The outstanding Perturbator album Dangerous Days is receiving a beautiful picture disc edition via Blood Music. The 2xLP, which goes up for pre-order this Friday, uses images from the album artwork, including a rare image from the comic book.
Only 100 copies will be pressed for the US and 150 for the rest of the world, so if you want one, you better keep a close eye on Blood Music this Friday at 10am EST.
Head below for the full specs as well as images of the vinyl itself.
* Pressed from the same vinyl plates as the original “Dangerous Days” 2xLP pressing.
* Blood red vinyl base layer (as seen around the edges).
* Side D features rare artwork that only appeared previously inside the “Dangerous Days” comic book, which sold out on the first day of pre-orders upon the album’s initial sale.
* Heavyweight “gatefold” picture disc polybag.
I’ve always supported Tom Six’s Human Centipede films, understanding exactly what his intent behind the shock value was. And because the first two films carried real social commentary to go along with a unique filmmaking style, they’re both winners in my book. But, with Human Centipede 3, it started to feel as if Six was forcing the issue, and instead of shocking with gore turned to being completely offensive. Even with a thin layer of social commentary it felt a bit hallow, and bordered on being actually racist and misogynistic. Furthermore, Human Centipede 3 looked like shit, and was a huge departure from Six’s beautifully shot predecessors. While I can look at all of this and get past it, following Six on Twitter has caused my stomach to church way more than any of his films were able to do. Not only does he retweet the worst of human beings, but he thinks he’s in some sort of “game” with the critics. And if he were to listen to the critics he would learn that he needs to reinvent himself, and push away from attempting to “shock” everyone. He’s become a one-trick pony who’s also becoming a parody of himself.
— Tom Six (@tom_six) May 23, 2015
During an exclusive interview with Bloody Disgusting, Six tells us what’s next, and it’s another attempt at shock-cinema.
“Again it will be a film that will explore the dark side. No romantic comedies for me,” said Six. “I am now in pre-production of The Onania Club, a very original, highly perverted black comedy that will shake up the world yet again.”
Previously, he had stated that the film will be “The most politically incorrect inhumane horror flick ever unleashed on mankind!,” also exclaiming that it will be worse than his centipedes.
Harking back to what I said earlier, I like Six’s work because there’s social commentary. But, with his third Human Centipede, the franchise started to fall into “mean-spirited” filmmaking, which I cannot tolerate. Knowing that Six is once again attempting to shock us all is just tiring, lame and sad. I can only hope there’s some actual substance behind his idea so it’s not just an hour-and-half of bad actors screaming obscenities like an 8-year-old trying to get his parents’ attention.
It’s time for Six to grow up.
Often hailed as “the scariest movie of all time,” the 1973 10-time Academy Award nominated film The Exorcist, which ended up winning two awards, is also perhaps one of the most famous and definitely one of the highest grossing horror titles. The film grossed over $440 million worldwide, which if adjusted for inflation would amount to nearly $2.35 billion!
Upon its release in 1973, theaters around the country were sold out for showings, leaving lines of people disappointed and waiting until the next available time. But for those who attended, they came out changed people. Their reactions, as well as a video showing the lines and another video that is basically a short documentary about the release of the film, can be seen below.
Personally, I never thought The Exorcist was that scary of a film, even though I genuinely love it. However, knowing that this is a Christian nation, I’m very much aware of why many would find it so chilling. I also appreciate everything that it’s done for the genre, such as the incredible FX work and the stellar writing.
Check out the official one-sheet for Gremlins, The Hole and The Howling director Joe Dante’s latest horror pic, Burying the Ex, which will be releasing on both UK and U.S. home video June 19th, 2015.
The horror comedy stars Fright Night‘s Anton Yelchin, Texas Chainsaw 3D‘s Alexandra Daddario, and The Apparition‘s Ashley Greene, and appears to be in the spirit of one of my all-time favs…Robert Zemeckis’ classic Death Becomes Her.
Dante previous directed The Hole, which is actually a really great children’s horror film.
Check out our report from the set here.
“Burying the Ex follows Max (Yelchin), an all-around nice guy, and his overbearing but incredibly beautiful girlfriend, Evelyn (Greene). Their relationship takes a nosedive after they decide to move in together and Evelyn turns out to be a controlling, manipulative nightmare. Max knows it’s time to call it quits, but there’s just one problem: he’s terrified of breaking up with her. Fate steps in when Evelyn is involved in a freak accident and dies, leaving Max single and ready to mingle. Max eventually meets Olivia (Daddario), a cute and spirited girl who just might be his soul mate, only to learn that Evelyn has risen from her grave and is determined to get her boyfriend back…even if that means turning him into one of the undead.”
This weekend creator Ryan Murphy told “American Horror Story” fans that “Veronica Mars” fav Max Greenfield, pictured below, has joined the cast of “American Horror Story: Hotel.”
Murphy, also revealing that the season is to debut this coming October, says that Greenfield will appear “like you’ve never seen him,” and while he’s checking in to the hotel…he won’t be checking out.
Evan Peters, Sarah Paulson, Lady Gaga, Chloë Sevigny, Wes Bentley, Matt Bomer and Cheyenne Jackson have previously been cast.
As for the missing regulars, Vanity Fair explains:
Regular ‘American Horror Story’ player Emma Roberts is busy with Murphy’s other pulpy project ‘Scream Queens’ but has said she thinks she’ll be joining Season 5 “at the end.” Another regular, Denis O’Hare, says he hasn’t officially been asked back yet, but that he signed a two-year contract last season so could be called up at any moment.
‘American Horror Story’ favorite Frances Conroy will likely be too busy with Jason Reitman’s new series to join in the fun for Season 5 and there’s no word yet on Lily Rabe—though she hasn’t said no—but if she came back to the ‘American Horror Story’ fold, I’ve no doubt she’d bring her dancing moves”
We have three theories about the plot for “American Horror Story: Hotel”: H.H. Holmes the Inspiration Behind “American Horror Story: Hotel”? | New “American Horror Story: Hotel” Theory: The Cecil Hotel | Wait, There’s Another “American Horror Story: Hotel” Theory: The Garden of Allah!
Filming will start in early July and is said to take place in modern day America.
Frictional Games has released another cryptic live-action video to get us all riled up for SOMA, their upcoming sci-fi horror game in which a man wakes up in the Matrix, only it’s not the Matrix because it’s an underwater lab and their are evil machines ruled by brain machines that used to be people? I think I now know what a stroke feels like.
Because Frictional wills it so, conspiracy theories have already started forming around this undeniably delicious nugget of news. Some say it’s hinting at a film adaptation, while others claim we can’t possibly know the truth yet because this is only part of the story. There’s also at least one guy who claims to be “too goddamn tired to follow all this crap.” If you think that last guy is an old fogey, watch some 90’s hacker movies, then go here and start rummaging through the ARG.
Back when SOMA was first announced — many years and forevers ago — its nebulous 2015 release window felt like a lifetime away. Now, here we are, halfway through 2015 and the game still doesn’t have a release date. Come on, Frictional! Don’t you want to give some downtrodden horror fans who are still mourning the loss of Silent Hills a bit of good news?
One of the freakier supernatural horror games I’ve played in some time is getting a standalone expansion titled DreadOut: Keepers of the Dark. Indonesian indie developer Digital Happiness made the announcement on their blog, while also confirming the DLC will arrive later this year.
Keepers of the Dark will introduce new ghosts — easily the most memorable thing about the original game — which will come with “their own specially designed battles.” That sounds like more boss fights. I’m game. The expansion will also add two new levels they had cut from DreadOut, as well as a third chapter that will center on Linda.
And if you haven’t played DreadOut, here’s something fun you can look forward to seeing, should you ever decide to give it a try.
“Eek! Leeches!” is what I plan on saying when I play Resident Evil Zero for the first time in what has most certainly been a very long time.
We first heard of the possibility that RE0 would be next in line for a remaster back in January, just before the arrival of the HD RE1 remake that originally released on the GameCube in 2002, and now it’s official. The game, which serves as a prequel to the original Resident Evil, is being remastered for PC, PS3, PS4, Xbox 360 and Xbox One.
Famitsu is reporting an early 2016 release for the Resident Evil Zero remaster, but that’s just for Japan. No word on other territories just yet.
Update: It’s confirmed! That early 2016 release date isn’t just for Japan!
“Harrow County” #3 builds off the previous issue’s reveal to offer the darkest look at human nature yet. Perhaps what could have been easily written off (but shouldn’t be – mind you) as a Southern Gothic comic builds to its most shocking moment this month. Emmy’s past horrors are nothing compared to what Cullen Bunn throws at her this issue.
WRITTEN BY: Cullen Bunn
ART BY: Tyler Crook
PUBLISHER: Dark Horse Comics
RELEASE: July 7th, 2015
Small towns – or rather isolated places tend to talk a lot about the people who reside within them. This creates a distinctly predatory environment where people are consumed for entertainment. It’s clear that Emmy is pursued because of what she can say. Words carry a lot of power against superstition and despite the ending of the last issue, this time around it’s human evil that poses the largest threat.
It would be easy to write off “Harrow County” as a typical monster filled affair. Here, though – in a world populated with unsightly horrors Bunn shows that man is the greatest monster of all. It’s a lesson that was present on almost every page of issue one. But, something that seems like an afterthought in issue two. This sleight of hand is a great tactic to show the reader the brutality of the world they’re in.
Emmy definitely shines through once again. This is mostly due to her perseverance in the face of danger. She continually gives echoes of any horror movies final girl. Yet, she’s about ten years younger than the average horror protagonist. It’s a unique and refreshing perspective that allows Harrow County to stand out.
Bunn layers his script with huge implications of the looming truth that has yet to be revealed. After the final page of this issue the reader has a much better sense of why Harrow County is such a fearful place. There are still plenty of questions left on the page. And really only half answers offered, but they are captivating in their emotional complexity. It’s an assurance that the story is in good hands from here on out. The script is afraid to linger in small moments to create something more than little girl versus monsters.
Now, Tyler Crook is becoming a quick standout for artist of the year on this book. Despite his insane process (which I’ll continue to praise until I’m dead) he manages to convey the most emotional moment of this issue with an irresistible simplicity. In a series known for grand and colorful displays of horror – Crook takes his talents and centers them on the human eye. He epitomizes the most horrific part of the issue around these “windows to the soul” and you feel it all. You can’t help but feel shivers up your spine in the climax of this issue. And, for an artist with his talents this reduction to a more complex human feature was not only needed but packs such a gut punch that his panels will linger with you for days after you close the final page.
With a narrative that only gets stronger with each separate issue “Harrow County” is easily the best horror comic on the stands. It reminds us what we’re scared of and it isn’t afraid to show us that even the most horrendous creatures can be beautiful.
Harrow County #2 continues to weave a chilling tale of Southern Gothic horror. Cullen Bunn manages to capture the youthful feeling of losing your innocence and empowers it. Emmy, is lost in a world she doesn’t understand, and instead of falling to pieces she’s determined to find out more. Even though this second issue is a touch more expositional than the last, Tyler Crook’s art is still jaw-dropping and the story is just as gripping.
WRITTEN BY: Cullen Bunn
ART BY: Tyler Crook
PUBLISHER: Dark Horse Comics
RELEASE: June 10th, 2015
Any horror enthusiast will tell you the same thing; good horror comes on strong out of the gate. But, great horror channels this initial taste with a slower more methodic descent into madness. The first issue of Harrow County certainly hits like a bazooka, throwing you into a world you can’t possibly explain in 22 pages. Luckily as Cullen Bunn and Tyler Crook begin to build their world they don’t sacrifice horror. This tricky balance weighs heavily on Emmy’s shoulders.
Emmy’s reaction to the world around her is decidedly different than most girls who find a skin suit in the forest. Instead of running for her life she embraces the madness. Bunn gives a taste of this with her dreams in the first issue. Here, however she’s putting herself into action and doesn’t seem at all phased by the horror of Harrow County. Her adventurous demeanor is the biggest reason that this issue succeeds.
Bunn’s script is heavy on world building and under a different writer would perhaps buckle from the pressure. But Emmy’s characterization provides a fascinating lens on the script. She’s still scared of her father, scared of her nightmares, and the town around her. But she finds an odd friend in the skin suit – so to speak. She’s strong and she’s not going to succumb to the horrors around her.
Tyler Crook’s process on Harrow County is so painstaking that it’s almost impossible to fathom. But, every single page of this book is a masterwork. His lines are clean and concise. His watercolors provide a muddy tone of horror and his color choices really make everything leap from the page. So much of this book’s appeal comes from Crook’s art. He creates a world unlike anything put on the page before, and somehow makes it look easy.
Bunn and Crook have built a terribly threatening world that looks inviting and beautiful. The art is haunting and seductive. The visuals lure you in, and betray you in the final moment. It’s appealing because it’s so fun to read.
Emmy’s quest to learn more about her small community is painted with an alarming amount of unspeakable horrors but remains fun to experience because of the emotional investment left on the page. Harrow County is the finest example of modern horror comics. It’s decidedly beautiful horror, a genre we get less and less of with each passing day. Don’t miss it.
The Wrap is reporting that “True Detective” director Cary Fukunaga is no longer attached to New Line’s film adaptation of the Stephen King’s It. Filming, which was to take place this summer, has been postponed.
The reason for Fukunaga’s departure is that he apparently was clashing with the studio regarding his vision and the budget that they were willing to offer. An example is that he wanted to film in New York, which has higher rates than other locations.
Originally, the project was to be done under Warner Bros. but it moved to New Line in recent weeks. A source told The Wrap that one of the reasons for the budget concerns may have been the lukewarm opening Poltergeist, which also heavily used a clown in their marketing.
Fukunaga’s vision for It was to create two separate films, one which tackled the protagonists as children and the second film to focus on them as adults. Will Poulter (We’re The Millers) was cast to play the villainous clown “Pennywise”.
We’ll be keeping a close eye on things to see what develops. As it stands, this is a sad day as it seemed that everything was in place for a possibly visionary take on King’s terrifying story.
The Nostromo sails on an empty black sea across a giant, star-sprinkled canvas, venturing away from the unknown, back to Earth; quiet, weightless. Dallas, Ripley, Lambert, Brett, Ash, Kane, and Parker make up the crew of this commercial towing vehicle, carrying twenty million tons of mineral ore back to the Earth’s crust. The seven crew members aboard sleep in their separate little cocoons like eggs waiting to be hatched, encompassed until they reach their final destination; lifeless for months in the dead space of the middle of the sky. The halls are empty and bleak, housed only by the program that runs deep in the ship’s veins, known to the crew as “Mother”. She watches over her little ones while they sleep, steering the way back home, and keeping an eye on the darkness the surrounds their small voyage. Suddenly, a small light flashes a peeping urgent message deep in the hollows of the metal walls’ core. A spark of life has announced itself in the vast blackness; the drowning echo of an S.O.S. call coming from another vessel far off in the distance. Mother jumps on the distress call and quickly wakes up her sleepy shipmates, who are quite upset when they learn that they are only halfway home. At the urging of their science officer, Ash, they decide to investigate the cry for help, although most of the crew is reluctant. Despite their brief moment of hesitation, they know that it is their job, as astronauts, and as Americans, to look into every possible opportunity to lend a hand, especially if the results mean furthering their growth on another planet that can support life. It is their duty as representatives of the United States to stake their claim in as many foreign lands as possible, even if those inhabiting it are alien.
It was only a few moments ago when the crew mates all ate happily together upon their awakening, telling jokes and spilling stories and making up for time lost in the dozens of hours spent in stasis, but now, they are here, answering a cryptic call echoed out from the middle of nowhere. When they arrive on this dark, windy planet, it seems as though it would be nearly impossible for humans to exist here. With vicious, ghastly winds, permeated with tiny specs of crystals whipping about, being outside in this environment is confusing and brutal. A few members are sent out into the fray to search for any humans that might have sent out the distress call, but from the look of the planet upon landing, it seems that death and disappointment is all that awaits them. Kane, Lambert, and Dallas go out into the storm to investigate, and in their travels, discover an abandoned spaceship positioned not far away, behind the whirls of sand, hiding in plain sight. Next to the massive LV 426, the members of Nostromo look no bigger than the grains of sand that slaps at their helmets. Upon entering, Kane finds a small hole in the floor, and ventures deeper into the belly of the beast. Down below, he finds a strange glowing mist about waist high, illuminating what looks to be hundreds of thousands of giant slimy eggs. Like a small child, his curiosity gets the better of him, and it’s not long before Kane begins poking at one of the eggs, and to his delight, finds a reaction. The top of the egg opens as if it were a banana unpeeling, and for a second, Kane is lost in pure science fandom-fueled joy. “He seems to have organic life!” Kane exclaims into his headset excitedly. But we must all pay for our curiosity, and in a mere seconds, the creature within screeches to life, springs itself at Kane’s face, and renders him helpless. After bringing him back to the ship, Lambert and Dallas call to Ripley to open the hatch in order to get Kane to the infirmary as soon as possible. After asking about Kane’s condition, Ripley denies entry, and says that the crew members must obey quarantine protocol. Dallas and Lambert are furious, but Ripley argues that it’s for the good of the crew; that they can’t risk bringing an infection onboard that could put everyone else in jeopardy, but before she’s even done dueling out justice, Ash has already let the three back onboard, and they hurry Kane to the medical center. A simple assumption wherein humans instinctually believe that they are the superior beings to any kind of outside force will prove not only foolish, but fatal.
As an imperialist nation, America is defined by its need to conquer, expand, discover, and claim every achievement and piece of land that it can. Our craving for manifest destiny is no longer restricted to the limits of North American soil; it even extends as far as outer space. Therefore, if an alien species makes its presence known, as a nation, it is our duty to be the first to shed light on its existence, and quickly claim it; trademark it in some way to let everyone know that it belongs to us, and to us alone. Always in competition mode, and always sniffing out the next opportunity, it’s no wonder that when a signal of alien life reveals itself to the Weylan-Yutani company, they quickly forces their crew to investigate, knowing full well that the humans may be obliterated in the process of trying to bring back the foreign specimen. The crew awakens at the beginning of the film in egg-like quarters, reporting to a superior called “Mother”, a program controlling the giant life-giving vessel that each of them resides in; like little joeys resting inside the warmth of a protective kangaroo pouch. The LV 426 alien planetoid that the crew inspects not only houses its beings as well, like a humongous maternal figure, but it is even shaped like the top of a Y; mimicking a woman’s fallopian tubes. Inside, hundreds of eggs grow at the base of the structure, waiting patiently to be born, until the day that a human male stranger strolls over and abrasively reaches his hand inside of one of the delicate shells. Both ships symbolize different colonies, with Nostromo representing America, just as any craft coming out of our country would in space, and the LV 426 representing a foreign nation that we wish to conquer; heroes claiming a spot in space when the world has run out of free land. Of course, as Americans, we assume that we will overpower our competitors, and easily dismantle any that would dare challenge us. However, when the gang encounters this unknown species, they will learn that colonialism and curiosity come with blood, sacrifice, and loss, all in the name of elected representatives who would never dare to get their hands so dirty. Ultimately, Alien provides a cautionary tale of what can happen when our need to probe and examine and capture outweighs our humanity. In a way, the xenomorphs are merely fighting back, and defending their home against the trespassers that seek to steal them.
A commentary on imperialism is not the only quality that makes the 1979 Alien stand out. While working on the film, director Ridley Scott constantly stressed the importance of making the movie frightening, and keeping it horror-centric, a trait that deems it unique in comparison with the rest of the Alien franchise, which is largely based in action-adventure. Scott advertised the movie as being “The Texas Chain Saw Massacre of science-fiction”, aiming to meet the tension and the pure ferocity of Tobe Hooper’s 1974 cult classic. Although aesthetically, the two films feel worlds apart, the feeling that emits from both is one of relentless suspense. Alien is an exercise in sheer terror, swapping out the rustic, creepy strangers of the south for a different kind of hungry animal; one that moves about unnoticed, pouncing when its prey is alone, and quickly recoiling into the air vents with its new prize following along limply in its grasp. Being so far away from home, up in space, where no one can hear you scream, is enough to drive a person mad given enough time. The isolation and solidarity that come with trekking into a world beyond our own can be overwhelming — a punch in the gut to anyone who thinks they’re sick of humanity; ripped out of the crowd and thrown into a machine with thin walls that keep the death from flowing in. The mere idea of space travel is terrifying, but to partner this long journey from home with a predator lurking in the corridors of the ship is to trap a mouse within small confines and watch as the snake swallows it whole. At one point, Ash calls the xenomorph a “perfect organism”, and he’s right, but perhaps not for the reasons he thinks. The xenomorph, although beautiful in its appearance, is a superior being to humans because it is so completely basic. The species has no ultimate agenda; no end goal to wipe out humanity or take over the world, or create an army and unleash war against its neighbor. The xenomorph is simply a preditorial being that seeks to hunt, kill, eat, and reproduce. It is emotionless, with an acid layer laying just beneath its surface skin, preventing those who would seek to harm it from succeeding, and thus becoming, the ultimate assassin.
Screenwriter Dan O’Bannon met H.R. Giger on the set of Jodorowsky’s Dune, and was immediately impressed with his dark and distinctive artistic skills. When the project fell apart, and O’Bannon began shipping his Alien script around (known then as “Star Beast”), he met up with Ridley Scott, and introduced him to Giger’s work almost instantaneously, to which Scott responded very positively. Scott said he wanted the look of his alien to mimic the appearance of Giger’s 1976 painting “Necronom IV”, a piece which SFX maestro Carlo Rambaldi followed very closely. Despite the studio’s hesitation to work with Giger, and many people involved in the production being afraid of Giger and his sexually aggressive artwork, Scott stood firm on his decision to combine his artistic vision with the man who would go on to win an Academy Award for the film in 1980 in the visual effects category. H.R. Giger has always been a true master of horror, leading the pack in inventive monsters with the rest of us just lucky enough to bathe in his afterglow. His xenomorphs aren’t just frightening extraterrestrial creatures, they are your fears, gathered from the deepest, blackest pits of your mind, personified. Starting from when they are babies, ejecting themselves from their eggs onto a human’s face, impregnating an unwilling participant, until the offspring growing inside of the living person’s chest bursts through, killing the incubator in the process, and skitters off aimlessly, shedding its skin and avoiding attack, until it grows up. Standing at over seven feet tall, the adults exhibit phallic heads eject a smaller phallic tongue-like organ that plunges into people’s skin and penetrates their systems, ripping them up from the inside out. The teeth on this tiny seemingly sexual organ suggests a vagina dentata, signaling that this figure could be male or female. The alien’s skin is black and tight, like a latex suit stretched from head to toe; a sexual predator waiting under cover of darkness to strike. Through its symbolism, the xenomorph does not distinguish between sexes, it merely attacks; a disturbing notion for the male audiences exposed to this film. In fact, most of the victims in this movie are male, making it oddly feminist, in a genre where women are usually the ones who fall prey to sexual abuse and death.
Aside from its choice in victims, the feminism of Alien mostly lies in its victor, female senior officer Ellen Ripley. Ripley is even more meaningful than the final girl who was resourceful enough to escape her killer, she’s that hero that has the female audience waiting around for a second coming. That woman who was smart and strong and capable from the beginning, but rose to the challenge and defeated her oppressor in the end. She’s the woman who refused to be bossed around by a man, but but respected her fellow officers, and still fought valiantly for everyone on her crew, even the ones whom she quarreled with earlier. Ripley is an impressive, realistic, hopeful addition to female characters that’s written brilliantly by Dan O’Bannon because it is written for a man. Many of the crew members were interchangeable as far as genders go, with O’Bannon telling producers they could change out many of the members as either male or female. What he never predicted, however, was that Ridley Scott would cast Sigourney Weaver as Ripley. However, in his short-sightedness, O’Bannon actually crafted one of the most important women in film, even to this day, because he didn’t change her to meet what he considered a woman to be like. In order for there to truly be another Ripley, the part must be written first, for a man, because only then is the character completely treated like a person. Luckily, Ridley Scott could see what O’Bannon could not, and in the process, gave female fans someone to look up to; a worthy name to add to the list of impactful female characters. A list, which thankfully, is only growing longer and longer as time goes on and film evolves with the turning of the world.
The ship carrying the humans, called Nostromo, has a very fitting name. It is named after a a novel written by Joseph Conrad, about a man named Nostromo who’s used as a tool by the rich old men of Sulaco. Although is never allowed to join their elite rank along the other prestigious men of Costaguana, Nostromo carries out special duties for these gentlemen, hoping that one day, his efforts will pay off, and he will finally be recognized. The current dictator of Sulaco is tired of revolutionaries trying to steal his silver out from under him, so he orders Nostromo to hide the pieces out at sea. When he is attacked during his transport, Nostromo leaves the silver on a nearby island. Because everyone believes the money was lost at sea, Nostromo is never asked to return his fortune, and sneaks a bit off of it off of the island each night, piece by piece. The paranoia of keeping such a heavy secret eventually drives him insane, along with the fact that he has yet to be acknowledged by the men who constantly order him around. His need for recognition ultimately leads to his corruption, as his leaders destroy the very part of him that made him so effective: his purity. It’s funny how the commercial towing vehicle in Alien is named Nostromo, considering that everyone aboard is used as a tool by Weylan-Yutani to fetch their alien species and bring it back to Earth, dubbing the crew “expendable” in the process. More than anyone else, Ripley Nostromo, as she serves as the boatswain of her ship, not quite captain, but still ranked high enough to give orders. Ripley’s advice is always being ignored, her opinion overshadowed, and her logic discredited, and after the company’s alternate motive is revealed, even her life is tossed aside like yesterday’s trash. Her complete lack of recognition and betrayal by her peers, and by her employers, ultimately leads to Ripley’s breaking down as a character, and being built again; reborn as a warrior, a hardened shell of the person she once was; and a more perfect reincarnation of the person she must become.
We recognize that there are plenty of incredible comics competing for your cash, but there can be only one HORROR COMIC OF THE WEEK. This week, the honored editor’s choice designation belongs to surreal horror of “Pisces” #2 from Image Comics.
“Pisces” sees Kurtis J Wiebe (Rat Queens) and Johnnie Christmas (Sheltered) plunging war veteran Dillion Carpenter into a murky haze of memory. It’s a story about our past. Dillion can’t seem to escape his haunting memories. He’s not a good man, and Weibe constantly reminds us of it. But, there’s a method to the madness.
Issue 2 sees Christmas at his personal best. Absolutely changing the landscape of the page into a surreal exploration of space and place. Dillion finds himself lost in the middle, and as a reader there is no greater feeling than the page turn in horror comics. Pisces manages catch you off guard and leave’s a lingering pit in your stomach by the final page.
Pisces #2 hits finer comic shops on May 27th, 2015.
Nearly 33 years ago, director John Carpenter was one of the special guests featured on Late Night With David Letterman in order to promote his (at the time) upcoming film The Thing. It’s a really nifty interview with Carpenter being quite charming in his answers. It’s also great when Letterman asks if Carpenter would have had a child, would he allow them to watch The Thing. Carpenter’s answer is spot on and places the responsibility of such decisions with the parents, which is where it should lay.
One thing that made me cringe however was during the farewell when Letterman stated that he was sure the film was going to do very well. Alas, it wasn’t the box office sensation that it deserved to be. However, it lives on as one of the greatest horror films ever released.
Well, you can’t say Salem doesn’t know how to keep its promises. “Dead Birds” had a lot of dead birds in it. Apparently, they like to fly into Baby John’s window when he’s angry. It doesn’t look like much but Tituba is extremely freaked out by it, so it can’t be good. Anyway, “Dead Birds” was kind of a slow burn episode, the bulk of which was spent trying to find Countess Marburg’s weakness (though Lucy Lawless was absent this week). It wasn’t one of the season’s strongest episodes, but it was necessary as we head into the final third of the season.
Much of this episode was devoted to Cotton, as he finally received closure from his father. I’m assuming this is Stephen Lang’s final episode, and if it was it was a sweet send-off for him (who would have thought the word sweet would ever be associated with Increase Mather?). This episode and last week’s episode will probably stand out as “The Increase Mather Variety Hour” when this season is discussed later, but I’m okay with that. It was a fun way to bring Lang back, and seeing his final scene with Cotton (and Mary) was very touching.
Cotton went on his own little adventure with Wainwright as well. After finding the Malum and seeing the crags-turned Hellfire pits, Wainwright puts everything together and links it to Mary. In one episode, Wainwright has become one of the most interesting characters on the show (and its biggest wild card). Mary is in desperate need of an ally, and while Wainwright wouldn’t have been my first choice, his speech to her to let him in was a great one. It was surprising (at least to me) to hear him side with her. Then they had drug-induced sex, so there’s that.
Mary got to show a truly vulnerable side with Baby John this week, once Mercy had turned him against her. Baby John is has not been my favorite part of this season, as he seems to be following many of the standard “creepy child” tropes we all know so well. He draws creepy pictures, causes birds to commit suicide, uses foul language, might be possessed by the devil, etc. Now that he is in Marburg’s grasp, he (like Mercy) might become significantly more interesting.
Finally, we have Anne, who has become real adept at killing animals this season. After an impressive moment of showing a backbone to Sebastian (let’s she if she can do the same with Marburg, though), she doesn’t give a second thought to ripping the head off of a chicken (seriously, calm down Anne) to open up her father’s secret room. After killing Brown Jenkins (AGAIN) to open her father’s Book of Shadows, her desperation becomes very apparent.
Anne’s arc has been one of the more interesting aspects of the season. Last season she came across as a whiney brat, so it’s good to see her taking charge of her own life. Also, she grew a brain this episode! After cutting herself and realizing that her blood would not reveal the book’s secrets, she scraped her father’s dried blood off of the wall (ick) and rubbed the flakes on the pages, only to see words and images start to appear.
“Dead Birds’ wasn’t a spectacular episode of Salem by any means, but it had enough going on to make it entertaining. Since this is the episode leading into the final third of the season, a lot of set-up is expected. Hopefully next week gets to the good stuff!
- The Countess was apparently alive when Lucifer fell and has died and been resurrected many times. So this basically means Lucy Lawless will always have an “in” with Salem, right? RIGHT?
- John does absolutely nothing this week except stay tied up and fuck Tituba. It’s an undeniably hot scene, though. I had to have a glass of wine after.
- “I gave you leave to spy on the Countess. Not haunt the streets of Salem like some ghost from a cheap ballad.” -Not Mary’s best singer, but it made me chuckle nonetheless.
- “Give me the book or I will bathe my mother in your blood.” -You’ve got to give Salem points for originality. I don’t think these words have ever been said on TV (or film for that matter).
- “If you were so concerned about my son, here’s a task most suited to your skills. I’m sure one as cunning as you can find a way to remove bird shit from his linen.” -Poor Tituba. Mary really does treat her terribly.
- “Oh it is not death, man. Merely marriage!” -Wainwright, ever the wordsmith.
- “My friend doesn’t like you very much. She says underneath your pretty face you’re a horrid old hag, and that you kill people all the time. And she called you…what was it….oh yes…a filthy whore.” -For some reason, I just think “whore” is a funny word. So hearing a child say it made me guffaw.
- “Open your eyes woman. It is me, Wainwright. I’m not a Puritan. Indeed I’m not a Christian. No, my religion is science.” -All hail Wainwright!
It’s a real shame that most filmmakers don’t put in the effort for opening credit sequences anymore. Sadly when movies stopped having opening credits, thanks to the summer blockbusters of 1989, they also stopped having interesting title sequences.The Shining
Sure, it’s obvious but that doesn’t stop the hair from standing up on the back of my neck every time I watch it.Night of the Demons Psycho Blacula Alien A Nightmare on Elm Street
In addition to loving this title sequence, I also really miss that kick ass New Line logo!
Look, I’m not going to pull any punches here, okay? The horror genre, while being incredibly inventive and revolutionary is also the victim to some of the most glaring and annoying cliches. They’re repeated over and over again, eliciting groans and rolling of eyes because of their lack of originality and banality.
So let’s take a look at a few of these, shall we? Ahead are a few of the horror cliches that I really can’t stand. After you’re done checking them out, why not leave a few in the comments below!
According to WelcomeToTwinPeaks, the third season of the cult TV show “Twin Peaks” has been doubled in size, growing from 9 to 18 episodes! Additionally, composer Angelo Badalamenti is returning to score the show.
On top of that, Twede’s Cafe in North Bend, WA, which served as the location of the Double R Diner from the show, will be remodeled to serve as the iconic location once again.
Shooting for the show begins this September in North Bend and Snoqualmie, WA.
For fans of the series, this is amazing news! It seems as though the budget concerns that drove co-creator/director David Lynch away (he has since returned) have been completely cleared and then some!
At Crypticon panel for "Twin Peaks", Sheryl Lee and Sherilyn Fenn said expanded order is 18 eps, twice what it was before. @ThatsOurWaldo
— Tyler Foster (@tylerfdvdtalk) May 23, 2015
We’ve tackled how to introduce someone into the mindset of horror, easing them in with films that have horror flavors but aren’t a nonstop scarefest. Then, I’ve written about some of the basic films that set up a solid foundation and appreciation for what the horror genre has to offer, ensuring that there is a bit of humor and wonder thrown in. Now, as of today, we’re officially getting into true horror films, ones that are important for any horror fan as they lay the groundwork for everything that we enjoy to this day.
For this edition of How To Start Getting Into Horror, we’re going to enter the “monster genre”, facing those iconic villains that have stayed with us throughout cinematic history. These films have incredible importance because they, or some variation of their entity, have remained with us with each generation. Something about these creatures haunt us, remaining in the shadows of our nightmares, hiding under our beds, their gaunt fingers emerging from our closet door.
Let’s venture on, shall we?
When it comes to movies like this, you gotta start with the classic Universal Monsters, such as Dracula, The Mummy, The Phantom Of The Opera, Frankenstein, etc… Remember, in the last edition I recommended that aspiring horror fans watch The Monster Squad. Now they can understand where these famous villains came from and why they each seem to have their own flavored cereal.
When looking at Dracula, it opens up the doors for all vampire films. Think of showing someone Bram Stoker’s Dracula later on to showcase how award-winning actors, such as Anthony Hopkins and Gary Oldman, participate in the genre. Or maybe showing them Near Dark, which is an insanely clever and entertaining vampire film that never once uses the word “vampire”. And it also leads to films such as The Lost Boys and Fright Night, each a classic in their own way.
For The Phantom Of The Opera, this is a way to explain that Andrew Lloyd Webber’s musical took a great deal of inspiration not only from the original novel but also from the film and its events. While I’m not particularly a fan of musicals, those who are might be very interested to see the origins or one of musical theater’s most famous productions.
Frankenstein is tied with Dracula as perhaps the most famous movie monster ever created, although I will incur the wrath of all commenters if I don’t state that it’s actually Frankenstein’s monster that is the “star”. It’s the ultimate story of feeling and being different, reviled and hated for something that was never in your control to begin with, a theme that has resonated in countless renditions of this story.
Tackling the classic monsters also allows for the viewing and appreciation of such films as An American Werewolf In London, Dog Soldiers, Blade, Swamp Thing, and more. It’s hard to find monster-driven horror films that don’t owe a lot of themselves to these classics and they should be honored for all that they have given.
Seth Rogen twiited out the above photo from his and Evan Goldberg’s “Preacher”, which is currently filming for AMC.
The series centers on Jesse Custer (Dominic Cooper), a conflicted preacher in a small Texas town who merges with a creature that has escaped from heaven and develops the ability to make anyone do anything he says. Along with his ex-girlfriend, Tulip (Ruth Negga), and an Irish vampire named Cassidy (Joseph Gilgun), the three embark on a journey to literally find God (to make him answer for abandoning mankind).
While Rogen already shared the first ever look at Dominic Cooper and Ian Colletti in the “Preacher” series as Jesse Custer and Arseface, respectively, he’s now posted a third behind-the-scenes sneak peak. Could this be the aftermath of Jesse using “God’s word”?!
Other cast includes W. Earl Brown as ‘Sheriff Hugo Root’, the mean-hearted father of Eugene Root aka Arseface (Colletti), a flinty-eyed, conspiracy-credulous redneck who is not a fool and has a vulnerability to him.
Jamie Anne Allman will play Betsy Schenck, a meek wife who appears to suffer beatings by the hand of her husband, Donny. When the Preacher checks up on her, though, she tells a different story. Derek Wilson is Donny Schenck, a Civil War re-enactor and abusive thug who gets into altercations with Jesse Custer (the Preacher) but nevertheless shows up to church on Sundays.