspecting restaurant, which included inundating them with phone calls. This got bad enough that Cawthon had to ask them to stop being weird and crazy, and Reddit has since taken the initiative in deleting posts that mention the pizzeria, as well as banning repeat offenders.
Clearly, this restaurant has nothing to do with the recently unveiled Five Nights at Freddy’s 4. It’s why I’m not mentioning the name of the pizzeria, because while I’ve always trusted you to be a relatively sane individual, I’m not as sure about that guy.
The soundtrack to the sci-fi/action film Robocop has long been out of print and sought after by collectors. However, the vinyl edition hasn’t been pressed it seems since 1987, the year the movie came out, which has made the first pressing a sought after item. However, that’s about to change.
Although this has not been confirmed, I found a blank Amazon page for a brand new vinyl edition of Basil Poledouris‘ infamous soundtrack, which will be released by Milan Records. The page also has a verified ASIN (Amazon Standard Identification Number), which only lends more credence to this being an actual upcoming release. The Amazon page also shows that the soundtrack will be released on CD and that the release date is July 14th, 2015.
We’ve reached out to Milan for more information and will update should we receive.
The TV series based upon The Omen and the exploits of everyone’s favorite Antichrist, “Damien,” is having a shift in venue. Deadline is reporting that Lifetime’s straight-to-series drama follow-up to the horror classic, originally set up at Lifetime, will air on sibling A&E.
As part of the move, the order for the show, from Glen Mazzara and Fox 21 TV Studios, has been upped from 6 to 10 episodes. This marks the first major synergetic play since Lifetime programming chief Rob Sharenow also took over A&E two months ago as EVP and general manager A&E and Lifetime.
In his TV directing debut, Shekhar Kapur (Elizabeth) will helm and executive produce the first episode. “Merlin” star Bradley James (pictured) has landed the title role.
Produced by Fox TV Studios, the ten-episode “Damien” follows the adult life of Damien Thorn (James), the mysterious child from the 1976 film who has grown up, seemingly unaware of the satanic forces around him. Haunted by his past, Damien must now come to terms with his true destiny — that he is the Antichrist, the most feared man throughout the ages.
“Damien,” slated to premiere in 2015, is written and executive produced by Glen Mazzara via his 44 Strong Productions.
Avengers: Age of Ultron opens on May 1st, 2015.
To get you ready for the big occasion, the comic section of the site has a whooping 77 high-resolution images from the Avengers sequel starring Robert Downey Jr., Chris Hemsworth, Mark Ruffalo, Chris Evans, Scarlett Johansson, Jeremy Renner, Don Cheadle, Aaron Taylor-Johnson, Elizabeth Olsen, Paul Bettany, Cobie Smulders, Stellan Skarsgård with James Spader and Samuel L. Jackson as Nick Fury.
In Avengers: Age of Ultron, “When Tony Stark tries to jumpstart a dormant peacekeeping program, things go awry and Earth’s Mightiest Heroes, including Iron Man, Captain America, Thor, The Incredible Hulk, Black Widow and Hawkeye, are put to the ultimate test as the fate of the planet hangs in the balance. As the villainous Ultron emerges, it is up to the Avengers to stop him from enacting his terrible plans, and soon uneasy alliances and unexpected action pave the way for an epic and unique global adventure.”
Which is your favorite photo? The fist-bump between Hulk and Iron Man has me as giddy as a 12-year-old.
In this third clip from Henry Hobson’s zombie film, Maggie (read our review), Arnold Schwarzenegger struggles with his newly zombified daughter, played by Abigail Breslin (Zombieland, Signs, Final Girl).
Schwarzenegger (The Terminator) stars in the film as, “A Midwestern farmer who stays by the side of his beloved teenage daughter (Breslin) even as she slowly turns into a cannibalistic zombie, in this daring, genre-bending debut feature.“
After just premiering at Tribeca in New York, Maggie hits theaters and VOD on May 8th.
Watch the Maggie trailer here:
“Fear, panic, and paranoia pit neighbor against neighbor. Families are ripped apart as loved ones are forced into quarantine. Authorities attempt to maintain control over communities teaming with violence. But with droves of new victims each day, it’s a losing battle for those citizens uninfected by the zombie outbreak. In Henry Hobson’s debut feature, Wade (Arnold Schwarzenegger) locates his missing teenage daughter Maggie (Abigail Breslin) at the local hospital and insists on bringing her home to care for Maggie himself. With her “disease” progressing quickly, manifesting in increasingly disturbing ways, Wade shuns the warnings of his wife and friends—risking infection from the overpoweringly ravenous Maggie.”
A Girl Walks Home Alone at Night (review) arrives in UK theatres on May 22nd, and to celebrate, a new trailer for the world’s first Iranian vampire western has arrived.
Strange things are afoot in Bad City. The Iranian ghost town, home to prostitutes, junkies, pimps, and other sordid souls, is a place that reeks of death and hopelessness, where a lonely vampire is stalking the towns most unsavory inhabitants. But when boy meets girl, an unusual love story begins to blossom… blood red.
Ana Lily Amirpour’s debut feature, A Girl Walks Home Alone at Night basks in the sheer pleasure of pulp. A joyful mash-up of genre, archetype, and iconography, its prolific influences span spaghetti westerns, graphic novels, horror films, and the Iranian New Wave. Amped by a mix of Iranian rock, techno, and Morricone-inspired riffs, its airy, anamorphic, black-and-white aesthetic and artfully drawn-out scenes combine the simmering tension of Sergio Leone with the surrealism of David Lynch.
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Next year we celebrate the 30th anniversary of James Cameron’s sci-fi/horror action masterpiece Aliens, the film that continued the legacy of Lt. Ellen Ripley. And to celebrate this upcoming event, artist Mark Nathan Willetts has designed a custom Lego Powerloader suit that also includes a cargo loader, both of which you can see in the video below.
Willetts designed this over the course of 3-months to present it to Lego Ideas as a hopeful new set. However, the set was, “…instantly rejected by Lego Ideas due to a related theme of violence.”
If you want specific instructions on how to build this yourself, you’re going to have to lend a helping (powerloader) hand. Willetts is asking for his YouTube channel to hit 10,000 subscribers, which is apparently the same number of votes it would’ve taken to on Lego Ideas to become a set. Once he hits that number, he’ll post instructions.
More photos of the Powerloader suit can be found here.
Your eyes do not deceive you! Secret Wars has made the impossible possible and the battle-weary hero returns to the fray in OLD MAN LOGAN #1! From superstar writer Brian Michael Bendis and rising star artist Andrea Sorrentino comes a brand-new Secret Wars series returning fans to one of the most revered and iconic X-Men stories of all time! Welcome back to the Wastelands, a land dominated by victorious super villains. The heroes of this land have all perished – butchered by their arch-enemies. Tyrants, terrors and madmen rule over this dusty waste. Hope left this land long ago. But there is one man who may yet make a difference. A man with nothing to lose!
Now, amidst the fire and the fury, a reluctant warrior pops his claws once more! And the war for Battleworld is brewing in his own backyard. As the event of Secret Wars unfold, will he find his life’s mission to rid the world of evil more attainable – or more futile than ever before? Find as a hero is reforged in the crucible of Battleworld. The journey begins with a resounding SNIKT the X-Man formerly known as Wolverine crashes into Secret Wars in OLD MAN LOGAN #1!
OLD MAN LOGAN #1 (MAR150656)
Written by BRIAN MICHAEL BENDIS
Art & Cover by ANDREA SORRENTINO
Variant Covers by STEVE MCNIVEN (MAR150657),
ANDREA SORRENTINO (MAR150658) & SKOTTIE YOUNG (MAR150659)
Blank Variant Also Available (MAR150660)
FOC – 05/04/15, On-Sale 05/27/15
If you haven’t yet taken advantage of the early release of the “Wayward Pines” pilot on FOX NOW, FOX On Demand, Hulu, and other select platforms, you only have a few days left to check it out. Right now we have for you series star Matt Dillon teasing the mystery and thrills that lie ahead.
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.
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 Matt Dillon Answers the Question: What Is Wayward Pines? appeared first on Dread Central.
Today marks the release of Scott Synder and Greg Capullo’s “Batman” #40. The issue marks the finale of the “Endgame” arc that began all the way back in October. It sees The Joker mount his endgame plan against Batman in an attempt to bring everything into one final huge tragedy. And it delivered. Both Batman and Joker are dead.
The final reveal at the end of Batman #39 proved that Batman was willing to do whatever it took to take The Joker down, and #40 cemented that. Whatever it takes may seem vague, but let me be clear: Batman is dead. It’s a twist that was spoiled earlier this month. Despite this, the final revelation of how and why Bruce Wayne is dead still worked. Here’s why:
For the entirety of Endgame, Joker had been teasing that he was this immortal figure. And, it’s still unclear whether or not he was telling the truth. The short answer is: it was probably a joke, but the long answer is much more complicated. The Joker gained his “immortality” from a liquid located beneath the surface of the city. Deep beneath the surface. Here, underground he and Batman have one final showdown.
The brutality of the fight was well earned. Joker cuts a smiley face into Batman’s back, sticks a playing card into his eye. Joker has his spine broken, and, amidst all this, the cave starts to collapse. Batman holds the dying Joker against the ground, and as the cave collapses the two lie there together: dead. Equal sides of the same whole.
There has been no better representation of their relationship. The implications from this storyline means that Batman cannot live with the Joker, and although Bruce refused the taunt of immortality both will assuredly be seen again. Writer, Scott Synder teases that he wouldn’t tell the story of death if he didn’t know how to do the rebirth.
In many ways, this storyline proved to be a thrilling tribute to one of the most famous rivalries in comics history. In essence reminding us what Batman stood for, and that The Joker basically killed himself out of boredom. Both cannot live without the other, and there is something beautiful in seeing them die together.
Archstone Distribution has announced that the horror/dark comedy feature L.A. Slasher, directed by Martin Owen and produced by Jeffrey Wright and Daniel Sollinger, will receive a North American theatrical release starting June 12th in select AMC theaters.
“We are very excited to take L.A. Slasher to the silver screen,” Archstone Distribution’s President & CEO Brady Bowen stated. “It is a highly entertaining film with a unique voice that we know audiences are going to love!”
L.A. Slasher producer Daniel Sollinger remarked, “My team and I are thrilled to be working with Archstone as they have a steady track record for bringing high quality films to audiences worldwide. We are very proud to be on their roster.”
With an all-star cast that includes Mischa Barton, Dave Bautista, Danny Trejo, Drake Bell, Eric Roberts, Brooke Hogan, Abigail Wright, Elizabeth Morris, and Andy Dick (in his comeback vehicle), L.A. Slasher is a social satire about reality TV and the glorification of people who are famous for simply being famous.
Exploring why it has become acceptable to become an influential star based on no merit or talent, the story follows the titular Slasher character as he systematically abducts these “stars,” much to the joy of the online public, who view his exploits via social media and who subsequently and enthusiastically support his mantra of “Death to Reality TV.”