We’ve got something really special and fun for you today. I want to introduce you to German rocker/songwriter Laura Carbone, whose music has drawn comparisons to artists such as Marilyn Manson, PJ Harvey, and Hope Sandoval.
Carbone is gearing up for tomorrow’s North American release of her debut album Sirens, which features 11 tracks of dark wave brooding rock. And to help hype that release, we’ve got not one but two awesome features that we’re cramming into this piece!
First of all, we got Carbone to share five of her favorite David Lynch films and music from each one that stands out. Carbone is a huge fan of Lynch and it’s obvious in her her music, which is as surreal and entrancing as the director’s offerings. Below are her choices with explanations for each.
Secondly, above is an exclusive first listen to the track “Heavy Heavy”, which sounds like it’d fit perfectly into a David Lynch film, bringing everything full circle. With driving drums and an almost macabre intensity, the song exudes mystery with a sexiness that cannot be denied.
From Laura Carbone:
‘Mulholland Drive’ is definitely my favorite Lynch movie. It’s like almost every other Lynch movie being very dreamlike, mysterious and takes places in a super unreal universe. It was the first Lynch movie i watched and i fell in love with the way he described his main female characters. My favorite scene is when “La Llorona“ performs at Club Silencio and then collapses, probably to death. Her singing is so intense, haunting and overemotional that I teared up when I watched it for the first time.
I love the way Lynch gives you always time to soak up performances that happen in his movies.
Wild at Heart
“This whole world’s wild at heart and weird on top.“ So true.
I do love this bizarre road trip of the two romantic outlaws through the south of the US. One of my favorite songs “Wicked Games“ by Chris Isaak is playing in the background when they both are driving through the night and some witch from ‘The wizard of Oz’ rides next to them. Truly bizarre and very “Lynch” how this romantic scene ends and turns the tables on the movie.
The Lynch movie with the most impressive soundtrack curated by Trent Reznor includes Bowie, Manson, Smashing Pumpkins, Lou Reed, Rammstein and, of course, Reznor himself.
I cannot decide which scene is the creepiest. When the Mystery Man wants Fred to call his home or what’s on the first cassette. However, I always love how his movies leave you with the option to fill in the blanks – to use your own creativity and reality. ‘Lost Highway‘ is a perfect example for that. What has happened? Is there an ending? Is there a morphing?
Isabella Rossellini as nightclub singer Dorothy is pure beauty and so it happens my favorite scene is Dorothy singing “Blue Velvet“.
Twin Peaks: Fire Walk With Me
Or ‘The last week of the life of Laura Palmer‘. You’ll get a brief introduction to the “Twin Peaks” series and of course it makes sense to first watch the series, then the movie. Don’t think chronological – Lynch wouldn’t do that either. Chris Isaak plays FBI agent Chester and it’s delicious to watch him and not only listen to his music in Lynch movies and, of course, the grand Angelo Badalamenti opens the movie with the infamous “Twin Peaks Theme“.
I love the scene when Laura and her friend Donna are in this surreal, blurry sex club. The music is so loud, psychedelic and full of warm tremolo and it’s super hard to understand the conversations. But that’s the best thing about it – you don’t have to understand and analyze everything to fall into a Lynch movie.
“Hey bro/sis, I know that we’ve had some sibling rivalry over the years and maybe we didn’t always get along. But listen, I want to make it up to you! So I got little Jimmy and Suzie a new toy set! I just figured that it’d be nice for them to get something fun that will possibly help SELL THEIR SOUL TO THE DEVIL! THAT’S WHAT YOU GET FOR TELLING MOM ABOUT THE TIME I SNUCK OUT OF THE HOUSE, YOU TATTLING ASSHOLE!”
AHEM! Sorry about that!
Below is a charming little video from YouTuber Stinkhead who created a playset inspired by Robert Eggers’ critically acclaimed period horror film The Witch! The faux-set comes with the whole family and the now wildly popular goat Black Phillip! Because when it comes to playing with toys, who can resist headbutting the SHIT out of the parent figures, am I right?
Below is the “commercial”, which is rather endearing and darkly comical!
I’ve been going back and forth, deciding how exactly I would review Severin Films Kung Fu Trailers of Fury. I’ve never reviewed just a set of trailers before. I love them. Some of my favorite Blu-ray and DVD releases are trailers only. I could watch trailers all day. In fact, I’ve spent some days doing just that!
But how do you review a collection of them? I thought about reviewing each individual trailer, but that seems like a mess. There are way too many trailers on this set to go over them all. Plus that would take some fun out of others watching Kung Fu Trailers of Fury. What makes this set enjoyable are all the little surprises.
The trailers look pretty good. These are all 2k scans from the original 35mm reels that Severin recently stumbled upon. Obviously there are some rough patches, given that these reels have probably seen better days, but all things considered they look very good. The audio has all been kept in the original language which I think is great and English subtitles have been added. The subtitles are a little hard to read at times, but that’s hardly relevant. I don’t need the subtitles to enjoy this. I just want to see three minutes of exciting kung fu action!
The real kicker is that these trailers look to all be new for the most part. And what I mean by that is they don’t appear to have been released elsewhere or just a re-hash of previous trailer sets. I can’t confirm this for sure, but I have a fair number of trailer releases and this release wasn’t a bunch of trailers I have previously seen. Now sure, it’s possible a few have been released before and I’ve just forgotten, but there are definitely a lot that I had never seen before. That’s a big plus!
My personal favorite trailer on the set is for Snake in the Eagle’s Shadow which is a Jackie Chan movie from the late 70’s. I’ve never seen the movie, but this trailer has me all in. It’s definitely a movie I’d like to track down. It looks like there are a few DVD releases out there, but I’m keeping my fingers crossed that a Blu-ray release will pop up someday. Not likely, I know, but one can hope. Other trailers that are extremely memorable include Return of Bruce, Chinese Kung Fu Against Godfather and Kung Fu vs. Yoga, amongst many others.
The set also includes some really great special features. There’s ‘A Brief History of Kung Fu Cinema’ which chronicles kung fu from its early stages. ‘The Way of the Cube’ tells the story of how these trailers were found, which is worth a watch. And finally there’s a commentary track which gives a lot more info on not only the history of kung fu but the specific movies the trailers are for.
If you like kung fu, martial arts, or just crazy trailers, get this. I’m fairly confident you’ll enjoy it!
Kung Fu Trailers of Fury is now available on Blu-ray from Severin Films.
In Hush, World Premiering at the SXSW Film Festival this weekend, a deaf woman is stalked by a psychotic killer in her secluded home.
It was announced today that Netflix has acquired the film, from Oculus director Mike Flanagan, and will release it globally on the streaming service beginning April 8th.
“After losing her hearing as a teenager, author Maddie Young (Siegel) has lived a life of isolation fully retreating into her now silent world. When the masked face of a psychotic killer appears in the window of her secluded home, she must push herself beyond her mental and physical limits in order to survive the night.”
Kate Siegel, John Gallagher Jr, Michael Trucco, Samantha Sloyan star in Hush, which should have a trailer soon.
Watch for our review out of the festival.
“Is man indeed a walrus at heart?”
That is the question that Kevin Smith posed to audiences in 2014 with his body-horror-comedy Tusk. Apparently, no one wanted to know the answer because the film flopped in theaters. When Tusk premiered at the Toronto International Film Festival in Septembe of 2014, it actually received mostly positive word-of-mouth from viewers. Once it saw a wide release two weeks later however, people couldn’t seem to stop shit-talking it.
It’s no secret that hating on Kevin Smith seems to be the cool thing to do nowadays (even more cool than hating Eli Roth). Many of his “fans” claim he hasn’t made a legitimately good movie since Chasing Amy in 1997. I would argue that Dogma, Clerks II and Zack and Miri Make a Porno are all winners, but what do I know? Hell, I even like certain things about Jay and Silent Bob Strike Back and Jersey Girl (it’s really not that bad).
Smith would make his first foray into horror with Red State, a political crime-horror film with an admittedly fantastic cast (how he managed to nab John Goodman and Melissa Leo I’ll never know) that sparked controversy from the get-go when Smith chose to self-distribute the film under the SModcast Pictures banner with a traveling show in select cities. It divided critics (though it’s got a better-than-you’d-expect 58% Rotten Tomatoes score) and audiences alike, but I personally think it’s pretty great, save for that tacked on after-school-special ending. The polarizing reviews that film received would not hold a candle to those of his next film: Tusk, the first installment of his “True North” trilogy that continues with this year’s Yoga Hosers (read our review) and next year’s Moose Jaws, which I am particularly excited for.
As someone who has either loved or really liked most of Smith’s work (save for Mallrats and the atrocious Cop Out, which wasn’t even his script so I can’t really hold him responsible for that one), it makes perfect sense to come to the defense of Tusk, which sees quite a bit of hate here in Bloody Disgusting’s comments section. Even Mr. Disgusting loathes the film. I may not be able to make any converts, but my hope is that this post will serve as a safe haven for those of you who do like the film and feel like you can’t come clean for fear of an online verbal bashing. Let it be known that I am here for you! Tusk is actually a pretty great movie, Guy LaPointe and all!***SPOILERS BELOW***
The plot of Tusk is a timeless one: an elderly man (Michael Parks, who owns the movie) wants to turn another man into a walrus so that he can be his companion for life. The whole film essentially plays like a pseudo sequel to Quint’s USS Indianapolis speech from Jaws.
The story behind the film’s creation is an interesting one. From Wikipedia:
The idea for the film came during the recording of SModcast 259 The Walrus and The Carpenter. In the episode, Smith with his longtime friend and producer Scott Mosier discussed an article featuring a Gumtree ad where a homeowner was offering a living situation free of charge, if the lodger agrees to dress as a walrus. The discussion went on from there, resulting in almost an hour of the episode being spent on reconstructing and telling a hypothetical story based on the ad. Smith then told his Twitter followers to tweet “#WalrusYes” if they wanted to see their hypothetical turned into a film, or “#WalrusNo” if they did not. A vast majority of Smith’s following agreed that the film should be made. The post on Gumtree was in fact a prank post by noted Brighton poet and prankster Chris Parkinson, who upon hearing of the planned film said he was a big fan of Smith and that he would love to be involved. Smith eventually hired Parkinson as an associate producer in November.
So really, if anyone is to “blame” for Tusk, it’s Smith’s followers (many of whom apparently went on to hate the film), but I digress. Many people seem to dislike Tusk based on the plot alone, but if that’s the case, why did they watch it in the first place? Clearly the film wasn’t meant for someone who doesn’t want to see a movie about a man turning another man into his walrus friend.
Let’s get this out of the way: lead character Wallace Bryton (Justin Long) is a huge asshole. Nothing about him inspires sympathy for what happens to him later in the film. This may pose a problem for some viewers, especially those looking for legitimate horror. You can’t have horror without a character to care about, amiright?
That being said, the scene where Wallace discovers that his leg has been amputated is easily the highlight of the film (unless the walrus suit reveal is your favorite, I go back and forth). It is reminiscent of Misery, but it’s possibly one of the most unsettling scenes put on film in recent memory.
Even if you can’t stand Long’s character, you have to admit that no one deserves that fate. Long’s reactions to his missing limb are haunting, and almost (almost) make you forget what a terrible person his character is. Once he is in his full walrus suit, Long is essentially relegated to just hopping around and grunting for the remainder of the film. Still, he makes for a pretty convincing walrus. That reveal is equal points humorous and shocking though. Kudos to Smith for not holding back with that creature design. The quick-zoom-out of the camera when Walrus Wallace first makes his appearance adds to the hilarity of the situation.
As mentioned previously, Parks owns Tusk. He gives such a compelling performance and really just falls into the roll. After his performance as Pastor Cooper in Red State, it’s easy to see why Smith wanted to cast him as the villainous and completely unhinged Howard Howe in Tusk. Even if you hate the film, you’ve got to admire Parks’ commitment. He legitimately sells his characters obsession with a walrus named Mr. Tusk, and actually makes you feel a little bad for him when you learn that he had to eat him to survive (though, in a very The Mist-like twist, help arrives just moments after he has finished his meal).
One aspect of the film that doesn’t entirely work is the character of Ally, played by Génesis Rodríguez. Her willingness to help Wallace after admitting to Teddy (and the audience, in a scene that practically breaks the fourth wall) how awful he treats her and how terrible he makes her feel is confounding. Maybe it’s just because I lack the empathy that the character does, but it just doesn’t seem believable that she would fly to Canada to rescue someone who makes her happy that her dad isn’t alive to see her. Her monologue at the midway point of the film is exceptional though. It’s just a shame that all of the character development built up during it is ruined when she decides to go rescue Wallace.
Even Teddy’s (Haley Joel Osment) motivations aren’t entirely clear, since he’s the one having sex with Ally, (though Smith does hide his identity for a good five minutes before revealing who it is Ally is talking to). I get it: they’re best friends, but Wallace is a huge douchebag and Teddy must not like him too much if he’s having sex with his girlfriend. Teddy and Ally’s unclear motivations for wanting to save Wallace are really my biggest complaints about Tusk. Osment is pretty fun in the role though, and it is nice to see him back on the screen, even if he spends the first half of the movie laughing obnoxiously.
Humor plays a big part in Tusk, and Smith’s frat-boy humor is present throughout the film, although not as prevalently as it is in something like Jay and Silent Bob Strike Back. From the constant mentions of walrus penises to the fact that Wallace’s podcast is named “The Not-See Party” (Teddy is afraid of flying so Wallace goes to interview their guests and during the podcast he tells Teddy about his experience since Teddy hasn’t seen he interview subject), it’s all a little juvenile, but most of it works in the context of the film.
Let’s get to the walrus elephant in the room: Johnny Depp’s portrayal of Guy LaPointe. If anyone was on the fence about Tusk at this point in the film (he show up exactly 63 minutes into the proceedings), Depp undoubtedly managed to knock them off of it. While he is only present in the final 40 minutes of the film (and not even all of it), he is a bizarre character that turns Tusk into a completely different film than what it once was before. Horror comedy is a tricky thing to nail with audiences. The main reason for this is that what scares one person may not scare someone else and what one person finds funny may induce eye-rolls from another person. When you combine two polarizing genres into one, it further narrows your audience.
Guy Lapointe is the turning point of Tusk, and I am apparently in the minority of audience members who finds him to be absolutely hilarious. From the moment he did his impression of a crucified T-rex (“It is one fuck of a bummer to look at I will tell you that!”), I was sold. It completely offset any of the horror that came before it, and that’s alright! Smith opted to turn his truly disturbing body-horror film into a straight-up comedy, and it does work. It just doesn’t work if you didn’t shift tone/genres with the film when he appeared.
Depp shares only one scene with Parks, and it is truly a wonder to behold. It’s only four and a half minutes long, but Smith successfully manages to blend humor and tension fairly well in this battle of wits stupidity between the two characters.
LaPointe is a quirky character, and the fact that he’s got a leading role in Yoga Hosers makes me even more excited to see it (and if you were on the fence about that film, you probably just decided whether or not you want to watch it).
Smith does attempt to infuse some political commentary in Tusk, which comes across as a little ham-handed. LaPointe’s insistence that “The real savage animals are the human beings” feels shoe-horned in and unnecessary. Maybe I’m just overthinking it (or did Smith just under-think it?), but it’s worth mentioning.
From a technical standpoint, Tusk is fairly competent. The budget seems a little too small to make use of a good cinematographer. It’s not that the cinematography is bad, per se, it’s just that Tusk is a very contained film. Most scenes take place in a room, though Howe’s mansion is glorious to look at. The music is also appropriately creepy, though the use of Fleetwood Mac’s “Tusk” in the film’s climactic battle, while fitting, is a little too on the nose. “Tusk” is one of my favorite songs though so I can’t complain about that too much, but I can just see the eye rolls in the audience the second those drums started playing.
Adding to my affinity for the film is the fact that I really do like Kevin Smith. I even like the way he sneaks his love for Canada in his films (“How’s everything over at Degrassi? You kids still getting knocked up and shot at?” and “I told him Canada doesn’t have any serial killers!” are the standouts in Tusk). I may have never met him, but he is always comes across as a pretty decent guy in his interviews. His reluctance to follow the majority has always been one of his most endearing qualities, no matter how many time it gets him in trouble. He just doesn’t give a fuck and he does whatever he wants. Not many Hollywood directors can say that about themselves.
Look, no one would accuse Tusk of being high art, but it knows exactly the kind of film it’s supposed to be, which is a silly, disturbing body-horror film. Tusk may not be your Mr. Tusk (and really, don’t we all want to find our own Mr. Tusk?), but it’s certainly not the train-wreck so many people make it out to be.
SCREAM FACTORY™ PRESENTS
THE TEXAS CHAINSAW MASSACRE 2 [COLLECTOR’S EDITION]
ON BLU-RAY APRIL 19
Back in October Scream Factory announced that they would be releasing Tobe Hopper’s horror/comedy classic The Texas Chainsaw Massacre 2 on Blu-ray. They promised this would be the ultimate collector’s edition, jam-packed with hours of extras. Now they’ve released the official bonus features and they weren’t lying! This 2-disc set includes over 5 hours of bonus content with a slew of it being brand-new! I’m pretty stoked for all of this, but that behind-the-scenes footage from Tom Savini’s archives has me salivating! As an added bonus, the April 19th release date happens to be my birthday, so just an FYI for anyone looking to get me a gift.
In 1974, horror fans rejoiced upon the release of Tobe Hooper’s masterpiece, The Texas Chainsaw Massacre. The movie raised the stakes of in-your-face filmmaking and changed the face of horror. Twelve years later, Hooper and the Sawyer clan are back with this deviously entertaining sequel, starring Dennis Hopper in one of the most deliciously crazed performances of his career.
For a decade, Texas Ranger Lefty Enright (Hopper) has sought to avenge the brutal murder of his kin by the cannibalistic Sawyer family – Leatherface, Chop-Top, The Cook and Grandpa. With the help of a radio DJ (Caroline Williams), who’s also bent on putting an end to the terror, Lefty finds his way to the Sawyers’ underground slaughter shop, where a battle of epic proportions will soon rage… and the line between good and evil gets chopped to bits!
The Texas Chainsaw Massacre 2 [Collector’s Edition] Bonus Features:
Disc 1: The Texas Chainsaw Massacre Part Two (New HD Transfer)
- NEW 2016 2K HD scan of the inter-positive film element
- NEW Audio Commentary with director of photography Richard Kooris, production designer Cary White, script supervisor Laura Kooris and property master Michael Sullivan
- Audio Commentary with director Tobe Hooper
- Audio Commentary with actors Bill Moseley, Caroline Williams and special effects makeup creator Tom Savini
- NEW Extended Outtakes from It Runs in the Family featuring L.M. Kit Carson and Lou Perryman (30 minutes)
- NEW Behind-the-Scenes Footage Compilation from Tom Savini’s archives (43 minutes)
- Alternate Opening Credit Sequence
- Deleted Scenes
- Still Galleries – posters and lobby cards, behind-the-scenes photos, stills and collector’s gallery
- Theatrical Trailers
- TV Spots
Disc 2: The Texas Chainsaw Massacre Part Two (Original HD Transfer)
- MGM’s original HD Master with color correction supervision by director of photography Richard Kooris
- NEW House of Pain – a interview with make-up effects artists Bart Mixon, Gabe Bartalos, Gino Crognale and John Vulich (42 minutes)
- NEW Yuppie Meat – a interview with actors Chris Douridas and Barry Kinyon (19 minutes)
- NEW Cutting Moments – a interview with editor Alain Jakubowicz (17 minutes)
- NEW Behind the Mask – a interview with stunt man and Leatherface performer Bob Elmore (14 minutes)
- NEW HORROR’S HALLOWED GROUNDS – revisiting the locations of the film – hosted by Sean Clark plus a special guest (25 minutes)
- It Runs in the Family – a six part feature-length documentary featuring interviews with screenwriter L.M. Kit Carson, actors Bill Moseley, Caroline Williams, Bill Johnson, Lou Perryman, special makeup effects artist Tom Savini and more… (84 minutes)
We’ve teamed up with UK post-metal band Sumer to bring you the exclusive music video premiere for “The Animal You Are”, the title track from their latest album. The video shows an older man (played by punk legend Bruno Wizard) waking up in a disoriented state. As he wanders through the city, he uses seemingly supernatural powers to accrue a gathering of people who attend a concert with him. What transpires afterwards is the mosh pit of a lifetime…literally.
Sumer explains the video:
There is a lonely and troubled man, lost in a power stranger than he can fathom, yet such a part of him he cannot escape it. He feeds on guilt, ecstasy, confusion and remorse, his victims become lightning rods for their own emotions in exhausting and sometime deadly episodes. By day, he controls his power by escaping to the wilderness to sleep, far away from people. At night, it becomes too much. He must consume us, he must release us.
We feel very lucky that we have been able to work with such talented people on this project. Our lead man Bruno Wizard has been a creative force for many years as one of the pioneers of the punk movement and Will Ambler-Shaw as director has realised our vision from napkin concepts to his dark, brooding, outside of the box imagery.
If you’re a fan of Tool, A Perfect Circle, Soen, or bands similar to that, I think you’re really going to dig Sumer!
The band is doing a 15% reduction on all merch & albums via their Bandcamp.
Check out the above exclusive IMAX featurette for J.J. Abrams-produced 10 Cloverfield Lane, slated for release through Paramount Pictures this Friday, March 11, 2016.
In the video, director Dan Trachtenberg talks about the mystery film, which he likens to Die Hard, Crimson Tide and Hunt For the Red October, with Red State‘s John Goodman, The Thing‘s Mary Elizabeth Winstead, and John Gallagher Jr..
The film is presumably about the aforementioned being trapped in a bunker while the world is in flames. Nobody knows what’s outside, and Winstead fights to find out.
Monsters come in many forms, apparently.
“The lucky ones die first.”
Man, what a tagline. And how true it is. Ten years ago today, Alexandre Aja unleashed his remake of Wes Craven’s 1977 horror masterpiece The Hills Have Eyes upon the world. With all do respect to the late Mr. Craven: I’ve never been a huge fan of his original film. Don’t get me wrong. I think that it was probably very effective at the time of its release, but it was only his second film (and he made it five years after The Last House on the Left) and in all honesty, it has not aged very well. That is not a popular sentiment, but I stand by it. None of that is meant to criticize Craven’s film, but more so to lean into my next point on the subject of remakes: a remake’s purpose should be to take what doesn’t work in the original film (and maybe hasn’t aged quite as well) and improve upon those things or at least make some new choices with them to see if it works better. All too often, remakes take the easy route and just become a watered-down carbon copy of the original.
The Hills Have Eyes is not a watered-down carbon copy of the original. It is a relentless assault on the senses that doesn’t pull any punches. It amps up the tension and the gore, creating one of the most visceral filmgoing experiences that you’ll ever have. The Hills Have Eyes is a mean, nasty film, and I mean that as a compliment.
After seeing the success of The Texas Chainsaw Massacre in 2003 (it made $80.7 million on a $9.5 million budget, thus starting the horror remake craze of Hollywood), Wes Craven went on the hunt with his frequent collaborator Marianne Maddalena for someone to remake his classic film. After seeing Haute Tension, Alexandre Aja’s third shot at directing, Craven was captivated. He picked up Aja and his longtime collaborator Grégory Levasseur, who served as screenwriter on Haute Tension and the soon-to-be remake of The Hills Have Eyes. It would be their first English-language film.
While the film does stick fairly close to Craven’s original, it does update the plot in a few ways. Namely, the film is set in New Mexico rather than Nevada (though it was filmed in Morocco), and the mutants are victims of nuclear testing as opposed to just an inbred hill family. The subtlety in the film’s political statements is lost by the time Doug (Aaron Stanford) makes his way to the nuclear test site modeled after an actual small town, but it’s still an effective update on the plot. Also new to the remake is the multitude of trials that Doug is put though in the final act of the film. It all requires a large suspension of belief (seriously, he would have died at least 10 minutes before the credits rolled), but it serves to make the audience just as exhausted as he is by the film’s end.
One thing many people may remember about the movie is its fantastic trailer:
For some reason, horror remakes have a knack for having a great marketing team. This trailer came after the famous (at least in my eyes) Texas Chainsaw Massacre remake trailer and, like that trailer, also utilized music to great effect. This time it was “California Dreamin'” by The Mamas and The Papas.
Of course, the trailer alone wouldn’t be able to get everyone in the theater. Aja had to assemble the perfect cast, and boy did he get one. How he was able to get the likes of Ted Levine (Buffalo Bill from The Silence of the Lambs), Kathleen Quinlan (who at the time was most well known for her role in Apollo 13 or the CBS TV series Family Law), Aaron Stanford (Pyro from the X-Men movies), Vinessa Shaw (Allison from Hocus Pocus), Dan Byrd (known at the time for A Cinderella Story but now famous for Cougar Town and Easy A) and Emilie de Ravin (who was making a name for herself on Lost as the pregnant Claire), I will never know. These extremely talented actors and actresses came together to make one of the most memorable and likable families in horror movie history.
Fun random factoid: I was fortunate enough to meet Dan Byrd back in 2012 at a promotional event for Cougar Town here in Austin (What? It’s a great show.). He’s a super nice guy and had (mostly) fond memories of filming The Hills Have Eyes. I may or may not have drunkenly asked him his opinions on all of his female co-stars (Hillary Duff, Emilie de Ravin, Emma Stone, etc.), but that’s a story for another post.
Surprisingly, The Hills Have Eyes wasn’t panned by all critics upon its release. Sitting at a comfortable (for a horror movie, anyway) 49% on Rotten Tomatoes, the film had it’s supporters. As good as the film is, it’s certainly not for the faint of heart. It features some of the most brutal deaths seen on screen, and they are made all the more difficult to watch because these characters feel like they could be a part of your own family. The film had to be cut to get an R rating (it was originally branded with the notorious NC-17), but luckily the unedited version can be purchased on Blu-Ray.
Aja certainly has the makings of an auteur. His distinct directorial style is noticeable just by the amount of carnage shown on screen. The man has an affinity for gore and brutality, and that is never more apparent than in the trailer attack scene, which he somehow makes even more harrowing than it was in Craven’s original.
Once can’t discuss The Hills Have Eyes without mention of the Jupiter family. The makeup effects were created by Gregory Nicotero’s K.N.B. EFX Group Inc. over the course of six months. Using a mix of practical and rather convincing CGI effects, the mutants were brought to hauntingly realistic life for the screen. Until doing some research, I really had no idea that CGI was even used (it was mostly with Ruby), which shows just how much effort went into the making of the film.
The Hills Have Eyes opened at the number three spot with $15.7 million, behind the Sarah Jessica Parker/Matthew McConaughey romantic comedy Failure to Launch and the Disney reboot of The Shaggy Dog. It went on to gross $47.7 million domestically and $27.8 million internationally for a worldwide gross of $69.6 million, quadrupling its $15 million budget.
Something I like to do in these anniversary posts is recount my first time viewing the film I am discussing, and turning the discussion over to you, dear reader. So here is my account of my first viewing of The Hills Have Eyes.
I was just 17 when the remake opened in theaters on March 10, 2006. At the time I had just discovered the beauty of entering contests for advanced screenings of movies. You know, the ones where seating is not guaranteed and is provided on a first-come-first-serve basis so you have to get to the movie an hour or two early just to wait in line? Yeah, those screenings. I had to leave school and drive to a theater in downtown Houston during rush hour in order to meet my dad (who was and will forever be my R-rated horror movie buddy) so we could stand in line. I lived in the suburbs at the time so that was actually an hour-long drive in the traffic. This outing was sort of a big deal for us because I wasn’t allowed to watch most R-rated movies until I was 17, and The Hills Have Eyes came out almost two weeks after my 17th birthday. Needless to say, we were excited. We also thought we were hot shit since we were sitting right by the press rows. I don’t think I have to tell you that sitting right by the press rows does not make one “hot shit.”
Anyway, both of us adored the film and I spent the next several days trying to convince people at school to go see it, to no avail. The remake caught on though, as evidenced by its impressive box office take. It was no Texas Chainsaw Massacre (which is one of the best remakes out there, horror or otherwise), but it remains one of the best horror remakes out there today.
What are your thoughts on The Hills Have Eyes? Are you a fan? Or do you think it pales in comparison to the original? What was your first viewing of it like? Let us know in the comments below or shoot me a Tweet!
In Simon Rumley’s supernatural vengeance thriller Johnny Frank Garrett’s Last Word, when a young man is executed for committing murder, he leaves behind a curse letter in which he promises to take vengeance on all those connected to his trial.
The thriller, starring Green Lantern‘s Mike Doyle, Bitch Slap‘s Erin Cummings, Devin Bonnée, and The Boondock Saints‘ Sean Patrick Flanery, is set to have its World Premiere at this weekend’s SXSW Film Festival in Austin, Texas.
Ahead of the premiere, Bloody Disgusting has the exclusive debut of the film’s one-sheet promising that revenge is a dish best served cold (as a spirit).
“Based on true events. Amarillo, Texas, Halloween, 1968, Sister Tadea Benz, a 76 year old nun is raped and murdered in her bedroom in her convent. A teenager from the wrong side of the tracks, Johnny Frank Garrett, is arrested but claims innocence. His trial is a farce and he is sentenced to death. On the day of his execution, Garrett writes a curse letter saying his spirit will return and kill not only those involved with his sentencing and death but the members of their families too. Sure enough, soon after, those involved in the execution start dying and it is left to one of the jurors to try to solve the riddle of who actually killed Sister Tadea Benz to save his son.”
Simon Rumley is one of the UK’s leading independent directors and has been making genre films for the last 10 years, explains the SXSW program. His films include The Living and The Dead, Red White & Blue and The Abcs of Death. He is currently in post on Crowhurst and in prep in Austin for his next film, Fashionista.Midnighters, World Premiere
Johnny Frank Garrett’s Last Word
Sunday, March 13, 12mid, Alamo South Lamar
Tuesday, March 15, 11:45pm, Stateside
Saturday, March 19, 4:30pm, Alamo South Lamar
Bloody Disgusting has the first ever image from Intrepid Pictures’ horror-thriller The Bye Bye Man, which recently wrapped shooting in Cleveland, and will be released in theaters October 14, 2016 through STX Entertainment.
Michael Trucco stars with Douglas Smith, Cressida Bonas, Lucien Laviscount, Doug Jones, with Carrie-Anne Moss, and Faye Dunaway
The film recounts a series of terrifying events experienced by three Wisconsin college students, played by Smith, Bonas and Laviscount. Trucco plays the brother of one the students, whose mind has been invaded by the unstoppable Bye Bye Man (Jones).
“Set in 1990s Wisconsin, the film follows three college students who move into an old, off-campus house, where they find themselves preyed on by a malevolent supernatural entity called “The Bye Bye Man”. They must find a way to save themselves while keeping the whole thing secret to protect anyone else from becoming the entity’s next victim.”
Stacy Title directed from Jonathan Penner’s script, based on Robert Damon Schneck’s short story “The Bridge to Body Island.” Trevor Macy produced for Intrepid, and Jeffrey Soros and Simon Horsman produced for Los Angeles Media Fund.
Intrepid has produced a few solid horror films from The Strangers to Safe House, Oculus and Before I Wake, starring Kate Bosworth and Thomas Jane.
STX most recently released The Gift and The Boy, and is set to release Hardcore Henry in a few weeks.
[H/T] Fabien M.
MTV and Dimension TV today announced new roles, casting and premiere date for the second season of their “Scream” TV series.
Bloody Disgusting learned that “Scream” will return to MTV on Tuesday, May 31st at 10:00 p.m. ET/PT. The new cast includes: Kiana Ledé (Republic Records Recording Artist), Santiago Segura (47 Meters Down), Anthony Ruivivar (“Banshee”), Austin Highsmith (“Murder in the First”), Sean Grandillo (“Spring Awakening” – Broadway Company) and Karina Logue (“Ray Donovan”).
“With production currently underway in New Orleans, LA, MTV and Dimension TV’s second season of “Scream” picks up with Emma’s return to Lakewood after several months at a retreat, where she tried to recover from the horrors of last season. Everyone is walking on eggshells around her, questioning whether she has truly gotten over the Killer’s crimes. Meanwhile, Audrey is hiding her connection to the Killer, but is getting harassed by someone who knows the truth. Brooke and Jake are also keeping secrets—they are hiding a budding romance from Mayor Maddox. And, Noah is getting closer and closer to the truth about the season one murders. Lakewood’s murderous past, both recent and distant, are once again brought to focus – with this Killer’s psychotic mind-game intent on bringing Lakewood’s heroes down in a storm of betrayal and bloodshed.”
“Scream” stars and series regulars Willa Fitzgerald (Emma), John Karna (Noah), Tom Maden (Jake), Tracy Middendorf (Maggie), Amadeus Serafini (Kieran), Bex Taylor-Klaus (Audrey), and Carlson Young (Brooke) will return for the second season.
Michael Gans and Richard Register serve as EPs and Showrunners for the second season along with Harvey and Bob Weinstein as EPs under the Dimension TV umbrella.
Here’s a breakdown of who the new characters play:
- Kiana Ledé (ZOE – Series Regular)– a fellow high school student, Zoe is a driven overachiever who harbors a secret. Credits include: Republic Records Recording Artist
- Santiago Segura (GUSTAVO ACOSTA – Series Regular) – A high school student, Gustavo is dark and brooding. An outsider, observing from the sidelines, he’s a skilled artist who’s deeply into horror, serial killers and comic books. Credits include: 47 Meters Down and “Silicon Valley.”
- Anthony Ruivivar (SHERIFF MICHAEL ACOSTA – Recurring) – An outspoken, competent and experienced cop, Sherrif Acosta returns to Lakewood, where he grew up. He is a devoted, if sometimes strict, family man who’s very protective of his son, Gustavo. Credits include: “Banshee” and “American Horror Story.”
- Austin Highsmith (KAREN LANG – Recurring) – A young, idealistic high school psychology teacher who becomes a confidant and mentor to her students. Credits include: “Murder in the First” and “Criminal Minds.”
- Sean Grandillo (ELI – Recurring) – Eli is Kieran’s (Amadeus Serafini) cousin. He presents as squeaky clean image, but may have ulterior motives. Credits include: “Spring Awakening” – Broadway Company.
- Karina Logue (TINA HUDSON – Recurring) – Tina’s proper and polite, but with a grifter’s sense of self-reliance. Credits include: “Ray Donovan” and “Bates Motel.”
Before the towers come down in the grand finale, Edward Norton’s character in David Fincher’s 1999 classic Fight Club learns that he has a split personality. His alter ego, for which he spends the majority of the film bantering with, is Tyler Durden, played by Brad Pitt.
While the audience can see Durden, he’s just a figment of Norton’s imagination. Thus, he’s really not there.
God bless the ease of technology and the curious individuals with access to all of the goodies…
Richard Trammell wonders what Fight Club may have looked like without Pitt’s Durden character on screen. It’s not as witty, that’s for sure. And there’s about 75% less ab-envy and testosterone, too.
But what really shines through is how dark the movie would be if we could all see what was going on outside of Norton’s broken mind.
Here’s a taste. I hope this was a simple enough of a task that Trammell completes the experiment and shares the entire film sans Durden.
Amblin Entertainment is hiring 28 Weeks Later‘s Juan Carlos Fresnadillo to direct Haunted, Deadline reports.
The film that is inspired by the 1898 Henry James gothic ghost story “Turn Of the Screw,” and will be scripted by The Conjuring‘s Chad Hayes & Carey Hayes.
What’s cool is that this is a passion project for Steven Spielberg, who really wanted to make a scary film, adds the site.
The pic’s being produced by The Ring‘s Roy Lee, John Middleton and Scott Bernstein.
The novella’s anonymous narrator is a young woman, a parson’s daughter, who is engaged as governess to two seemingly innocent children at a remote English country house. What initially seems a idyllic soon turns nightmarish, as she becomes convinced that the children are consorting with a pair of malevolent spirits. These are the ghosts of former employees at Bly: a valet and a previous governess. In life, scandalously, the two of them had been discharged as illicit lovers, and their spectral visitations with the children hint at Satanism and possible sexual abuse. The book amply fulfills its pledge, laid down in the first few pages, that nothing can touch it in terms of sheer “dreadful—dreadfulness.” (Amazon)
***Possible Spoilers, Read at Your Own Risk***
Tom Ripley is a character that has been depicted a number of times in the last 60 years in both book and film. I, however, don’t know a whole lot about him. After seeing Dennis Hopper’s portrayal of Ripley in Wim Wenders’ The American Friend I don’t know how any of the other interpretations will be able to hold up.
We don’t know a whole lot about Ripley in this movie. We know he’s wealthy. We know he’s American. And we know he’s a shady dude to say the least. We meet him as he’s in the middle of an art scam. Someone he knows creates paintings and passes them off as the work of a famous, deceased artist. Ripley takes the paintings and auctions them off. With the help of an accomplice, Ripley is able to jack up the prices.
At the end of the most recent auction Ripley meets Jonathan (Bruno Ganz). The encounter doesn’t go well. In fact Jonathan is incredibly rude towards Ripley and refuses to shake his hand. The auctioneer advises Ripley not to mind Jonathan and explains that he’s going through a rough patch as he’s dealing with a terminal blood disease.
Jonathan doesn’t care to shake hands with Ripley because he hates art brokers. Jonathan is a framer, framing a lot of the paintings for the auctions and he hates people that run up the prices and sell art for a profit. He wants art to be enjoyed.
In what I would guess is an attempt to get back at Jonathan for the lack of respect, Ripley recommends him as a possible hitman to Raoul Minot (Gérard Blain), a French criminal. Minot is sold on the idea and approaches Jonathan. The selling point is that Jonathan doesn’t have long to live and he has a wife and a young child, so perhaps he’d be willing to earn some money to take care of his family after he dies. The issue is that Jonathan’s doctor claims the disease isn’t immediately life threatening.
Now Jonathan has a lot of problems on his hand. A complete stranger has approached him offering him a lot of money to kill someone, despite him not being a hitman. Plus he now has conflicting reports from doctors. His regular doctor thinks he’s fine, but this French doctor provided by Minot claims Jonathan is basically on his death bed. Furthering the complication is that Jonathan is strangely being befriended by Ripley.
I don’t know if the Coen Brothers were influenced in any way by The American Friend but I have to imagine they were. You can pick virtually any Coen Brothers film and you’ll find a lot of elements and themes in common with this classic from Wenders. To simplify things, this is a story about an everyday man who gets a caught up in a situation that is way over his head. Jonathan has a chance to make a lot of money and it doesn’t look like anything will go wrong, yet everything goes wrong.
You could take Llewelyn Moss from No Country for Old Men and swap him out with Jonathan and I think both movies would essentially be the same; the characters have that much in common. Both men take a risk in an attempt to take care of their families and in both situations they end up making things much, much worse.
What makes The American Friend the riveting success that it is is the performance of Hopper. The movie creates a lot of tension and suspense. At any moment you think something terrible is going to happen, you just don’t know what or when. A lot of that is due to Hopper’s take on Ripley. Ripley’s motives are never entirely clear. You know he’s not exactly on the level, so the assumption is he only has the worst of intentions in mind, but it’s certainly not clear. You think he wants to get back at Jonathan, but then he befriends him. And the friendship seems genuine, at least at times. There’s a fantastic scene on a train in which Ripley basically saves Jonathan’s life. If Ripley is willing to save Jonathan’s life he can’t be all bad, right? But maybe he can? You never know. And that’s the beauty of Hopper’s Ripley.
The movie is also quite open ended. My initial thought was the artist painting pictures for Ripley was a fake, but there’s a line early in the movie where Ripley tells the man to stay hidden and he says something about how a dead man shouldn’t be seen or something along those lines. So maybe this man isn’t pretending to be a famous artist, but perhaps he’s faking his death? Or maybe I just interpreted something wrong. Then there’s the seriousness of Jonathan’s blood disease which is left up in the air. You’d think that his doctor is the one telling the truth, but with the way the film ends you never know. And of course, we never learn what Ripley’s true endgame is.
The American Friend is now out on Blu-ray from the Criterion Collection and in what should be a surprise to no one it looks gorgeous. The film has some breathtaking locations, taking place in Germany, France and New York, and as a result there’s some gorgeous cinematography. The Blu-ray does a wonderful job bringing this work to life. The release also comes with some really nice special features. Two brand-new interviews are included, one with Wenders and another with Ganz. Both are fantastic, but the Wenders one is really special. He talks about how Hopper completely changed the character for the better. There’s also an older commentary with Hopper and Wenders which I haven’t had the chance to listen to yet. Rounding things out are some deleted scenes with optional commentary from Wenders.
The American Friend is a terrific, gripping neo-noir. Thanks to the Criterion Collection this piece of cinematic treasure now has a worthy release. Any cinephile is going to want this one in their collection.
The American Friend is now available on Blu-ray from the Criterion Collection.
Arrow Video has announced their June releases and they’re some good ones! I’m excited for all these releases but the one I absolutely cannot wait for is Return of the Killer Tomatoes. You may remember about a month ago I wrote about 5 movies that are deserving of the Arrow treatment. One of those movies was Return of the Killer Tomatoes. Now I was hoping to get a boxset of the entire Killer Tomatoes series, and I’ll still holdout hope for that, but if we were just going to get one, this is the one.
Nikkatsu Diamond Guys Vol 2 [Blu-ray + DVD] – Release Date 6/14/2016
Nikkatsu, the oldest film studio in Japan, inaugurated a star system in the late 1950s, finding talent and contracting them to a series of wild genre pictures. This collection celebrates these “Diamond Guys” with three classic films from directors Buichi Saito (Lone Wolf and Cub: Baby Cart in Peril), Ko Nakahira (Crazed Fruit), and Haruyasu Noguchi, who is a new discovery for the West. In Saito’s Tokyo Mighty Guy, mega star Akira Kobayashi stars as Jiro in the rambunctious tale of a chef who opens a restaurant in the busy Ginza district. His culinary skills and dashing good looks bring in the women as well as unwanted trouble, while an explosive political scandal builds around his girlfriend’s business… Next, Jo Shishido (Massacre Gun, Retaliation), one of the most popular Diamond Guys in the West, stars in Danger Paws, a crime caper from Ko Nakahira about counterfeiting. When one billion yen goes AWOL, “Joe the Ace” (Shishido) spies an opportunity to get rich quick, but things soon go wrong as it turns out he isn’t the only one who’ll stop at nothing to get his hands on the missing cash… Finally, Shishido stars once again in Noguchi’s screwball classic Murder Unincorporated. When the mysterious “Joe of Spades” executes one of the bosses of a powerful syndicate, his colleagues, fearing for their own lives, call on the services of assassin agency Murder Unincorporated to take care of the problem. This unique entry showcases some of the most peculiar killing tactics to ever hit Japanese cinema! Presented on DVD and Blu-ray for the first time in the West, these thrilling genre films feature some of Nikkatsu’s leading talent at the top of their game.Bonus Materials
- Limited Edition Blu-ray collection (3000 copies)
- High Definition digital transfers of all three films in this collection, from original film elements by Nikkatsu Corporation
- High Definition Blu-ray (1080p) and Standard Definition DVD presentation
- Original uncompressed mono audio
- Newly translated English subtitles
- Specially recorded video discussions with Japanese cinema expert Jasper Sharp on Diamond Guys Jo Shishido and Akira Kobayashi
- Original trailers for all three films
- Extensive promotional image galleries for all films
- Reversible sleeve featuring brand new artwork by Graham Humphreys
- Booklet featuring new writing on all the films and director profiles by Stuart Galbraith IV, Tom Mes and Mark Schilling
Return Of The Killer Tomatoes – Release Date 6/28/2016
THE VEGETABLES OF DOOM! The killer tomatoes are back! But this time around, they’re going to have to contend with late ’80s George Clooney and his wicked mullet… Is it a fruit? Is it a vegetable? Nope, it’s Return of the Killer Tomatoes! Ten years on from the Great Tomato War, mankind lives in fear of another uprising by the waxy red menace. Meanwhile, Professor Gangreen – played with gusto by the late, great John Astin from TV’s The Addams Family – sets out to pursue his own evil ends by creating a burgeoning army of tomato militia men (who, somewhat conveniently, look just like regular men). Following on from the 1978 cult classic Attack of the Killer Tomatoes, Return of the Killer Tomatoes came armed with a healthy sense of its own ridiculousness and would expand upon a franchise that now comprises four films, two TV series and a video game. So what are you waiting for? Make Return of the Killer Tomatoes one of your five-a-day now!Bonus Materials
- High Definition Blu-ray (1080p) presentation
- Original Stereo audio (uncompressed PCM on the Blu-ray)
- Optional English subtitles for the deaf and hard of hearing
- Brand new audio commentary with writer-director John De Bello
- Brand new interview with star Anthony Starke
- Original Theatrical Trailer
- Reversible sleeve featuring original and newly commissioned artwork by Matthew Griffin
- Fully-illustrated collector’s booklet featuring new writing by critic James Oliver
Ray Harryhausen: Special Effects Titan – Release Date 6/28/2016
The remarkable career of the movie industry’s most admired and influential special-effects auteur, the legendary Ray Harryhausen, is the subject of Gilles Penso’s definitive documentary Ray Harryhausen: Special Effects Titan. Leaving no doubt as to Harryhausen’s seminal influence on modern-day special effects, the documentary features enlightening and entertaining interviews with the man himself, Randy Cook, Peter Jackson, Nick Park, Phil Tippet, Terry Gilliam, Dennis Muren, John Landis, Guillermo del Toro, James Cameron, Steven Spielberg and many more. These filmmakers, who today push the boundaries of special effects movie-making, pay tribute to the father of Stop Motion animation and films such as ‘The Beast from 20,000 Fathoms’, ‘It Came from Beneath the Sea’, ‘The 7th Voyage of Sinbad’, ‘Mysterious Island’, ‘Jason and the Argonauts’ and ‘The Golden Voyage of Sinbad’ – the films that enthralled them as children and inspired them to become filmmakers in their own right.Bonus Materials
- Interviews with Edgar Wright, Simon Pegg, Peter Lord, Rick Baker
- 12 Interview outtakes with Joe Dante, John Lasseter, Nick Park and more!
- A message to Ray
- Deleted Scenes
- On the set of Sinbad
- Paris Cinematheque Q&A
- London Gate Theater Q&A
- Audio commentary with the filmmakers
- Original Trailer
- Ray Harryhausen Trailer Reel
Suture [Blu-ray + DVD] – Release Date 6/21/2016
Inspired by the paranoid visions of John Frankenheimer’s The Manchurian Candidate and Seconds, the desert noir of Detour and the black and white widescreen beauty of Hiroshi Teshigahara’s The Face of Another and Woman of the Dunes, Suture is one of great feature debuts – by writer-directors David Siegel and Scott McGehee – and a truly unique piece of cinema. The wealthy and self-assured Vincent (Michael Harris) meets his blue collar half-brother Clay (Dennis Haysbert) at their father’s funeral and is struck by their similarity. He decides to murder Clay and take his identity, only Clay survives the assassination attempt with no memory and is mistaken for Vincent. The fact that Harris is white and Haysbert is black only complicates a film that probes into the nature of identity. After viewing an early rough cut, Steven Soderbergh came on board as executive producer and enthusiastic patron. Suture went on to become a hit on the festival circuit, including Sundance where it deservedly won the award for Best Cinematography.Bonus Materials
- Brand new 4K restoration from the original camera negative
- High Definition (1080p) and Standard Definition DVD Presentations
- Optional English subtitles for the deaf and hard-of-hearing
- Audio commentary with writer-directors David Siegel and Scott McGehee
- All-new interviews with Siegel, McGehee, executive producer Steven Soderbergh, actor Dennis Haysbert, cinematographer Greg Gardiner, editor Lauren Zuckerman and production designer Kelly McGehee
- Deleted scenes
- Birds Past, Siegel & McGehee’s first short film, about two young San Franciscans who journey to Bodega Bay along the path set by Tippi Hedren in Hitchcock’s classic, The Birds.
- US theatrical trailer
- European theatrical trailer
- Reversible sleeve featuring original and newly commissioned artwork by maarko phntm
RLJ/Image Entertainment has set a June 7th DVD and Digital date for Monsterland, starring Josh LaCasse, Ebon Moss-Bachrach (“The Last Ship,” “Girls”), Eileen Dietz (The Exorcist, Helter Skelter), Trent Haaga (Cheap Thrills, Deadgirl), and John Franklin (Children of the Corn).
The shorts are directed by Graham Denman, Jack Fields, Erik Gardner, Andrew Kasch, Patrick Longstreth, Sander Maran, Robert Mclean, The McCoubrey Brothers, Cory Norman, John Skipp, and Frank J. Sudol.
“Amidst a bloody backdrop of chaos and carnage, one panicked, lowly survivor of the Monster Apocalypse takes shelter in a movie theater to buy himself a few extra moments of precious life. Little does he know, he’s taken a flying leap out of the frying pan and smack dab into the fires of hell by attending the last movie marathon he’ll ever see.
Welcome to Monsterland! A terrifying place where savage beasts, carnivorous creatures, and grotesque abominations are the new normal; and the human race is now at the bottom of the food chain.”
We’ve got something a little different yet exciting to bring you today and it comes in the form of Sacred Mass of the Nunja, a short film from director Ryan Oliver who brings us a mix of martial arts and grindhouse with a dash of religious horror.
Speaking about the film, Oliver explains, “When I was young all I wanted to do was take Karate, but instead I was strong-armed into being an altar boy. That said, this material speaks for itself.”
Co-composer Stavros Giannopoulos (The Atlas Moth) states, “Ryan and [co-composer] Sanford [Parker] are both close friends so when Ryan offered the opportunity to write some music for the Sacred Mass of the Nunja, I jumped at it. Sanford and I worked well together during the Twilight records so it was a natural fit to team up with him on this project. Always an honor to work with both of them.”
Oliver also spoke about Parker and Giannopoulos’ music, adding, “The music Stavros and Sanford composed was integral to giving this old footage new life. They crushed it and made it look easy. I’m very pleased with how it turned out I must confess.”
We’re really excited to bring you this exclusive premiere, which you can watch above!
A man can only take so much.
Here’s the festival one-sheet for Ti West’s latest genre offering, In a Valley of Violence, which shoots into the SXSW Film Festival this coming weekend.
West, known for The Roost, The Innkeepers, House of the Devil, The Sacrament and even V/H/S, writes, directs and even edits the film starring boasting the insane cast of Ethan Hawke, James Ransone, Taissa Farmiga, Karen Gillan, and John Travolta.
“A mysterious drifter named Paul (Ethan Hawke) and his dog make their way towards Mexico through the barren desert of the old west. In an attempt to shorten their journey, they cut through the center of a large valley — landing themselves in the forgotten town of Denton, a place now dubbed by locals as a “valley of violence.” The once-popular mining town is nearly abandoned and controlled by a brash group of misfits — chief among them Gilly (James Ransone), the troublemaking son of the town’s Marshal (John Travolta).
As tensions rise between Paul and Gilly, Denton’s remaining residents bear witness to an inevitable act of violence that starts a disastrous chain reaction, infecting the petty lives of all involved and quickly drags the whole town into the bloody crosshairs of revenge. Mary-Anne (Taissa Farmiga) and Ellen (Karen Gillan), two bickering sisters who run the town’s only hotel, try to find the good in both men, while desperately searching for their own salvation. Only the world-weary Marshal struggles to stop the violent hysteria, but after a gruesome discovery about Paul’s past… there is no stopping the escalation.”
The SXSW Film Festival begins this weekend and one of the biggest surprises is that AMC will debut the pilot episode of “Preacher,” which hails from Seth Rogen and Evan Goldberg (This Is the End, Superbad, Neighbors), with showrunner Sam Catlin (“Breaking Bad”).
Ahead of the World Premiere, AMC tells Bloody Disgusting we can expect the series to debut in May 2016, while also providing our first ever looks at Cassidy (Joseph Gilgun) and Tulip (Ruth Negga), to go along with the initial shot of Jesse Custer (Dominic Cooper) lightning up a cigarette.
Based on the twisted and popular ’90s comic book franchise of the same name, “Preacher,” created by Garth Ennis and Steve Dillon, is the story of Jesse Custer (Cooper) a conflicted Preacher in a small Texas town who is inhabited by a mysterious entity that allows him to develop a highly unconventional power. Jesse, his ex-girlfriend, Tulip (Negga), and an Irish vampire named Cassidy (Gilgun) embark on a journey to, literally, find God.
The trio are thrust into a crazy world populated by a cast of characters from Heaven, Hell and everywhere in between.
A Nightmare On Elm Street‘s Jackie Earle Haley was recently cast as Haley Odin, a member of the local KKK branch and clashes multiple times with Jesse.
Other cast includes W. Earl Brown as ‘Sheriff Hugo Root’, the mean-hearted father of Eugene Root aka Arseface (Ian 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 but nevertheless shows up to church on Sundays.Dominic Cooper as Jesse Custer Joseph Gilgun as Cassidy Ruth Negga as Tulip O’Hare