As an early Christmas present, Trent Reznor tweeted out that we can expect a new album this year, and it looks like he’s going to deliver.
One of the owners of Beats Music, which was purchased and absorbed into Apple Music, it’s insane to me that Reznor has yet to use Nine Inch Nails‘ fame and popularity to anchor the streaming service. Instead, Apple has done little to excite the fanbase after forcing the world to download U2’s album back in 2014.
Two years after the fact, it looks like they’re about to do right. The Apple keynote is to take place this coming September and will reveal the brand new Apple Music, which I pray doesn’t sway me to switch over from Spotify. Interestingly enough, a rumored Nine Inch Nails release is scheduled to coincide with the event.
A reddit user has leaked an image purported to be from Kobalt Music Group’s internal database, which lists a September 16th release of a new Nine Inch Nails single called “Dive and Slam”.
UPDATE: Reznor tweeted out the follow just minutes ago, which has just crushed my hopes and dreams.
— Trent Reznor (@trent_reznor) August 3, 2016
Nine Inch Nails’ last album came in the form of 2013’s Hesitation Marks, which the band supported with an extensive world tour. Last month, Reznor and collaborator released a new instrumental called “Juno” in celebration of NASA’s mission to Jupiter.
Three years since Hesitation Marks, there’s no reason why an album announcement won’t immediately follow the single. Shit, maybe Apple will be giving it away for free? Whatever the case, I’m sure it’s going to be an Apple Music exclusive – and knowing Trent, there’s going to be an amalgamation of goodies tied to the release.
Almost Human director Joe Begos returned to the Toronto International Film Festival last September with The Mind’s Eye (review #1, #2), an insanely gory and violent telekinetic revenge thriller set in snowy 1990 New England.
The Mind’s Eye follows a drifter (Graham Skipper) with telekinetic abilities who targets a doctor who is creating a synthetic telekinetic power serum.
Bloody Disgusting readers are going to fall in love with Begos after they finally get to see his latest entry into the horror world, not only because the movie is awesome, but because he’s truly “one of us”.
Begos is a hardcore genre fan, who makes the kinds of films he would love, and does it all by himself. If you live and die by the saying, “support indie horror,” Begos is a rising star that not only delivers quality genre fare, but also has a lot to teach aspiring filmmakers.THE FREEDOM IN MAKING A TRULY INDEPENDENT FILM
“Both movies were made 100 percent through my production company, which is essentially produced by just me and my friends that I made short films with,” Begos tells Bloody Disgusting, explaining that they truly went the indie route by maxing out credit cards. “We made ALMOST HUMAN on credit cards, essentially, and then sold the film off. So, when making MIND’S EYE, we had the experience of developing, shooting, finishing, and selling a movie all ourselves. We were able to extend that same production model to the next film, even though it had a bigger budget.
“The perks with this are that I get final cut,” he added, sharing the various pros in making a movie by yourself, “I can shoot wherever I want, and go at my own pace, so long as the movie comes in on budget. This allows us to do whatever the hell we want, and really decide where the money goes and how we want to pull things off. I was trying to attach an experienced producer for a long time after the movie was fully financed, and everyone told me it was impossible to do what I wanted and still pull the movie off. So we said “fuck it,” and did it all ourselves, again, and pulled off EVERY SINGLE THING that was in the script.”
But there’s no scenario where you get your cake and can eat it too. Begos also reveals just how difficult it was to pull of production, which included battling a snow storm.
“The shoot was insane. Getting two feet of snow is horrible, as it is logistics wise, especially when you are literally out in the middle of nowhere…We were straddling such a tight line, and all of the gags/sequences were so expensive that there was very little room for error. On top of that, if you go over budget, there is no company [that’s going to] suddenly give you the money to cover the overages.”MAKING THE KINDS OF FILMS HE WOULD LOVE AS A HORROR FAN
Begos is a huge horror fan and in making his films he’s always aiming to make something a younger version of himself would love.
“Almost everything that excited me about horror movies that I watched when I was younger,” Begos explained when asked what happened in his life that led him to be inspired to make The Mind’s Eye. “I know that the genre has usually meant a fairly low budget, but I’m so sick of movies that take place in a house with nothing going on, and zero tension. That’s what 90 percent of horror is these days. I wanted to do something ridiculous, over-the-top, with real explosions, practical effects, and unique concepts that we haven’t seen in a long time. That’s what excites me.”
“I wanted to do something that was reminiscent of a fast-paced, hazy fever-dream with psychokinesis running rampant,” he adds. “Of course trying to do all of this, and shooting in the middle of nowhere at night – during a blizzard nonetheless – doesn’t exactly lend itself to a tiny budget, but we managed. The things we were able to pull off with a little trickery is pretty awesome.”HEADS EXPLODE! HARDCORE PERFORMANCES
Talking about screaming, making intense faces, and heads exploding, how did the actors, especially Graham Skipper, make it through the shoot without their heads literally exploding?
Begos explains: “There were definitely a few times we though people were going to have an aneurism; we had legit veins bulging out of their heads [laughs]. I wanted the telekinesis to come with an immense pain with its use, I think the actors did a great job of pulling that off.
“For the effects, I reached out to Brian Spears and Pete Gerner, who were responsible for a lot of the Glass Eye Pix films. The one that stuck out to me in particular was Stake Land, which was under a million bucks and was loaded with effects- all of them great. I instantly reached out and they were into it, though they warned me in advance that I’d have to cut some effects…
“We even ended up adding some,” Begos boasts. “Once they came on board and we got together we were able to work together to make it work. Those guys are awesome at what they do and I’ve had experience shooting effects, so I knew some tricks that could help us sell stuff a bit better and those guys brought it to a whole new level. We approached most of the big effects the same way that the best movies did. ‘Oh they blew apart that head with a shotgun? I guess that’s what we are going to do!’ Shotguns, explosives, puppets. We used it all.
He continued: “Knowing how much work it was going to take to choreograph most of these effects, we scheduled for a long shoot. We somehow managed to get 37 days out of the shoot, around half of which were for effects and prep.”DIY PHOTOGRAPHY
Begos wears many hats as he’s also responsible for The Mind’s Eye‘s stunning color palette. Here Begos talks about how he learned this process.
“I essentially had to learn it out of necessity when I was first learning how to make movies, because there was nobody else to do it. I was fortunate enough to be learning all of this stuff at a time when camera were becoming available to the public with features like interchangeable lenses and frame rates, and all that. It really allowed me to learn how to shoot with cinema style capabilities and once I had moved out here and hired a DP to shoot something, I was still choosing lenses and shots and all that. It didn’t go over well. So I just started shooting myself again for both ease and budget. I’d love to use a DP, but when you are trying to shoot a movie on the other side of the country – for very little money and in just 37 days – lodging and salary for a DP and camera op really start to skyrocket. I’d rather do both and be able to blow up more shit. I’ll start working with a DP once the budget allows [laughs].
RLJ Entertainment will release The Mind’s Eye, which stars Graham Skipper, Lauren Ashley Carter (Darling, Pod), John Speredakos, Noah Segan (Looper), Matt Mercer, Larry Fessenden, and Jeremy Gardner, in theaters and on VOD and iTunes this Friday, August 5.
Zak Zeman (V/H/S, Under the Bed, Aggression Scale, Late Phases) produces with Josh Ethier and Graham Skipper.
Mike Pereira called the film “a highly entertaining ode to the telekinetic subgenre,” while also boasting a “third act [that] erupts in a full-on display of hilariously gargantuan acting and buckets of bloody fireworks that satisfies in spades.”
“Zack Connors and Rachel Meadows were born with incredible psychokinetic capabilities. When word of their supernatural talents gets out, they find themselves the prisoners of Michael Slovak, a deranged doctor intent on harvesting their powers. After a daring escape, they are free from his sinister institution, but the corrupt doctor will stop at nothing to track them down so that he may continue to siphon their gifts for his own use.”
A new clip from Sony’s Don’t Breathe has been revealed and it showcases a rather pivotal moment in the film when Daniel Zovatto and Jane Levy come face-to-face with Stephen Lang. I won’t reveal what happens but you can read all about it in my set visit as this was the scene that I witness being filmed, albeit the aftermath.
“Three teens who get away with perfectly planned home robberies have set their sights on one last payout that will get them out of crime forever. Their target: a reclusive blind man with millions of dollars in hiding. But as soon as they break into his home, the tables are turned and they find themselves trapped and fighting for survival against a psychopath with secrets of his own.”
Don’t Breathe stars Jane Levy, Daniel Zovatto, Stephen Lang, and Dylan Minnette. It was written by Fede Alvarez and Rodo Sayagues with Alvarez directing. The film is produced by Sam Raimi and Rob Tapert for Ghost House Pictures. J.R. Young, Nathan Kahane, Joe Drake and Erin Westerman executive produce.
Don’t Breathe on August 26th.
Kino Lorber Studio Classics has announced their September lineup and it’s another wonderful collection. For horror fans specifically Beware! The Blob, the sequel to Irvin Yeaworth’s original The Blob, is certainly going to be the highlight. This is a film I’ve been hoping would finally transition to Blu-ray and I’m sure I’m not alone in that regard. There’s also Gene Wilder’s hilarious Haunted Honeymoon which has it’s horror elements. The rest of the lineup is rounded out with a good mix of noir, thriller and other genre-related films. Should be another great month for the boys at Kino Lorber Studio Classics!
ROAD HOUSE (1948)
Blu-ray Street Date: September 13, 2016
Director: Jean Negulesco
Starring: Ida Lupino, Cornel Wilde, Richard Widmark, Celeste Holm, O.Z. Whitehead
Synopsis:When love turns to rage… the consequences are deadly! This slam-bang drama of troubled love, murder and unique revenge in a sleazy nightclub is a noir classic filled with suspense, dramatic punch and a macabre demonstration of a wildly jealous man who is bent on ruining two lives. Jefferson Robbins (Richard Widmark, Yellow Sky) owns a roadhouse near the Canadian border that is managed by his playboy buddy Pete Morgan (Cornel Wilde, Storm Fear) and cashier Susie Smith (Celeste Holm, All About Eve). After a trip to Chicago, Robbins brings back Lily Stevens (Ida Lupino, On Dangerous Ground), a chanteuse with whom he is obviously smitten. When Robbins goes on a hunting trip with some pals and plans to ask Lily to marry him upon his return… Pete and Lily share some intimate time together and fall in love. The news sends Robbins into a psychopathic tailspin, beginning a game of endless brutality, making the lovers suffer for their betrayal. Directed by Jean Negulesco (Daddy Long Legs, Three Strangers).
Special Features:Audio Commentary by Film Noir Historians Kim Morgan and Eddie Muller | Killer Instincts: Richard Widmark and Ida Lupino at Twentieth Century Fox Featurette
BEWARE! THE BLOB (1972)
Newly Re-mastered in HD!
Blu-ray and DVD Street Date: September 20, 2016
Director: Larry Hagman
Starring: Robert Walker Jr., Gywnne Gilford, Godfrey Cambridge, Carol Lynley, Dick Van Patten, Larry Hagman, Gerrit Graham, Shelley Berman, Del Close, Cindy Williams, Sid Haig, Burgess Meredith
Synopsis:The Blob returns… more outrageous than ever in this 1972 sequel to the popular sci-fi classic! Plenty of familiar faces, including Robert Walker Jr. (Ensign Pulver), Larry Hagman (Dallas), Sid Haig (Busting), Burgess Meredith (Rocky), Dick Van Patten (Eight is Enough), Godfrey Cambridge (Cotton Comes to Harlem), Cindy Williams (Laverne & Shirley), Carole Lynley (The Poseidon Adventure), Gerrit Graham (Used Cars) and Shelley Berman (You Don’t Mess with the Zohan) add to the fun. A geologist (Cambridge) unwittingly brings home an unusual frozen piece of debris from the North Pole. But when it accidentally thaws, the hungrier-than-ever Blob comes to life again, consuming nearly everyone in its path and terrorizing the town. No one is safe as it crawls into a bowling alley, oozes its way across an ice rink, becoming grotesquely bloated with the blood of its victims… can this bizarre creature ever be stopped? TV legend Larry Hagman directed this cult classic, the only feature film he ever directed – upon its 1980s re-release, the film was tagged “The Film that J.R. Shot!”.
Special Features:Audio Commentary by Film Historian Richard Harland Smith | Alternate Title Sequence
FIXED BAYONETS! (1951)
Brand New 4K Restoration!
Director: Samuel Fuller
Starring: Richard Basehart, Gene Evans, Michael O’Shea, Skip Homeier, James Dean, John Doucette, Bill Hickman, Joe Turkel
Synopsis:Legendary director Samuel Fuller (The Big Red One, The Steel Helmet) delivers a rough, tough, hard-hitting action-packed masterpiece, incorporating all the gritty, suspenseful, real-life elements to build a war classic of enormous emotional proportion. Richard Basehart as Cpl. Denno (The Satan Bug) and Gene Evans as Sgt. Rock (Donovan’s Brain) co-star in this war adventure that puts you right in the line of fire… a freezing snow blasts the mountain peaks of wartime Korea. A small platoon of army grunts are ordered to stay behind to protect a 15,000-man division as it moves out under heavy communist fire. The cast includes Skip Homeier (The Gunfighter), Bill Hickman (Hickey & Boggs) and James Dean (Giant) in one of his first film appearances.
Special Features:Audio Commentary by Film Historian Michael Schlesinger with Christa Lang Fuller and Samantha Fuller
THE ENEMY BELOW (1957)
Blu-ray Street Date: September 20, 2016
Director: Dick Powell
Starring: Robert Mitchum, Curt Jurgens, David Hedison, Theodore Bikel, Russell Collins
Synopsis:The great Robert Mitchum (The Wonderful Country) and Curt Jurgens (The Spy Who Loved Me) star in this gripping World War II drama about an American destroyer and a German U-boat stalking each other at sea. Capt. Murrell (Mitchum) and Capt. Von Stolberg (Jürgens) try to outthink and outmaneuver each other in this engrossing duel of wits, as the chase becomes a deadly game of chess in which any mistake can bring instant disaster. Winner of the 1957 Academy Award for Best Special Effects, The Enemy Below was directed by Hollywood star and frequent director Dick Powell (Split Second). Theodore Bikel (I Want to Live, Shattered) co-stars as Stolberg’s lieutenant.
HAUNTED HONEYMOON (1986)
Newly Restored in HD!
Blu-ray and DVD Street Date: September 27, 2016
Director: Gene Wilder
Starring: Gene Wilder, Gilda Radner, Dom DeLuise, Jonathan Pryce, Paul L. Smith, Peter Vaughn, Jim Carter
Synopsis:What do you get when you combine three of Hollywood’s most hysterical talents with a creaky old castle and a werewolf legend? An amiable, kinky blend of hijinks and horror that’ll leave you howling with laughter! Gene Wilder (Young Frankenstein), Gilda Radner (Hanky Panky) and Dom DeLuise (Silent Movie) star in this ingenious, amusing horror comedy that’ll put a smile on your face – and keep it there. At the mansion of his great aunt Kate (DeLuise), Larry (Wilder) is undergoing a psychological procedure designed to rid him of his irrational phobias… by frightening them right out of him! But the jolts and frights may turn out to be the least of his problems when Kate names him her sole heir. Suddenly, the entire family seems a little too vigorous in participating in his therapy – leading Larry to believe that one of his jealous kin may be murderous… and that another may be a werewolf. The film’s star Gene Wilder (The Adventure of Sherlock Holmes’ Smarter Brother) co-wrote and directed this hilarious comedy… featuring great performances by Jonathan Pryce (Brazil), Peter Vaughn (Straw Dogs), Paul L. Smith (Midnight Express) and Jim Carter (Downton Abbey).
CABO BLANCO (1980)
Newly Restored in HD!
Blu-ray and DVD Street Date: September 27, 2016
Director: J. Lee Thompson
Starring: Charles Bronson, Jason Robards, Dominique Sanda, Fernando Rey, Gilbert Roland, Simon MacCorkindale, Camilla Sparv, Clifton James, James Booth, Martin LaSalle, Aldo Sambrell
Synopsis:The stakes of the game are high, the rules hard, and each man and woman must play to win! Out of the sun-bleached woodwork, the players emerge. Cliff Hoyt (Charles Bronson, The White Buffalo), the ex-patriot American trying to forget. Gunther Beckdorff (Jason Robards, The Day After), the ex-Nazi seeking oblivion. And Marie Claire Allesandri (Dominique Sanda, The Conformist), the beautiful French woman in search of her missing lover. Against an explosive background, heightened by all the hopes, fears, greed and confusion of the post-war years, the three are thrown into an unforgettable tale of romance, adventure and intrigue. Wonderfully Directed by the great J. Lee Thompson (The Guns of Navarone, Cape Fear) and featuring a stellar cast that includes Fernando Rey (The French Connection I & II), Simon MacCorkindale (Death on the Nile), Camilla Sparv (Downhill Racer), Gilbert Roland (Barbarosa), Clifton James (Juggernaut), James Booth (Avenging Force), Martin LaSalle (Pickpocket) and Aldo Sambrell (Navajo Joe).
Special Features:The Making of Cabo Blanco | Audio Commentary by Paul Talbot, the author of BRONSON’S LOOSE and BRONSON’S LOOSE AGAIN | Interview with Producer Lance Hool
THE ADVENTURES OF SHERLOCK HOLMES’ SMARTER BROTHER (1975)
Blu-ray Street Date: September 27, 2016
Director: Gene Wilder
Starring: Gene Wilder, Madeline Kahn, Marty Feldman, Roy Kinnear, Leo McKern, John Le Mesurier
Synopsis:Leave it to legendary funnyman Gene Wilder (Blazing Saddles) to write, direct, and star in an uproarious Sherlock Holmes mystery film spoof that goes far beyond the scope of elementary comedies. After spending decades living in the shadow of his more famous and successful sibling, Consulting Detective Sigerson Holmes (Wilder) is called upon to help solve a crucial case that leads him on a hilarious trail of false identities, stolen documents, secret codes and exposed backsides. Featuring an outrageous ensemble cast that includes Madeline Kahn (High Anxiety) as the seductive singer, Marty Feldman (Young Frankenstein) as Holmes’ bug-eyed assistant, and Dom DeLuise (History of the World: Part I) as an eccentric opera star turned blackmailer, this fun-filled caper packs a slew of clues and loads of laughs which The New York Times called “A Charming Slapstick Comedy”. Co-starring Leo McKern (Rumpole of the Bailey), Roy Kinnear (The Bed Sitting Room) and John Le Mesurier (The Italian Job).
Special Features:Audio commentary by star/writer/director Gene Wilder
Every decade has its ups and downs when it comes to cinema, no matter the genre. Horror fans love to loft on high the output of the ‘30s & ‘40s, the ‘70s & ‘80s, and the more recent decades. More often than not, however, the 1990s are labeled as the worst decade for the genre. Not only that, but ‘90s horror tends to be written off as a whole, beyond a handful of undisputed classics. The purpose of Exhumed & Exonerated: The ‘90s Horror Project, is to refute those accusations by highlighting numerous gems from the decade. Stone cold classics will be tackled in this column from time to time, but its main purpose will be to seek out lesser-known and/or less-loved titles that I think deserve more attention and respect from fans. Let the mayhem begin!
Directed by Michele Soavi
Screenplay by Dario Argento, Michele Soavi, and Gianni Romoli
Produced by Dario Argento
Starring Kelly Curtis, Herbert Lom, Michel Hans Adatte, Mariangela Giordano, Tomas Arana, Carla Cassola, Dario Casalini, Donald O’Brien, and Giovanni Lombardo Radice
Released on March 1, 1991
Aka La Setta, aka The Devil’s Daughter
Miriam Kreisel (Kelly Curtis) is a young schoolteacher who has been without a traditional family all her life. With few friends, her life in Frankfurt, Germany is a relatively quiet and uneventful one, until an accidental encounter with a mysterious man (Herbert Lom) sets her life on a dark path. Sinister elements have diabolical designs on Miriam and her future, ultimately forcing her to choose between a life of darkness or potentially-fatal salvation.
The Sect was Michele Soavi’s third feature as a second and his second collaboration with mentor Dario Argento. After working as an assistant director and/or 2nd unit director on films for Argento (Tenebre, Phenomena, Opera), Lamberto Bava (A Blade in the Dark, Demons), Joe D’Amato (Absurd, Endgame), and even Terry Gilliam (The Adventures of Baron Munchausen), Soavi finally began to truly strike out on his own as a filmmaker at the end of the ‘80s. Previously helming 1987’s fantastic slasher Stage Fright, he directed The Church for Argento in 1989. Two years later, the two re-teamed on this supernatural horror film.
Comprised of a trio of discarded outlines/scripts that Argento, Soavi, and Romoli all had lying around, The Sect is noticeably off-kilter as a result, even moreso than the usual Italian horror fare. As with all Italian horror, it is an acquired taste, but I’ve always found that it’s somewhat schizophrenic nature only adds to its charm. While Soavi is probably best known for making 1994’s Cemetery Man, both Stage Fright and The Church have a nice following within the horror community. The Sect, however, is often forgotten when his work within the genre is discussed.
I think this is a shame, although not altogether unsurprising. In addition to remaining relatively hard to come by (or at least easy to overlook) here in the United States, it’s also simply not as flashy and stylish a film as Soavi’s other three horror offerings. That is not to say that it lacks a sense of flair to its proceedings, but it is certainly the more subdued of the four in that regard. Both Stage Fright and The Church, while being excellent films in their own right, still contain a lot of Argento’s trademark style. The Sect is more of a middle ground between those films and what Soavi would eventually craft in Cemetery Man.
The Sect sees him slowly shedding a lot of his mentor’s visual influences, while still retaining a lot of Argento-esque story elements. If anything, Argento actual took a cue from him, ultimately employing the cinematographer that Soavi used here (Raffaele Mertes) on Trauma two years later. Both films share inventive camera movements that one expects of ‘80s Italian genre cinema, while also toning down the garish palettes that so permeated Euro-horror cinema, particularly in the ‘70s and ‘80s.
As you can tell from the brief synopsis at the start, The Sect is a bit of a Rosemary’s Baby riff. The Church also dealt with some Rosemary’s Baby-esque elements, so clearly the Polanski film is a touchstone for Soavi. Those aspects of the film work, but I find its other elements more interesting. The “birth of the antichrist” subgenre tropes are handled in a more esoteric way here, with a lot of Celtic and Pagan elements thrown into mix. There’s even a bit of Lovecraft tossed in for extra seasoning when it comes to a ritual performed late in the film, although don’t expect any tentacled beasties to appear. It’s not that kind of Lovecraftian element.
There actually is a bit of a phantasmagorical creature element at play, but nothing so fantastic as actual monsters. Instead, we have what one can only assume is Satan (or a similar surrogate demonic being) appear in the form of a large bird and engage in beastiality. Did I mention that we see his well-hung humanoid shadow first, before he takes on his babe-banging Beelzebird-form? Yeah, that’s a (big) thing that happens. There’s also a rabbit who is far more intelligent than any normal bunny. Not only does it seem incredibly aware of what is going on, but it can also expertly use a TV remote!
The film contains quite a bit of Alice in Wonderland-esque imagery in addition to its occult and esoteric elements. Practically every scene of the film has some sort of rabbit likeness or clock placed within the frame, as well as the occasional usage of red roses. Unfortunately for Miriam, it isn’t Wonderland she finds herself tumbling into as the film goes on, but Hell itself (in a manner of speaking).
As the tale unwinds, things become more and more dreamlike, eventually nearing the point where one isn’t entirely sure what is real and what is not. For instance, the house in which Miriam resides appears both small and massive at times. The outside looks rather large, but the main and second floors on the inside appear almost townhouse-sized. Then there’s the double-decker basement, which is revealed to both Miriam and the audience as the film goes on.
At its lowest floor is a well that goes down at least a hundred feet. It’s also some sort of gateway to Hell that is pumping strange blue goo into the house’s water pipes. This Hell Well, in addition to its deep reservoir, has a large pipe running away from it that spills into a small knee-deep pond beside the road near the house. Just through basic calculations, the house would have to almost be atop a large hill in order to account for the double-leveled basement and the additional hundred foot drop into the well, but from the outside, it appears to only be slightly above the road. Normally one might fault this as a continuity error on the part of the production, but it has to be intentional. Furthermore, it adds to the dreamlike elements and strengthens the sense of unease that permeates the picture.
Speaking of unease, there’s something that always felt off to me about the film’s opening in the past and I finally pinpointed what it was this time. The bulk of our tale is set in Frankfurt, Germany in 1991, but the opening of the movie is set in California in 1970. It opens with the Manson-esque murder spree at the start as Damon (Tomas Arana) sacrifices everyone in a small hippie commune (including the women and children) as the first of many such events to pave the way for their eventual Antichrist ritual. Nothing in this sequence is particularly disturbing as shot. In fact, it actually shows very little, letting the flame-lit aftermath speak for itself. So why has it always managed to creep me out?
Think about it for a moment. We’ve got a Rosemary’s Baby riff of a film here that opens with a Manson-style murder. Director Roman Polanski made Rosemary’s Baby in 1968. The following year, his pregnant wife, actress Sharon Tate, was stabbed to death by Charles Manson’s cult. This film’s prologue takes place a year later. For some reason, I had never managed to put two and two together until now.
The prologue itself came directly from Argento and there is no way that the above connection is not an intentional one on his part. The sheer tastelessness of such a narrative choice is a subject for a different day, but one cannot deny that it makes the opening sequence more even more powerful than it is as presented.
Moving on beyond, there’s still plenty of creepy imagery to go around. Everything involving a particular death shroud comes to mind. You’d think that a stained clothed couldn’t be effectively used as a dangerous object, but Soavi manages to make it work. There are also a few knife-wielding stalk-n-slash scenes that are quite effective, as well as a rather icky morgue-set sequence. All in all, it makes for an interesting experience, even if it isn’t overly scary as a whole.
I’ve rambled on for paragraph after paragraph and still haven’t brought up the actors themselves. I won’t go on for long about them, but I’d be remiss if I didn’t praise Herbert Lom’s work as the mysterious Moebius Kelly. It’s obvious from the get-go that something isn’t right about him, even beyond the fact that he’s played by genre luminary Herbert Lom (Mark of the Devil, A Shot in the Dark). Add in Mariangela Giordano (Burial Ground), the aforementioned Tomas Arana (The Hunt For Red October), and a nice Giovanni Lombardo Radice (City of the Living Dead) cameo and you’ve got yourself a nice collection of genre character actors. As for the lead, Kelly Curtis is a capable protagonist. She doesn’t throw herself into the role quite like her sister’s (Jamie Lee) scream queen roles, but she’s good.
The Sect is an oft-beat Italian horror offering from the early ‘90s that deals with the subjects such as the occult, ritualistic murder, Satanic panic, motherhood, and paganism. It’s not the flashiest film of its type, but it remains one that lingers in my mind for days after I watch it. I hope that someday it can see a proper home video release in America, as it’s long overdue for a reevaluation. It’s not for everyone, but if your tastes lean in this direction, it might just be for you.
Up Next: The Addams Family
Check out these new images of Guy Pearce and Dakota Fanning in Brimstone, in which Kit Harington plays an outlaw who has a crucial role in the tale of retribution. Carice van Houten
Fanning stars as Liz, a heroine on the run from her past and chased by the evil Preacher (Pearce).
Carice van Houten (Valkyrie, “Game of Thrones”) is also part of the cast of the movie by writer-director Martin Koolhoven.
The project from Dutch filmmaker Koolhoven has also added to its cast Paul Anderson (Sherlock Holmes: A Game of Shadows), Jack Roth (The Great Train Robbery) and Carla Juri (Wetlands). [THR originally reported]
Thanks to Fabien M. for the tip!
One of the more pivotal moments in the last season of AMC’s “The Walking Dead” was in the 10th episode of the sixth season, when Rick leads Carl, Jessie, Sam, and Ron through a horde of walkers only to have things collapse in a truly horrifying manner. I won’t spoil exactly what happens in case you haven’t seen it and I recommend not watching the video below it you want to remain surprised.
For those of you who do know what I’m talking about, a behind-the-scenes video has been released that interviews the cast and crew about that particular scene, from how it was constructed to the thoughts running through everyone’s mind.
“The Walking Dead” will see the sixth season hit home video formats as well as digital HD on August 23rd.
A24 has dated The Monster for a DirecTV premiere on October 6 with plans for a theatrical run in November.
Originally titled There Are Monsters, the film was directed by Bryan Bertino, who was the writer, producer, and director of The Strangers, as well as the criminally underrated Mockingbird.
Starring Scott Speedman (Underworld), Aaron Douglas (“Battlestar Galactica”), Ella Ballentine (The Captive), and Zoe Kazan (In Your Eyes, Fracture), The Monster focuses on a mother and daughter who are trapped and tormented by a ruthless creature.
A24 has been kicking ass having been behind The Witch, Green Room, Swiss Army Man and the forthcoming The Blackcoat’s Daughter.
“From the creator of The Strangers comes a world of the lost; freezing, spitting needles of rain, thunderbolt lightning, hypothermic cold and disorientating utter darkness.
Mother and daughter trapped and tormented in a black forest by a screeching creature – it is unlike anything we have heard before. Not human. Not animal. Like a thousand horses, like a mother’s clamour, a baby’s wail, a father’s howl.
Their relationship at breaking point, 10-year-old Lizzy is all out of faith in her mother Kathy but tries to stay brave and fearless. Kathy, on the edge, barely keeping it together, knows that only a mother’s protective love, her most primal instinct, can save her daughter from what’s lurking in the darkness…”
Nirpal Bhogal’s Firstborn is described as an evocative horror about the reality of the supernatural world encroaching into our everyday lives, threatening our homes and family. Taking as its inspiration, the seminal horror films of the 60s and 70s, it is also said to be a chilling insight into the sacrifices we must make when we bring a new life into this world.
After having its UK premiere at the Edinburgh Film Festival, it will arrive in theaters and on VOD October 14 with a DVD release days later on October 17.
Charlie and James are just starting their lives together; young and in love, they’re relishing having no responsibilities, until Charlie discovers that she is pregnant. In a moment of youthful abandon, they decide to keep the baby.
Into their world comes Thea, a beautiful little girl. But her arrival brings with it terrifying entities that threaten their newly formed family, things that are beyond their understanding. Panic stricken, the young parents enlist the help of James’ estranged father Alistair, a dilapidated would-be occultist whose obsession drove his family apart and led his son to despise him. He diagnoses Thea as a beacon – a child whose very presence attracts the attention of the supernatural creatures that surround us. Charlie and James realise that they must dedicate their lives to protecting their unplanned daughter.
On the heels of Lionsgate’s Vestron Video Collector’s Series announcement, we thought we’d take a trip through the company’s VHS library to see what might be in store for future releases.
Right now, Chopping Mall, Blood Diner, C.H.U.D II, Waxwork I & II and Return of the Living Dead III have all been announced. But since Vestron was one of the most prolific video companies distributing movies through the 1980s, there’s a wealth of forgotten horror out there just waiting to be exhumed.
Of course with boutique labels like Arrow Video and Shout! voraciously scooping up all kinds of rights for cult titles to distribute (some that were originally Vestron), it’s hard to get a handle on which movies Lionsgate actually controls. And since Vestron Video also owned Lightning Video, which distributed a ton of B-movie titles into the 1990s, do any of those releases make the cut? The research continues…
For now, go back in time and peruse Vestron Video titles as they originally appeared on video store shelves.
The film stars Bill Cobbs (Night at the Museum), Richard Grieco (It’s Always Sunny in Philadelphia, 21 Jump Street), Eddie Steeples (My Name Is Earl, Raising Hope), Aurora Perrineau (Jem and the Holograms, Equals), Diahnna Nicole Baxter (Scandal), Gerald Webb (Criminal Minds: Beyond Borders, Sniper: Special Ops), Melvin Gregg and is directed by Christopher Douglas-Olen Ray (Mercenaries). The diversely cast horror film premiered at the Burbank International Film Festival to rave reviews taking top honors as the Best Horror Feature.
In the film, Ben and Linda Williams move the family into a dream home in a last ditch effort to save their troubled marriage. Despite their good intentions, they cannot shake the feeling that they are being watched by something. Their unimaginable fears are realized when things inside the house take a supernatural and sinister turn. Ben and his family flee for their lives, but it is too late. The house isn’t finished with them, trapping the family in its labyrinth. The Williams must come together as never before to fight for their family, their lives and to escape.
Sun Choke, a new thriller about a woman who becomes obsessed with a stranger as she attempts to recover from a violent psychotic break, opens in theaters this Friday (and is currently available on iTunes and VOD). The film’s director Ben Cresciman took some time to chat with me ahead of the film’s release.
Bloody Disgusting: Sun Choke deals with mental health. Where did this inspiration for this story come from? Has mental health always been a subject you’ve had interest in?
Ben Cresciman: I’d say it’s less an interest in mental health, than mental states. Mental health presupposes a binary of good or bad, healthy or unhealthy, that I felt it was important to stay away from. I think that Janie, in the moments she appears most unwell, are the in fact moments she feels most like herself. I’ve always been interested in people struggling at the margins of personality and society, clawing and fighting to find space for themselves in the center.
BD: I’ve yet to see Sun Choke yet but it looks incredible and the reviews have been overwhelmingly positive. As the writer/director, what is it like to see these positive reviews and comments rolling in?
BC: It’s tremendously validating to see people connecting to the film; feeling disturbed and intrigued and moved in all the ways we’d hoped when we were making it.
BD: This is your second feature now. Was there anything different about this second time around? Was it easier at all or still just as hard to make a feature film?
BC: Everything. Bigger budget, more challenging schedule, higher stakes. My first film was in many ways an experiment in – can I make a film? There were no specific expectations. Hopes and dreams certainly, but it was primarily about the process. The second time around I was making this film. It wasn’t just about process, but product as well.
Having made one film already, I did have an inkling of who I’m becoming as a filmmaker, and that basic sense of – well, I did it once, I can do it again. Beyond that, it was harder in every conceivable way. But the challenge is half the fun.
BD: Barbara Crampton is a legend. What was it like to work with her?
BC: Fantastic. Barbara is most definitely a legend, and more crucially, she’s an immensely talented, committed, and generous collaborator. There’s a lot to balance in this role, and Barbara really understood all the contradictions that made up the fabric of this bizarre personality. She was able to articulate the truth of the character, and leaves it up to the audience to make their own decisions about whether or not she’s really the villain of the story. One brief anecdote. We were shooting a very quiet, emotional scene between Barbara and Sarah Hagan, and first take, after we cut, you could hear a pin drop. I looked around to see at least two crew members with tears in their eyes. It was incredible. We didn’t need to, but we did a second take for safety. And that’s the take we used in the film, because it was even better.
BD: When audiences sit down to watch Sun Choke, what do you hope they take away from the viewing?
BC: It’s hard to know where to begin, because I’ve learned and taken so much from the experience of making the film. I’m so proud of the work of my collaborators, and I think most of the big take aways are rooted in their contributions. Sarah Hagan’s masterful balance of intimacy and insanity in the lead role; Barbara Crampton as I don’t think anyone has ever seen her before; Mathew Rudenberg’s beautiful and bracing cinematography; or Bryan Hollon’s exquisitely terrifying original score. I could go on and on, but those are just a few of things I continue to take away from Sun Choke, and the experience of making it.
Well my #1 suspect got killed off tonight, so I have no clue as to who the killer can be. My bruised ego aside, this was one of Scream’s strongest episodes of the season and the main reason is because it narrowed down its focus to a few core characters. The entirety of the episode focused on Noah and Zoe’s kidnappings, with the occasional drop-in on Acosta and Maggie. This focus allowed Scream to actually tell a suspenseful story. It wasn’t perfect, but it sure was entertaining.
It was fairly obvious from the get-go that Zoe was going to be a goner this episode. While I wouldn’t put it past Scream to go yet another week without adding to the body count, it was reasonable to assume that either Noah or Zoe was going to die. Zoe has been a problematic character this season because she just hasn’t been that compelling of a character. In the early episodes of the season her scenes felt shoehorned in until her romance with Noah started developing. Kiana Ledé has been fine in the role, but her chemistry with John Karna hasn’t ever gelled on screen, with the buildup to their sex scene last week being the only time their relationship wasn’t grating.
Still, it’s hard not to feel bad for Noah in this situation. The circumstances surrounding Zoe’s death were a tip of the hat to the *SPOILER ALERT* “It’s not live” ending of Saw II and the *DOUBLE SPOILER ALERT* buried alive ending of The Vanishing, where the episode gets its namesake. The first woman Noah ever loved was taken from him so quickly. How he handles Zoe’s death will be anyone’s guess, but we’re most likely in for a very different Noah after this.
Noah’s kidnapping scene was a nice little homage to Randy’s death from Scream 2, right down to the spinning camera. Kevin Kolsch and Dennis Widmyer (the directors of Starry Eyes) did a great job nailing the intensity that the characters were feeling by mirroring the camera movements with their emotion. Bringing them back to direct another episode wouldn’t be the worst idea. Frequently cutting to Noah in the coffin exposed my cleithrophobia (yes, it’s different from claustrophobia), but I could have done without the Zoe hallucinations. It’s easy to see why they included her (to give Ledé more to do and emphasize Noah’s attraction to her to make her death more impactful), but it wasn’t necessary.
The majority of the episode was spent with Audrey and Emma, as they worked out their differences whilst hunting for Noah. Audrey confesses that she knew Piper was Emma’s half sister the entire time, which almost makes you want to go back and watch the first season and watch Taylor-Klaus. With this information, it’s more understandable that Audrey was so terrified of telling Emma about her relationship with Piper (and that she was mad at Emma for breaking her heart). It still doesn’t completely justify her childish behavior all season, but it makes it somewhat more tolerable.
We didn’t get to spend much time with Acosta and Maggie this week but we did get to see some flashbacks to their teenage years. It turns out that he helped Maggie bury a knife that Brandon had used to kill someone. Not much more information was given so it’s not exactly the most compelling part of the episode, but at least he found the killer’s lair in the farm house. Maggie revealed how she would communicate with Brandon as a child: by placing notes in the tree outside her house. In the present, she places another note in that very same tree in an attempt to save Emma’s life. This should be a touching moment, but it just enforces the idea that Maggie is a terrible parent who has barely been around all season (seriously, why isn’t she watching Emma like a hawk?). If your daughter is being stalked by a psychotic killer, maybe you should skip town until he’s caught. Don’t be placing notes in trees. That’s a little too passive for a situation of that magnitude.
“The Vanishing” gave us the best episode of Scream in weeks. Let’s hope it can keep up the momentum for the season’s final two episodes.
- Next week’s episode is titled “Heavenly Creatures“, after Peter Jackson’s most underrated film (it stars a very young Kate Winslet) and is directed by Jamie Travis, who directed the very underrated sex comedy For a Good Time, Call… That’s a weird pairing, but I’m intrigued to see what results from it.
- Eli witnesses Maggie placing the note in the tree. That can’t be good.
- That shot from inside Piper’s chest cavity was pretty neat, wasn’t it?
- “Long time listener. First time caller.” -I didn’t realize this was Noah’s first call from the killer. It’s about damn time!
- “How are my favorite final girls?”
- “He killed a hotel clerk just to prove a point!”
- Audrey looks around Noah’s room for two seconds before saying there’s too much stuff and it’s impossible.
- “Somebody’s living in that pig farm.” -This is just a phrase that sounds funny when spoken so seriously, but Fitzgerald sold it.
- “Well that’s not ominous.” -Audrey, on the scythe locking the doors to the pig farm.
- “You go outside and look in that field of daffodils and I’ll stay and look here.” -I cannot be the only one laughing at these lines, can I?
- Only two episodes left in the season everyone! Since my #1 Suspect was killed, who do you think is the killer now? I really don’t think it’s Gustavo (too obvious). Maybe it’s Aunt Tina? Whatever happened to her subplot with the mayor? She just disappeared off the face of the earth.
I recently watched and reviewed Dangerous Men and I basically called in the most incompetently made movie I’ve ever seen, but it’s still manages to be a lot of fun and really enjoyable. Field Freak, also known as The Monster Outside in some parts of the world, is technically (I think) a better made movie than Dangerous Men but it is without question the worst movie I have ever seen in my life. I am not exaggerating when I say that either. This movie is bad, bad, bad and it is not fun in the slightest bit.
A family relocates to a secluded in the cabin in the woods so the father can finish writing his book. Or maybe he’s writing a screenplay. I can’t remember but the point is he’s writing and his hope is that he can get it done quicker now that he’ll no longer have the distractions of city life.
At first the move seems perfect. The cabin is really nice and their cabin is located in a beautiful part of the woods. Their small son is not so happy at first, having to leave his friends and all, but eventually even he comes around and things are looking up.
Things take a change when something begins to harass the family. While home alone one day the mother sees a Big Foot-like creature outside her window. When her husband comes home she tells him what he saw. He doesn’t believe her at first but eventually he too sees the creature and they decide to fight back.
I knew virtually nothing about Field Freak when I put it on. I didn’t even know Field Freak was the original title. Perhaps had I been aware of the movie’s dumb title I would have been better prepared to watch this garbage. I have the German Blu-ray in which the title is The Monster Outside, a pretty decent title. Naturally that’s the only bit of information on this release in English. So I had this along with the artwork (see below) to go by before watching the movie.
I expected a low budget, but serious attempt at a Big Foot creature feature. Oh how I was wrong.
Field Freak of The Monster Outside or whatever the hell you want to call it is in no way a serious attempt at a monster movie. The real attempt here is to deliver a comedy in the guise of a monster movie. That would be fine if this were funny. It is not.
The monster’s costume is horrendous. It’s clearly a guy in a suit and not a very good one. It looks like a Halloween costume of a Big Foot that you’d get at Big Lots. Now if this movie were actually funny I’d totally be down with this costume, but I once again repeat that it is not.
The problem isn’t just that the movie fails to be funny (or scary) either. The real issue is that it fails to be funny while thinking it’s hilarious. There wasn’t a single moment in this movie in which I laughed. Not even a chuckle. In fact I don’t think I even cracked a smile. How does that happen? I can find humor in most things but not this. This was an absolute chore. Willingly watching Field Freak is the most horrible form of self torture you’ll ever find.
I don’t write scathing reviews often. I always try to find something positive in every movie I watch. It’s hard as hell to make a movie so I always want to give the benefit of the doubt when possible. But this movie man, this movie just feels lazy to me. It feels like a rough draft of an idea that was haphazardly put together.
It’s certainly possible that the filmmaker has a totally different sense of humor than I. Maybe to him this movie is hilarious. If so, that’s fine. Filmmakers should be doing what they love. But I struggle to think this is a best effort and because of that I can’t recommend this movie to anyone.
If you are still interested (you really shouldn’t be interested) in the movie for some strange reason, the German Blu-ray from Tiberius Films is fine. It is a region B Blu and there’s no special features but the picture quality and all that jazz is fine, I guess. It’s tough to even say the picture quality is good when the movie is so bad, but there didn’t seem to be anything wrong with the picture quality so I guess that’s a positive. Oh and the artwork, while extremely misleading (classic VHS move), is pretty good.
Field Freak (The Monster Outside) is available on Blu-ray from Germany’s Tiberius Films.
Writer/director Eli Roth (Cabin Fever, Hostel) has apparently been secretly working on a sci-fi/horror film that he’s now announced as Mission: Fear. He’s even released a super cheesy teaser trailer, which can be seen below.
All we can learn from this teaser is that Roth made it, it’s coming out in April 2017 and that it’s set in space. Aside from that, nothing has been revealed.
If anyone has any clues, guesses, or theories as to what we’re going to experience, definitely let us know in the comments!
I can't keep this quiet any longer! Super secret no more. MISSION: FEAR is coming soon! pic.twitter.com/0gVgj2HEAx
— Eli Roth (@eliroth) August 2, 2016
It’s unusual that we should see so many new releases in the 2-3 months (usually June-August) that are usually reserved for the dreaded Summer Draught. It’s like The Purge, in that it’s become another unwelcome annual tradition that you can choose to endure in relative safety behind a locked door, or outside, where the sunbaked crazies wander about slowly roasting themselves. I expect this guide to the horror games of August will go completely unnoticed by the latter group, but I hope it’ll prove useful to my indoor-inclined brothers and sisters. Alright, let’s get started.Lethe – Episode One
After a relatively lengthy hiatus from the public spotlight, developer Koukou Studios has kicked off the month of August with the debut of its episodic first-person horror game Lethe. Only time will tell if its premiere, dubbed “Anomaly”, will feel like the Amnesia-inspired game that it is, or the superhero origin story that its psychokinetically gifted protagonist might turn it into.
Release Date: August 1 (PC)Layers of Fear: Inheritance
In addition to giving us another helping of Bloober Team’s awesomely nightmarish game about the great and terrible things that can come from following your dreams, Layers of Fear: Inheritance will finally introduce us to the daughter we heard so much about when she journeys home in order to confront her past. This DLC has some replay value, too, as your decisions will determine which ending you get.
Release Date: August 2 (PC, PS4, XBO)Doom: Unto the Evil
The recently revived FPS classic Doom will receive its first paid DLC when “Unto the Evil” arrives, bringing with it three new multiplayer maps — Offering, Cataclysm, and Ritual — the UAC EMG Pistol, Kinetic Mine, hack modules, a playable Harvester demon, and even more customization options for your Doom marine.
Release Date: August 5 (PC, PS4, XBO)Emily Wants to Play
If you’re eager to get your jump scare fix, you needn’t look any further than Emily Wants to Play. That jerk Emily has been traumatizing many a pizza delivery guy on PC/Mac and mobile for months, and soon it’s unique brand of terror will head to the PS4, followed by the Xbox One later this year.
Release Date: August 8 (PS4)Doorways: Holy Mountains of Flesh
Developer Saibot Studios is nearly ready to finish what it started almost exactly one year ago with the release of the first part of the nightmarish horror adventure game Doorways: Holy Mountains of Flesh. When its third and final act, The Temple, rolls out this month, it will complete the Holy Mountains of Flesh story arc and take the game out of Early Access, as well as finally conclude the Doorways series.
Release Date: August 10 (PC)Phantaruk
It’s fitting that the H+ Corporation would choose the seemingly infinite abyss of deep space as the ideal spot to house the Purity-02 research station and its morally ambiguous experimentation with “the edge of humanity,” or transhumanism. This way, when science inevitably turns against us — as it does in the sci-fi horror game Phantaruk from developer Polyslash — no effort is required to isolate the situation.
When the Umbrella Corporation took the literal scorched earth approach to obscure its role in the outbreak that consumed Raccoon City, they almost certainly would’ve gotten away with their bad deeds if Raccoon City was just the name of some top secret space-dwelling research vessel. I guess they were just ahead of their time.
Release Date: August 16 (PC/MAC/LNX)Inside
Limbo developer Playdead is nearly ready to bring its atmospheric puzzle-platformer Inside to the PlayStation 4. The game has received considerable acclaim since it arrived on the Xbox One in June, followed by a release on Steam in July. Much like the studio’s previous game, this is absolutely a must-play.
Release Date: August 23 (PS4)The Other 99
Imagine waking up alone and isolated on a mysterious island, armed with a cryptic note, and nothing else, to help you return to the life you were suddenly forced to leave behind. Now imagine that note has only one line, and it reads “The only way off the island is through The Other 99.” Such is the jarring way in which the first-person survival game The Other 99 introduces players to its relentlessly Darwinian world where only the strongest survive.
Release Date: August 25 (Steam Early Access, followed by PS4, XBO)Resident Evil 4
Back in February, Capcom let us in on its plans to update the last three installments in the main Resident Evil series to the PS4 and Xbox One, along with all their respective DLC. We’ve watched this happen in reverse-chronological order, starting with RE6 in March, followed by RE5 in June, leaving it to the Resident Evil 4 port (these can hardly be considered remasters) to bookend this latest onslaught of disappointingly unimaginative re-releases.
Release Date: August 30 (PC, PS4, XBO)Chernobyl VR Project
When the Chernobyl VR Project released on the Oculus Rift last month, it wasn’t quite finished. That’ll change later this month when the final release rolls out on the Rift, alongside a more “advanced and extensive version” for the HTC Vive. The Chernobyl VR Project stands out from the majority of other virtual reality titles because it combines the interactive nature of video games with movie narration software to give players the chance to freely explore and learn more about the Chernobyl Nuclear Power Plant meltdown that transformed nearby Pripyat into a ghost town overnight.
Release Date: TBA August (HTC Vive)The Works of Mercy
Unlike the majority of its competitors, The Works of Mercy favors a more literal definition of the term ‘psychological horror’, which the game’s sociopathic puppeteer weaponizes against the player by forcing them into a harrowing situation that’s designed to make any empathetic human being tremendously uncomfortable. It’s the video game equivalent to the film Would You Rather, inspired by genre classics like Roman Polanski’s Repulsion and Stanley Kubrick’s The Shining.
Release Date: TBA August (PC, followed by MAC/LNX, PS4, XBO)
Jessica McNamee, pictured in The Loved Ones, is set to co-star opposite Jason Statham in Warner Bros. long-awaited tentpole Meg. Chinese actress Fan Bingbing (X-Men: Days of Future Past) is also on board, Variety adds.
National Treasure helmer Jon Turtletaub will direct the film, set for sail on March 2, 2018.
The “Meg” movie is centered on an international underwater observation program, led by Chinese scientists, which comes under attack by an unknown danger. With its deep-sea submersible disabled and trapped at the bottom of the Mariana Trench, they need rescue. Statham will portray a former naval captain and expert deep-sea diver, who’s recruited for a likely suicide mission — even though he faced the predator years before and was forced him to abort his mission and abandon half his crew.
The story is based on Steve Alten’s novel “MEG: A Novel of Deep Terror,” published in 1997. The title is derived from the ancient Megalodon species that has survived while being trapped in the Mariana Trench due to a barrier of cold water.
The film will be co-financed by Flagship Entertainment; Gravity Pictures, a division of China Media Capital (CMC); and Warner Bros. Gravity Pictures will distribute the film in China, with Warner Bros. handling the film throughout the rest of the world.
Lorenzo Di Bonaventura, Belle Avery and Colin Wilson are producing. Executive producers are Wei Wayne Jiang, Barrie M. Osborne, Randy Greenberg and Gerald R. Molen.
The wait for the H.P. Lovecraft-inspired point-and-click survival horror game Asylum has been a long one. Longer than we, or even the talented developers at Senscape, initially anticipated when the game successfully raised nearly $120k on Kickstarter more than three years ago. We still don’t know when the Hanwell Mental Institute will have its grand opening, but until I hear otherwise, I’m going to continue expecting my invitation to arrive before the New Year.
Senscape seems very aware of the almost palpable levels of anticipation for this promising love letter to the ghosts of horror gaming’s past. In a recent update inspired by the makers of Doorways, the studio shared an interactive 360° panoramic window into the first of Hanwell’s 100+ rooms.
As far as I know, this image only works on the Asylum Facebook page — so all you have to do is click on the post below to begin your tour.
Asylum is slated for a release later this year on PC, Mac and Linux.
The 1988 horror slasher Pumpkinhead is the latest horror film to land on the “remake” table, although the man behind the updated version is trying his best to prove that his intentions are nothing short of honorable.
Peter Block, known as one of the executive producers of the Saw franchise, has obtained the rights to the Pumpkinhead franchise, according to EW, and he wants to bring the creature back from the cinema graveyard. He enlisted a young scribe by the name of Nate Atkins to write the script.
“‘Pumpkinhead’ is one of my favorite horror films of the late ’80s, early ’90s. Stan Winston sits on that Mount Rushmore of iconic filmmakers because of his creature designs, and that was his first directing effort. The creature’s great but the emotional story is wonderful as well,” Block explains.
The updated version is going to pay homage to the original film but only those who know the first well will catch on. “There’s a lot of Easter eggs for people who know the original — iconic shots and iconic lines that we’re going to use.” However, Block assures everyone that there is a purpose to this remake, stating, “…we’ve enhanced the setting, and we’ve expanded the characters somewhat, to give it a different kind of experience.”
Perhaps the biggest point that Block makes is that he recognizes the respect the horror community has for Stan Winston and practical FX, saying, “I am a big proponent of practical effects. That was the great thing about the original. A lot of the films I still respond to most today, it’s because of the practical effects. We think that it’s going to be a nice slow reveal, lots of scares and lots of action in the beginning, and a great creature in the end, which everybody should be able to look at and say, ‘Oh, that’s Pumpkinhead!’ It’s not like you’re all of a sudden going to find that it’s some amorphous, nebulous, CGI wispy thing. You’re going to know it came from the Pumpkinhead family lineage.”
In the original film, which starred Lance Henriksen (Aliens, Alien3), a store owner is overcome with grief after the accidental death of his son. Seeking out vengeance, he teams with a local witch to raise the entity known as “Pumpkinhead” so that those who cause him so much grief can suffer their own horrific fates.
The horror/thriller Clowntown has been picked up for a N. American release by ITN Distribution. It will hit limited theaters on September 30th and will be followed by VOD and home video formats on October 4th.
“‘Clowntown’ tells the story of a group of friends who get stranded in a seemingly abandoned town and find themselves stalked by a gang of violent psychopaths dressed as clowns. It is loosely inspired by the clowns who terrorized Bakersfield, CA in 2014.”
Directed by Tom Nagel and written by Jeff Miller (Axe Giant: The Wrath of Paul Bunyan), the film stars Brian Nagel, Lauren Elise (Help), Andrew Staton (Relentless), Katie Keene (Union Furnace), Jeff Denton (The Beast of Bray Road) and Greg Violand (Batman v. Superman).