The extraterrestrial horror game The Hum might not have found the success I think it deserved through crowdfunding, but that doesn’t necessarily mean we won’t eventually be getting our hands on it. The developer just released some new footage from the game that shows what happens when the aliens spot you. I imagine what follows looks something like this (NSFW link).
After last month’s stellar issue, complete with an Inception like chase scene, and a setting that can bend reality in a single panel, “Dead Letters” has me hooked. This book is a stellar combination of the typical crime storyline with the backdrop of a surreal hellscape. Nothing is quite what it seems, and death is seemingly just the beginning of how we truly live.
Last month Christopher Sebela did an incredible job at beginning his second arc by changing the way his protagonist, Sam had to adapt to his world. Since arriving in Here, he’s gained a certain amount of notoriety that forces him to become something new. Much like the insane process of Chris Visions, that can constantly change with each successive panel. Thier work is really quite stunning.
A haunting concept brought to life by an amazing artist “Dead Letters” has yet to disappoint. So I’m happy to offer an exclusive preview courtesy of BOOM! Studios for your reading enjoyment, and check back next Wednesday for the full review!
I first saw Late Phases back in July at Fantasia Fest (my review). Since then I’ve been championing the movie, urging everyone and their grandmother to see it. It’s the story of an aging veteran, his guide dog, and a tense father-son relationship.
Damici (Stake Land) stars as Ambrose McKinley, an elderly veteran. He moves into the quaint retirement community of Crescent Bay, a secluded locale in upstate New York nestled in the bosom of a thick forest. The residents don’t take too kindly to Ambrose’s biting behavior, especially when he pulls a gun on the Stepford Wives-like welcoming committee. Soon Ambrose learns that aggressively friendly old bags are the least of his worries. Crescent Bay has been rocked lately by a series of grisly murders the cops are deeming “animal attacks.” After Ambrose experiences one of these attacks firsthand, he decides to get proactive on their hairy asses.
Late Phases is certain to satisfy fans of the classic creature features of the ’80s who crave a practical werewolf transformation. The crack special effects and makeup team (headed by From Dusk Till Dawn‘s Robert Kurtzman) put together some wonderfully gory gross-out shape-shifting moments. Sweeping CGI aside, they went practical with werewolf suits and they’re huge and AWESOME. Their faces look more like Critters than wolves, but that’s part of their charm.
As Ambrose, Nick Damici gives a genuinely powerful performance. He plays it kinda like Eastwood in Gran Torino, but with more hard-boiled dialogue to spit out in his thick “fuhgeddaboutit” accent. Ethan Embry does a great job acting alongside him as the concerned son wounded by his father’s detached attitude. Their scenes together are terrific and deliver the type of credible family tension that a lot of folks can relate to.
I had the pleasure of chatting with Damici about the film and his approach to playing such a surly old character.
A lot of the reasons I love this movie has to do with your character, Ambrose. Could you talk about what initially attracted you to this film and this role?
Obviously it’s a great character and he’s blind. And basically he’s that previous generation’s veteran character. Like Clint Eastwood, I thought that would be a hoot to play. The fact that he was blind, y’know, every actor wants that Helen Keller moment, to see if they can do it. So that was kinda interesting. And it was fun to play something different, play older than I am. So the challenges were all there to see if I could pull it off and make it interesting.
And I like to work every day. Not that I need to play a lead. I just like to work every day when I’m acting. I can’t stand to work for a few days then be off for a few days, y’know?
How did you prepare to play a blind person and what were the challenges there?
In the end it actually worked out to be surprisingly easy. I initially did the typical acting thing and said “I’ll blindfold myself.” So I would get up, blindfold myself, make coffee, y’know, do some dishes, have a cigarette…then I’d spill my coffee, break my dishes and I’d say, “Wait a minute. This ain’t working.”
Then I realized, you’re never going to realize what it’s like to be blind. Y’know what I mean? So I started watching videos of blind people. And at first I didn’t realize that there are different degrees of blindness.
If you close your eyes, you see blackness, basically. You’re cutting out the light. But the blind, they don’t have even that. They can’t say “I see black.” They can’t describe what it’s like to be blind. People who have never seen, who are born blind, their eyes don’t have any way of focusing.
Since Ambrose went blind later in life, those people have more of a blank stare. So I chose that and never moved my eyes. It became a technical thing. And it really was just a way of learning to focus peripherally and not centered. Our eyes are kinda like a camera. They focus on the center when we look at something. Y’know, first you look at that, and then you don’t…like a peripheral circle. It’s very technical. So that way when you move, your eyes don’t move.
Then I had to show it to Adrian (Bogliano) and I said, “Look, you gotta call me on it if it’s not looking real.” Especially on a set, there’s lights. And lights will make your eyes do weird shit. Especially when we were doing action stuff, which was really difficult.
All in all I think it worked out pretty easy for what it was. It wasn’t as difficult as I thought it would be. It was more of a trick than anything else.
It’s never explicitly mentioned where Ambrose is from, but he has an obvious NYC way about him. Did you draw on any characters you knew growing up in Hell’s Kitchen, to shape the character?
Well it wasn’t a big stretch for me. I thought for this role, what’s the difference? I had a good friend, you know Taxi Driver, the guy who comes out of the deli and beats the kid with the bat?
That’s Victor Argo. He always played the gangster in this or that. We were very close friends and I knew him for years. He died in 2004 and when I read Ambrose I said, “My God, it’s Victor.” He had this real dour sense of humor. So it was kinda like my homage to Victor. He woulda been terrific in this role, now that I think about it.
So the way of holding my face, my mouth, was very much based on him.
I was at screenings in Montreal and in Denver. Both times, people were laughing out loud one second, then bracing themselves the next. Then at the end you could hear folks sniffling they were so sad. What sort of tone was Bogliano and you as an actor going for?
We talked about it a lot, me and Adrian. We had a lot of arguments about it, y’know, in good humor. Trying to do the best thing we could. And I think he got it. Again, it’s a very campy a horror movie, but it has this other-worldly human element to it, making it a drama in a way. And I think what I brought to Ambrose was, he was funny. Even though he was cantankerous and the character is not particularly meant to be funny, he’s got this pessimistic, totally nasty kind of humor, y’know? And he’s very dark but there is some kind of humanity to him.
Y’know, basically we were making a drama disguised as a campy werewolf movie.
Speaking of the werewolves, what was it like rumbling with these guys in the huge werewolf suits?
I felt bad for the poor guys. I’m no kid, y’know. I’m over 50. So y’know when it looks like 30 seconds on screen it’s two hours shooting. You have to do it over and over and over and over again. And this kid was wearing a rubber suit, in the summer. I was like “Jesus Christ, you’re dying! Get that mask off!”
But y’know, Kurtzman did a wonderful job on the costumes. And ultimately it’s a guy in a werewolf costume, y’know? We all know that. But the transformation in this movie was pretty fucking good. Ultimately though, without the CGI, it is just a guy in a werewolf suit. And that’s fine. I wasn’t asking for more out of this movie and I don’t think the movie asks for more.
And it was mostly all one guy in all the suits playing the werewolves.
I think they might’ve had half a suit to shoot the other guy in, it was hilarious. And the worst part is, y’know, I can’t look at anything. I can’t focus my eyes and I had frosted contact lenses on, like I have cataracts. I can’t see outta them. And the lights and fog are blinding, I can’t see outta them, and the poor kid in the werewolf costume…we couldn’t see what the hell we were doing!
Sacrifice is a big theme in the film, I think. Father Roger addresses it in his sermon. It comes up since Ambrose is a vet. And by the end he sacrifices himself in a way. What do you think he was sacrificing himself for?
I don’t know if I saw it as a sacrifice myself. I saw it as a warrior choosing his time. Y’know, like why did Ali come back last time? And Ambrose said okay I can be a soldier one last time, I get a second chance. To do what I do best and be that. To be the best soldier, and be that.
It was more that for me, and you could say he sacrificed himself to kill the werewolves, but I don’t think it was about that. I didn’t see it that way. I just think Ambrose was just pissed off this werewolf killed his dog!
What was it like working with so many amazing veterans like Tina Louise, Lance Guest, Rutanya Alda, etc.?
They were terrific, a lot of fun, man. It was really great to meet Lance. And Karen Kynn Gorney was an incredible woman. And of course Tom Noonan was great.
The quiet moments between you and Tom Noonan are some of my favorite in the movie. He seems like such a natural actor.
You wouldn’t think it about him, because he’s very big, very quiet. But when you meet him you’re like “Oh shit!”
The funny thing is I’ve known him for years through (Jim) Mickle. I went to a party at his house once, I’ve know him for 10 years in my neighborhood. One time I went up to him, I knew he didn’t know who the fuck I was! And I thought it was funny, y’know. Now that we have this movie, I guess he’ll remember who I am.
He actually loves bad jokes. That was our thing. My father was a bartender so I was like “Ya like bad jokes? I got a million bad jokes!”
Tell me a bad joke.
Hamburger walks into a bar. Bartender says, “sorry pal, we don’t serve food.”
Oh, that sucks.
Probably a Tom Noonan joke.
That’s another unique thing about Late Phases, its hero is an older person. Besides Embry and his wife, the whole cast is essentially old timers. Most horror flicks nowadays have teeny boppers in the lead roles. But there’s something about having an old veteran as the hero that makes it even more badass, more tangible. Do you agree?
I have nothing against youth. I was young once, but society has just over done it. You watch shows like CSI nowadays and it’s just 22 year-old investigators. Most people have to go through school for nine years first. I get it, I just don’t find it particularly interesting. I just think a certain amount of age is interesting.
Yeah, one kid in Austin asked me when I would stop doing all these action things, I said you wanna step outside?! What kinda question is that?!
Speaking of that, you used to train boxers, right?
I used to. Never professionally, but I trained kick boxers until two years ago.
What do you think of that smug fella Floyd Mayweather?
Eh, we’ll see what happens. I don’t find the game that interesting anymore. To me it’s like most professional sports, and movies to some degree. I like people for who they are. I don’t want to work for shitheads. It’s that simple. If they’re a shithead, they’re a shithead.
You’ve done quite a few acclaimed horror films the past few years. What’s attracted to you about the genre?
I like it because you use it as a metaphor, to tell human stories. I kinda find most straight drama really boring. I’m not interested in people’s lives. I feel like the horror story you can deliver it without boring people to death. Much like we did in Stake Land and Mulberry Street. And Late Phases, to a sense.
I don’t like horror specifically, y’know. I don’t like the torture porn movies, I’m not a big fan of the Halloweens and the Freddie movies. They’re fun, but they’re really for teenagers. I think there’s another element to horror to explore. I like a little more story in what I watch.
I have to ask you about Hap & Leonard. I know you’re in early production…
We’re very early in production so I can’t say much.
Are you going to be in it?
I’m not planning on it. If something comes up that I want to do I might, but right now we just want to do the best job we can on the writing and get it rolling. As for Joe Lansdale, he deserves to have a TV series on the air.
Yeah he really does.
If anybody does, y’know. We’re trying to keep it as close to the books as we can, like we did with Cold in July. It’s very difficult. Joe is a prolific writer, so it’s very interesting. It’s definitely going to be based on the books. So we’ll see what happens. It should be, if all works out…it should be airing in 2016. That’s the goal.
Are you planning on following the order of the books?
Right now we are. With the first novel (“Savage Season”) and then we’ll see from there. So it depends. But at this point I think we’re going to try and do that, a book every few episodes.
Well I have the utmost confidence in you and Mickle after Cold in July. So go get em…
A massive thanks to Nick for taking the time to talk with us!
Grabbers director Jon Wright will pit “The X-Files” and “Hannibal” thesp Gillian Anderson, Callan McAuliffe, and even Ben Kingsley against Robot Overlords.
The film is set to open March 19, 2015 in the UK, and begins when “Earth is conquered by robots from a distant galaxy; survivors are confined to their houses and must wear electronic implants, risking incineration by robot sentries if they venture outside.
In robot-occupied Britain, city centres are devastated and a gang of teenagers live in a seaside town constantly under robot threat. Intimidating sentries patrol the streets; snipers are merciless death machines. The Mediator is deceptively childlike but unnervingly coercive. The robot base is The Cube, a massive mother-ship that dominates the horizon.”
Check out the first trailer, courtesy of Fabien M.
One of everyone’s favorite scenes in the 2012 The Cabin In the Woods is when one of the characters busts out his coffee mug, which turns into a giant pipe. While the moviegoing community collectively fantasized about it, one went out and actually made it a reality!
Iron Man Design has a patent pending on the illustrious Coffee Pipe Mug, as seen in the movie!
Here’s the deets:
Designed to have the mobility of a travel coffee mug, then easily and quickly telescopes out into a water pipe for smoking tobacco! This one of a kind unique smoking pipe looks like a standard travel coffee mug that you can take with you on the go. It compacts into the the same size as a standard travel 20 oz mug. When it’s time to smoke tobacco, simply unsnap the bottom and telescope the device out. Perfect for your tobacco smoking needs. The handle of the coffee cup then unscrews and is inserted into the base. The mouthpiece that you smoke from is located on the top horizontal portion of the handle. Very easy to use design!. The ultimate coffee mug pipe!
They say it will be available for purchase soon, so bookmark the site and frequent it if you’re dying to get your hands on one.
San Antonio, TX metal band Upon A Burning Body have been making a serious name for themselves since the release of their debut album The World Is Ours. In the four years since then, they’ve release two albums and embarked on countless tours, including an upcoming run alongside Asking Alexandria, Chelsea Grin, Blessthefall, and The Family Ruin.
So, what better way to spend your time on the road than watching horror movies a few horror movies, right? That’s why we’ve gotten guitarist Sal Dominquez to submit his Top 5 horror movies, which you can see on the following pages.
Buy the band’s latest album The World Is My Enemy Now via iTunes.
In their first feature film collaboration, the team of DPYX (Marcy Boyle and Rachel Holzman) joined with Nick Principe to bring us the exciting thriller Nobody Can Cool. Boyle and Holzman are organizing DPYX to now create The Debra Hill Documentary.
Debra Hill is the godmother of indie film, producing such greats as Halloween, The Fog, The Dead Zone, Escape from New York, and The Fisher King amongst others. DPYX is producing the documentary to celebrate her incredible career.
Principal photography, which will include some incredible interviews with movie makers like John Carpenter, Lynda Obst, and Stacey Sher, will begin in January 2015. For up-to-the-minute information on the project, “like” The Debra Hill Documentary on Facebook and follow The Debra Hill Documentary on Twitter (@debrahilldoc).
From the Press Release
Filmmaking team DPYX (Marcy Boyle and Rachel Holzman) will write, direct, and produce The Debra Hill Documentary, a feature documentary about the late legendary filmmaker. Lotti Pharriss Knowles of Weirdsmobile Productions will executive produce. This will be the first film about Debra Hill, and by telling her story, the filmmakers hope to preserve an important piece of the empowering history of women in Hollywood.
Said DPYX’s Marcy Boyle, “Debra Hill is a hero of ours. Not only did she break in to the industry on her own, through intelligence, talent, and tenacity, but she produced so many films that have become part of popular culture.”
“We want to highlight and celebrate Hill’s achievements so the next generation of filmmakers can be inspired to move forward on the path blazed by women like her—and so the industry can be reminded that women have been instrumental in some of the greatest success stories in the film business. Debra Hill’s films have generated over a billion dollars in box office receipts,” DPYX’s Rachel Holzman noted.
Hill’s friend and former producing partner Lynda Obst said, “I am overwhelmed with emotion about the documentary being made on the life and work of Debra Hill by DPYX and executive producer Lotti Pharriss Knowles. I was lucky enough to have been her partner in Hill/Obst productions, where we joyously made movies from Adventures in Babysitting (our first) to The Fisher King (our last)—and she taught me everything she knew. Debra was the consummate producer, and this film will show generations of women and men what the right stuff truly is, as I saw it and lived it first-hand.”
“Debra Hill was the godmother of indie filmmaking. She taught me that there was no above or below the line, that we were all one crew trying to make our days and make something great,” Stacey Sher said of her producing mentor.
And John Carpenter recalls, “Debra Hill was a trailblazer, a tough as nails female producer in a man’s world.”
About Debra Hill
Debra Hill was born November 10, 1950, in Haddonfield, New Jersey. She began her career as a script supervisor in the 1970s, including on John Carpenter’s Assault on Precinct 13. She teamed with Carpenter on his next feature, Halloween, as his co-writer and producer. After the extraordinary success of that film, Hill became a key player in a wave of trailblazing women who broke barriers in the male-dominated film industry. She produced notable genre films such as The Fog, Escape from New York, The Dead Zone, and Halloween I, II & III; comedies with cult followings such as Clue, Adventures in Babysitting, and Big Top Pee Wee; and the critically-acclaimed, award-winning film The Fisher King. Hill was a mentor to many current film industry heavyweights, and her untimely death in 2005 at age 54 was a great loss to those who knew and loved her and to Hollywood as a whole.
The post Filmmaking Team DPYX Creating The Debra Hill Documentary appeared first on Dread Central.
Marilyn Manson, the Antichrist Superstar himself, has announced a N. American tour that will take place in early 2015 in support of his upcoming album The Pale Emperor. The tour will take place primarily in the US with one date in Canada.
Tickets go on sale this Friday and all ticket purchasers will receive a digital copy of the new album upon its release date (1/20/15). The full touring schedule can be seen below.
Joining Marilyn Manson on the national headlining tour will be album collaborator and guitarist Tyler Bates, longtime bassist Twiggy Ramirez, Gil Sharone on drums and Paul Wiley on guitar.
1/21 – Washington, DC – The Fillmore
1/23 – Philadelphia, PA – Electric Factory
1/24 – Sayreville, NJ – Starland Ballroom
1/26 – New York, NY – Terminal 5
1/27 – Long Island, NY – Paramount
1/28 – Boston, MA – House of Blues
1/30 – Pittsburgh, PA – Stage AE
1/31 – Bethlehem, PA – Sands Bethlehem
2/2 – Toronto, ON – Sound Academy
2/3 – Detroit, MI – Fillmore
2/5 – Chicago, IL – Riviera Theatre
2/7 – Milwaukee, WI – Eagles Ballroom
2/9 – St. Louis, MO – The Pageant
2/11 – Denver, CO – Filmore
2/13 – Tempe, AZ – Marquee
2/14 – Las Vegas, NV – House of Blues
V/H/S: Viral is NOW on VOD platforms (with a limited theatrical run slated for November 21st), and Magnet has give our friends at AITH an awesome alternate one-sheet from Nacho Vigalondo’s insane demonic segment that’s loaded with phallic imagery.
The new tape features segments directed by Marcel Sarmiento (Deadgirl, the incredible The ABCs of Death segment “D Is for Dogfight”), Nacho Vigalondo (Timecrimes, Extraterrestrial), Gregg Bishop (The Other Side, Dance of the Dead), as well as Justin Benson and Aaron Moorhead (Resolution, Spring).
“A police chase after a deranged ice cream truck has captivated the attention of the greater Los Angeles area. Dozens of fame—obsessed teens flock to the streets with their video cameras and camera phones, hell—bent on capturing the next viral video. But there is something far more sinister occurring in the streets of L.A. than a simple police chase. A resounding effect is created onto all those obsessed with capturing salacious footage for no other purpose than to amuse or titillate. Soon the discovery becomes that they themselves are the stars of the next video, one where they face their own death.”
Patrick Lawrie, Emmy Argo, Heather Hayes, Jessica Luza, John Curran, Justin Welborn, Mary Ralston, Michael Aaron Milligan, Gustavo Salmerón, Marian Álvarez, Xavi Daura, Esteban Navarro, Nick Blanco, Chase Newton, Shane Bradey and Jayden Robison star.
We’ve been talking about Sideshow Collectibles’ awesome Court of the Dead figures for several months now, and finally Big D himself, Death, has made an appearance. Read on for your first look at the Lord Supreme of the Underworld.
The ruler and creator of the Underworld, Death is the son of Priam and Abraxiel, brought into existence as a last act of the Lords of Heaven and Hell before the creation of mankind.
Though his will is absolute within his realm, Death spends a great deal of his time pursuing, studying, and experimenting with fragments of the soul energy known as etherea. While Heaven and Hell squander this energy to fuel their eternal battle, it is Death alone who recognizes the true power. It is with this knowledge that Death builds his Court and his kingdom, a kingdom that balances chaos and order, lightness and dark. A kingdom built upon the foundation of one unspoken principle – Rise. Conquer. Rule.
About the Court of the Dead
Over millennia, Death has harvested countless souls on behalf of the warring powers of Heaven and Hell. Seeking to redefine the laws of the afterlife, he orchestrates a Court of the Dead, filling the Underworld with souls he’s taken as his own.
Assembled from the disciplines of Spirit, Bone, and Flesh, together in the service of Death, they shall Rise, Conquer, Rule.
For more info visit Sideshow Collectibles.
The post Death Has Arrived! The Lord Supreme of the Underworld Joins Sideshow’s Court of the Dead appeared first on Dread Central.
ITV has ordered six-part period crime drama “The Frankenstein Chronicles” to be produced by Rainmark Films, reports Deadline.
Billed as a thrilling and terrifying re-imagining of the Frankenstein myth, the series will star Sean Bean, pictured, as Inspector John Marlott.
“Set in 1827 London, the drama begins when Home Secretary Sir Robert Peel recruits Marlott after a successful operation by Thames River Police to apprehend a gang of opium smugglers. As Marlott stands on the water’s edge contemplating the arrests, he makes a shocking discovery: A corpse washed up on the shore is not what it seems at first glance. Instead, it’s a crude assembly of body parts arranged in a grotesque parody of a human form. The mutilated child-like body leaves an indelible impression on Marlott who is tasked by Peel with tracking the perpetrator of this heinous crime. As he investigates, Marlott discovers that what he’s dealing with is more horrific than he could possibly have imagined.”
Blending the investigation and horror genres, it hails from Emmy-nominated director and writer Benjamin Ross (RKO 281, The Young Poisoner’s Handbook) and writer Barry Langford (Torte Bluma). It has been commissioned for air on ITV’s subscription channel ITV Encore, the first original drama for the pay outlet since it launched earlier this year. Shooting starts in Northern Ireland in January.
“Marlott’s investigation takes him into the dark corners of Regency London,” says Ross. “He discovers an underworld of prostitution, drug smuggling, bodysnatching, and murder for profit. The rational evidence points first one way, and then another as he contemplates a frightening alternate scenario.”
Ever wonder what happens when a vampire hits the main artery?
This new clip from What We Do In the Shadows (read our review) answers the question when it rains blood all over your computer screen. The set up is spectacular being that his “date” was a complete snooze.
Metrodome will release in UK cinemas November 21.
The film is a mockumentary/comedy written, directed by, and starring Jemaine Clement (Flight of the Conchords, Men In Black 3) and Academy Award nominee Taika Waititi (Boy, Eagle vs. Shark).
“Diving deep into the throes of vampire life in New Zealand, What We Do In The Shadows introduces us to age-old vampire flatmates Vladislav (862 years old, played by Clement) Viago (379 years old, played by Waititi), Deacon (183 years old) and Petyr (8,000 years old). Stuck in their antiquated ways, they struggle to adjust to 21st century customs, like paying rent, sharing household chores and getting expressly invited into nightclubs. Enter 20-something hipster Nick, who Petyr turns to get an inside education on the modern world. What follows includes a whole lot of discovery: from fashion to technology and even a little feeling — all laced in continuous hilarity, of course.””
Clark raved about last night’s episode of AMC’s The Walking Dead,” and buzz around the show is that it has finally found its footing (surprising in its fifth season).
AMC hopes to carry the momentum into next week’s Episode 5.07, ‘Crossed,’ in which some members hold down the church while the others are on a rescue mission.
Here’s the promo and the first sneak peak for those dying to see what’s next.
Starring Austin Hayden, Shian Denovan
Directed by Andy Stewart
One morning, an unnamed young man (Hayden) awakens to discover a gigantic, pus-filled boil growing on his chest and multiple text messages on his phone from a worried friend desperate to get in touch with him. As he staggers around his flat, we come to see bright memories of everyday activities that the man enjoyed with his girlfriend (Denovan) – their vivid visual representation evident of a happier time in comparison to the darker, grey outlook on his current activities.
It would appear that something bad has happened, and it’s cost him his relationship. Tossing and turning in the night, he’s forced to run to the bathroom to vomit, where he subsequently gives the boil on his chest a squeeze – to expectedly gooey ends.
This proves to be the beginning of his breakdown, as his affliction gathers pace resulting in graphic, assured manner, sending him down the road of total decomposition.
What stands out most about Split is the physical effects work. It’s absolutely stellar. Grotesque, squirm-inducing, and exceptionally realistic-looking, the makeup and prosthetics are genuinely toe-curling. As his condition worsens, the man finds his fingertips swollen into bulbous, pus-filled balls which squirt their contents when pressured, his fingernails come off, and in one particularly hideous sequence an entire section of skin comes sloughing away.
Suffice to say, this is not a film for the weak of stomach.
And that is not an idle warning.
Visually, Split is very well shot and edited but does seem to drag out a few sequences to unnecessary length. This is perhaps partly due to wanting to get the most out of Hayden’s convincingly tortured and pained performance, but combined with the intended grim tone, it leads to the odd moment of standstill pacing, where the need for something new becomes evident just slightly too earlier than that arrives.
Still, there’s a genuine story to be found here amidst the astounding grotesquery, and it allows for a few different ways to approach what happens. Could the unfortunate soul have contracted something with his philandering? Has squeezing the boil and subsequently lying around like a recluse led to the mother of all untreated staph infections?
Of course, most effective (and intentional) is the approach of a metaphorical treatise on the nature and effect of guilt and regret, reinforced admirably by a sombre, minimalist score and convincingly pained and distraught performance by Hayden.
Dealing with the same kind of content as 2012’s odious and grubby Thanatomorphose in a much superior manner, Split is a very strong entry by Stewart and co. It’s pro-grade stuff, and the effects work is staggering. Just don’t watch it if you’re feeling queasy or eating a meal. Seriously.
The flames burn bright around 13th century Kaulder, played by Vin Diesel.
Diesel shared a new look at his character in Summit Entertainment’s The Last Witch Hunter, recently set for release on October 23, 2015.
Elijah Wood, Rose Leslie and Michael Caine also star with The Crazies‘ Breck Eisner directing.
“Tormented by the loss of his family and cursed with immortal life, the last witch hunter (Vin Diesel) is all that stands between humanity and the combined forces of the most horrifying witches in history.“
Classic monsters meet classics cars this coming February when IDW Publishing releases Monster Motors: The Curse of Minivan Helsing, a two-part follow-up to this past summer’s Monster Motors, the acclaimed debut by Brian Lynch, Nick Roche, and Leonard O’Grady.
“Monster Motors is a world I love coming back to,” said Lynch. “Combining everyone’s favorite monsters (and, with this story, monster hunters) with the coolest vehicles originally made me say, ‘Wow! If I were a kid, I’d love to see this.’ But as the world gets fleshed out and we start figuring out each Monster Motors’ personality, I realized this was a story anyone can enjoy, no matter their age. It’s got tons of action, it’s funny, it’s scary, and thanks to Nick and Len, it’s the best looking book you’ll read all month.”
Check out the synopsis and artwork below, and if you missed Monster Motors when it was released, you can grab the Kindle version from the EvilShop below.
Genius mechanic Vic Frankenstein and his assistant iGOR (interactive Garage Operations Robot) have moved to the quaint town of Transylvania, Kentucky. But this quaint town has a bit of a problem: It’s becoming overrun by Monster Motors! Vampire cars suck gas from their victims, and lunar-powered werewolf vehicles grow fangs and claws when the moon is full! And that’s just for starters.
Someone has to keep them all in check. Enter MINIVAN HELSING: four-wheeled monster-hunter. It is his job to hunt down the Monster Motors and bring them to justice. His new target? Vic and his Frankenride, a monstrous truck made from the parts of fallen cars and trucks.
The post Monster Motors Roar Back to Life at IDW in February appeared first on Dread Central.
Hailing out of New Zealand, and from the people behind Stake Land, Late Phases, Starry Eyes, The Innkeepers, House of the Devil (MPI/Dark Sky), ABCs of Death and Housebound (Ant Timpson), comes a rockin’ new horror comedy that’s going to blow your collective minds.
Bloody Disgusting caught an early first look at the sales promo and a clip from Jason Lei Howden’s Deathgasm, a heavy metal horror movie that stars Milo Cawthorne, James Blake and Kimberley Crossman.
Starting with the clip, imagine Evil Dead 2, only Ash beats the deadites to death with a giant double-sided dildo before ripping the cord on a chainsaw to deliver a bloody final blow! Yeah, it’s that insane. But that’s nothing compared to the sales promo, which rains blood to tunes similar to old school Megadeth. The above image is deceiving, and actually hilarious considering the absolute bonkers movie that awaits. Deathgasm is the horror film to watch for in 2015 – all hail Baphomet!
“Metal-thrashing Brodie is an outcast in a sea of jocks and cheerleaders until he meets a kindred spirit in fellow metalhead Zakk. After starting their own band, Brodie and Zakk’s resentment of the suburban wasteland leads them to a mysterious piece of sheet music said to grant Ultimate Power to whoever plays it. But the music also summons an ancient evil entity known as Aeloth The Blind One, who threatens to tear apart existence itself. Their classmates and family become inhabited by demonic forces, tearing out their own eyes and turning into psychotic murderers… It’s up to Brodie, Zakk and their group of friends to stop a force of pure evil from devouring all of mankind.”
Produced in association with the New Zealand Film Commission and MPI Media Group, Deathgasm is said to satisfy metalheads and splatter fans alike as it will gush bodily fluids, rain limbs and tickle your funny bone, before tearing it out and giving you a stiff beating with it.
I wasn’t sure what to expect before speaking to indie-darling director Ana Lily Amirpour. Not that I don’t do my due diligence, but I try to bring a fresh, uncluttered and unbiased mind to most interviews (preferably, mine). Judging from her “Iranian vampire spaghetti western” called A Girl Walks Home Alone at Night, I might have guessed she was the personification of Winona Ryder’s character in Beetlejuice.
In fact, Amirpour wonders if such a preconceived notion doesn’t indeed precede her – “I’m always nervous to talk to a hardcore genre type,” she told me, first thing, “because I’m like, ‘Oh, they probably just think [my movie is] boring hipster, emo, arty shit.”
Well, the movie is emo and arty, but whether it is boring and all the rest will be up to broad audiences when it’s released later this week. So far, the movie has only been shown to erudite festival filmgoers, and it’s rating 100% fresh on the good old Tomato-Meter over at RottenTomatoes.com. That’s just one source, Amirpour points out with a laugh, “because if you look at our trailer on YouTube… well, if anybody still believes that there could be world peace, just look at the comments on YouTube and check those out because people are animals!”
Love it or loathe it, A Girl Walks Home Alone at Night (review) is a singular achievement in that it’s quite original, especially coming from a feature first-timer. Mixing the lush beauty of 60s and 70s vampire art films a la Jean Rollin and Jess Franco, but with the cool, calculated exactitude of someone influenced by Jean-Luc Goddard and Jim Jarmusch, Amirpour still puts something elusively herself into it as well.
Since this movie seems to be coming from such a personal wellspring of artistic inspiration, I asked her if she might someday be open to directing a film someone else wrote. “At this point I have so many things that I’m interested in, and that’s coming from stuff I’m generating myself,” she replied. So it’s not going to happen soon, but she added, “I don’t think that that’s a limitless supply. I don’t know what to head for, there’s so many interesting things. It’s not like we’re inventing things that aren’t created. We’re just recombining things and telling stories in unfamiliar ways that are familiar, though, at the same time. So I’m totally open to that. I think I would have to make it my own. I am a writer. And so I think things have to become your own anyway. But I absolutely would be open to that.”
Here’s more of our quick chat:
Dread Central: Your DP’s [Lyle Vincent] work is very noir on the film. What was it specifically about him that made you want him to shoot for you?
Ana Lily Amirpour: I was getting such a lot of cinematography reels and stuff so I was looking at a bunch of different people’s work. He had a great series of short films called ‘Bright Falls,’ and when I watched them, I felt that they were very Lynchian – they reminded me a lot of Lynch from ‘Twin Peaks’ in particular. And I love David Lynch so I was really into that. Then we met over Skype because he’s New York-based and I’m in L.A.
I’ve worked with a lot of different DP’s on a lot of short films and music videos so I kind of had this promiscuous DP thing going on, you know, and I feel like it’s the most important thing because there’s a lot of people that can make things look pretty, but I think film has [an] inner beauty, and that really comes from the soul of people working together in a certain way. I had this immediate chemistry with him, and we are like soulmates, in a way, creatively. We have a lot of similar cinematic fascinations. We both love Lynch and Sergio Leone and Scorsese, and I spent just hours and hours and hours on Skype with him talking about films, and I just knew he was the one.
DC: Sounds like you might have a collaborator now.
ALA: Yeah. He’s shooting my next film, which I’m doing in the spring.
DC: Oh good. What genre is it?
ALA: It’s in color and English. It’s a desert-set, Texan wasteland and then we’re in a desert and it’s kind of a psychedelic Road Warrior. It’s like a post-apocalyptic, cannibal love story. It’s very violent and very romantic.
DC: Sounds sort of like, maybe El Topo?
ALA: Oh my God. Yes. It’s like El Topo meets Dirty Dancing.
DC: I love it already.
Kino Lorber will release A Girl Walks Home Alone At Night in New York and Los Angeles on November 21st with national expansion to follow.
Directed by Ana Lily Amirpour, A Girl Walks Home Alone at Night stars Sheila Vand, Arash Marandi, Dominic Rains, Marshall Manesh, Mozhan Marnó, and Milad Eghbali.
Strange things are afoot in Bad City. The Iranian ghost town, home to prostitutes, junkies, pimps, and other sordid souls, is a bastion of depravity and hopelessness where a lonely vampire stalks its most unsavory inhabitants. But when boy meets girl, an unusual love story begins to blossom… blood red.
The post Exclusive: Ana Lily Amirpour Talks A Girl Walks Home Alone at Night and What’s Next appeared first on Dread Central.
Time for another band for you fine readers to check out! This time I’m bringing you Minnesotan metal band Thee Massacre, who fully embrace the concept of “horror metal”, crafting a style this is theatrical and vicious. The band utilizes horror samples and cinematic keys to create what sounds to me like a far heavier version of Dog Fashion Disco.
Honestly, I’d compare this band to a slasher film. It’s meant to be aggressive yet fun and playful.
Below you can listen to their debut EP Horror, which you can purchase via Bandcamp.
“Consumed” delivered an extremely gripping chapter of The Walking Dead, following Daryl and Carol’s search for Beth.
While the surface elements at play were in top form, it’s the deeply personal analysis of what brought these two characters to where they are currently, both physically and emotionally that packs the most weight. There is a theme of reflection, in perhaps the most potent and complex psychological study we’ve seen thus far in the series.
With countless instances of Carol’s reflection cast on glass surfaces, the dark and foreboding mirror image of the highway leading into Atlanta, this episode was packed with imagery of change. Something that shines through every moment both internally and externally.
This is an infiltration mission, and an exciting one at that. Daryl and Carol follow the marked car back into the ruined city of Atlanta, and the excitement is palpable. The change of scenery is commanding, cementing the hopeless state of the world, as empty blackened buildings stand claimed by the dead.
It’s a thrill to traverse these areas again, especially with these two characters. As soon they enter the city, the threat looms with legions of walkers pouring out of the darkness towards our duo’s stalled vehicle. While escape is easily achieved, the sanctuary, which end’s up being some temporary housing once visited by Carol in another life, brings back painful memories of her past. A theme that was constantly explored in various situations from that point on.
Watching these two search for clues in an attempt to track down Beth’s captors was just awesome. They work much like a well oiled machine. Their complete confidence once stripped of their weapons by a desperate Noah is empowering and thrilling. I don’t know if an episode of this show has got me this pumped up since the fall of the prison. It was a much different kind of thrill, but every bit as potent.
The constant revelations on Carol’s mental state, told in part through flashbacks really got to me. These glimpses over the course of the episode are fantastic. We’re shown that Carol’s role at the prison allowed her to be the person she always thought she should be, and the utter sense of defeat she suffered after her exile. While her discovery of the fall of her former home, and the horrible loss of her adopted children left her empty inside.
It was made obvious that Carol still maintained the desire to keep her new found strength and willingness to make those tough calls, but her experiences left her with a profound fear of loss. A fear that almost made her abandon the group, if for no other reason than to spare herself from losing anyone else.
How the writers played all of this off of Daryl’s character, and the strong, compassionate man he’s become, was nothing short of brilliant. A device strengthened by some expertly crafted pacing and dialogue. The fact that a single episode could be this packed with character, while showcasing all the action, intrigue and suspense we’ve come to love, is simply stunning. I was completely engaged from start to finish.
The seriously haunting score by the incredible Bear McCreary combined with some seriously bad ass set design and the overall visual atheistic of the locals put this episode over the edge of awesome. The atmosphere practically oozed off my screen, inspiring me with a sense of loss, dread, and confidence all at once.
In one of my favorite instances of this, our dynamic duo investigates a van belonging to the people they’re after. Said van dangles precariously over the edge of an interchange while being pursued by walkers on either side. How this scene played out in the end was a little improbable (the van probably would’ve landed on it’s roof), but it was awesome none the less.
And how about finding out how Carol ended up in the clutches of our insanity besieged boys in blue?
So much for the intentional infiltration angle, but this is much more compelling as we now know that rescue will not come from within, but from our main cast of characters after Daryl’s return with Noah.
This to me was an episode that makes me wish there was a rating higher than 5. An episode that shows an incredible level of story telling finesse, while driving home one of the most important points that could be illustrated on this show: there is no such thing as a straight path in this world. A point that has drawn a certain amount of contention in previous episodes when character’s didn’t act the way the were ‘supposed’ to, or the way their previous characterization dictated they should.
These characters are constantly struggling to find who they are in any given moment. A fact illustrated in part by the role reversal undergone in regards to Noah’s fate in this very episode. When it comes to motivations and snap decisions, there are no constants, much like in our world. This is something I always wanted to see addressed in a more targeted fashion, and this did the job perfectly.
I’m absolutely shitting my pants to see what comes next, and as of this moment I’m anticipating what may end up being the finest mid season finale in The Walking Dead history two weeks from now.
What did you think of “Consumed?”
Were you disappointed in the lack of romance between Carol and Daryl?
Where do we go from here?
Can The Walking Dead continue its hot streak?
Are we heading back into Atlanta full force come mid season?