Lindemann, the project made up by Rammstein vocalist Till Lindemann and Pain mainman Peter Tägtgren, have released a short teaser for their upcoming “Praise Abort” video, which will premiere May 28th via SkillsInPills.com.
The teaser shows sperm descending upon an egg, the mitosis that ensues, and then shows an ultrasound of a baby while pigs squeals sound over the images. It ends with Till’s mouth grinning devilishly as he pronounces, “I like to fuck!”
The debut album, Skills In Pills, will be released on June 23rd. You can pre-order it via iTunes.
Goonies never die!
I recently revisited this movie after two decades and I was blown away by how entertaining and smart it is! Meant for kids, the movie is actually fantastic for adults, with witty writing, great sets, and some thrilling adventures. It’s a movie that I loved as a kid, forgot about in my teen years and am now very happy to have found again as an adult.
I want to celebrate the film because I just love it and feel like it deserves some damn attention! To do so, we’ve got a quiz lined up for you that asks the question many of us thought when we were young’uns: Which ‘Goonies’ Character Are You?
I got “Andy”, which states:
Andy—short for Andrea—is a bubbly cheerleader and knows what she wants. She might seem like a snob sometimes, but she can rally and help her friends when they’re in trouble. And her creative piano playing skills help them out of a sticky situation!
Take the Goonies quiz below and let us know how you did!
In this new clip from Fox’s Poltergeist, in theaters May 22, we see the revamped scene in which a clown doll becomes possessed. Do you think it’s as scary as Tobe Hooper’s original?
Check out a clip in which Eric Bowen (Sam Rockwell) catches a glimpse of a shadow, presumably his kidnaped daughter Madison (Kennedi Clements), by clicking here.
Rockwell, Rosemarie DeWitt, Saxon Sharbino and Jane Adams star in the modern take on Poltergeist, with Jared Harris playing Carrigan, a larger than life TV personality who left the world of academia behind to become the star host of basic cable TV show “Haunted House Cleaners.”
In Poltergeist, Raimi reimagines and contemporizes the classic tale about a family whose suburban home is invaded by angry spirits. When the terrifying apparitions escalate their attacks and hold the youngest daughter captive, the family must come together to rescue her before she disappears forever.
While many people are caught in an argument between whether or not it was Tom Hardy or Charlize Theron that was the main character of Mad Max: Fury Road, I’m that guy who’s saying, “Give me more cars!” Honestly, the vehicles, in my opinion, were the stars of the film. From their jagged spikes to their Frankenstein-esque builds, they were fascinating warped mechanical demons that tore through the apocalyptic wasteland, roaring lie a choir of damned souls.
In a featurette that was premiered by Jalopnik, production designer Colin Gibson and director George Miller explain how the cars in the film came about. Apparently 130 cars were produced for the film, many of them completely and utterly destroyed during production.
It’s a great behind-the-scenes look into what many are calling one of the best actions movies ever released.
Stop me if you’ve heard this one before. Ever feel like your kids are possessed by the Devil? Or other people’s kids? Well you’re in luck, as horror directors have cornered the market on such things, from The Exorcist to Insidious. But hey, why not take a worn-out fad like the POV shakycam “found footage” and mash them together in hopes that something good will come of it? Okay, in all honesty, maybe something cool will happen and the negatives will be cancelled out in favour of an interesting take on the whole genre? Maybe Infernal will be that film?
Sophia (Heather Adair) and Nathan (Andy Ostroff) have an autistic eight year old daughter named Imogene (Alyssa Koerner). After becoming increasingly disturbed by Imogene’s equally-disturbing behaviour, the couple confide in their family therapist (Lisagaye Tomlinson), who suggests that they begin monitoring Imogene’s behaviour via the use of camcorders. However, as they begin monitoring Imogene’s behaviour, strange and unexplained happenings begin occurring, increasing in severity to the point where things take a demonic turn.
As much as I’m becoming to loathe found footage films the more times that I see it, I will say that Infernal does offer some cool moments through the use of the trope, namely the demonic figures that come out of Imogene’s closet. While it’s not as creepy as it should be (the lighting of the creature ruins its scare factor), it’s a nice attempt. I also have to give credit to the actors for being able to work with what they were given. Andy Ostroff was able to play the conflicted, compassionate father effectively, even though the character’s writing and the script in general left something to be desired (more on that later). Also, writer/director/producer Bryan Coyne was able to find a child actor in Alyssa Koerner that displayed enough competence in the role that didn’t reinforce my views on child actors in mature films.
Okay, I said all the nice things I could about Infernal. It’s not much of a stretch that I’m trying to hide my disdain for spending over 100 minutes on this film. First off, the found footage gimmick in this film is stupid. It make little sense contextually with the rest of the film. For example, who films themselves packing boxes with the idea of them watching it later? Who films a doctor’s appointment? Why is it that the camera “coincidentally” captures the moments required by story and plot advancement? Oh, and the idea that these recordings later on will be used to help monitor Imogene’s behaviour? There’s no real point, as Nathan only views the footage once, and that’s not even after we have the demons poking around in Imogene’s room. The whole thing is staged and shoehorned into the film in an attempt to make things “interesting”. And no, having your characters “explain” why they are filming a moment which wouldn’t normally be filmed does not make things better.
Speaking of Nathan, the character ranks up there with Ethan Hawke’s recent dad characters in obliviousness and stupidity. The fact that he can’t decide whether to believe that Imogene is possessed or not is one thing, but the fact that it feels like his indecision is there just to eat up the runtime is another. Speaking of scenes thrown in for convenient story development, the scene involving Nathan teaching Imogene how to swing a hammer doesn’t scream of foreshadowing at all. The other characters aren’t much better off, either. Scenes such as a dinner party are constructed as such to remove any tension whatsoever by showing just one person talking in the shot, while the others are nowhere to be seen. Then there are other shots like Nathan and Sophia arguing with a priest that not only take up just a small portion of the entire frame, but end up leading nowhere since we never see characters like the priest again. It’s just garbage filmmaking with garbage writing.
Infernal pissed me off. Maybe I was in a bad mood. Maybe it was the fact that before this film, I had watched an excellent-yet-depressing documentary on H.R. Giger (which was far more entertaining than this film). I don’t know, all I just wanted was to have a good time. Instead, what I got with Infernal was a boring 100 minutes with a worn-out gimmick hammered into it in order to try and cover up crappy writing and amateur filmmaking. While I know that the actors involved tried to do what they could, you can’t salvage characters that are so stupidly written. Go rewatch Paranormal Activity if you want to see something marginally better, or watch The Omen again or any other child possession film that’s actually worth your time.
Universal Orlando’s Halloween Horror Nights 25 will be the biggest, longest and most intense in event history, a press release promises.
The event will feature NINE haunted houses – more than ever in event history.
The streets of the event will be filled with MORE SCAREACTORS than ever before. Guests will encounter twice as many “scareactors” than in previous years, who will terrify guests throughout highly-themed scare zones in the park.
Halloween Horror Nights 25 will feature MORE NIGHTS than ever before – running for a record-breaking 30 nights from Sept. 18 to Nov. 1.
Here’s a teaser! Keep up with the event at the official blog.
Artist John Paul Azzopardi is a man who wants to challenge viewers on art and the mediums that can be used to create it. Using bone, Azzopardi has created twisted and chilling pieces that are as macabre as they are fascinating, looking like something that would be seen in an episode of “Hannibal“.
For his “Bone” series, Azzopardi writes:
Bone – is a collection of fossilized structures that explores the gentle temperance located within the constitution of sound, i.e. its very silent centre. The architectural relationship that oscillates back and forth from the simple and the complex to the living and the dead connects space and form, creating existential structures of interwoven silence. The death embedded in its form, its life. This might confront the spectator with a spectre, the simulacrum of itself that stalls, halts being something in its tracks.
A gallery of his works can be seen below. Head to his website for more information and to see more pieces.
Ireland has seen a bit of a revival the past few years in its horror output. There are some forgettable ones and some definite highlights (Citadel, Stitches, Grabbers). Brian O’Malley’s film Let Us Prey is a notable new entry in the Emerald Island’s genre harvest. A paranoid, condensed supernatural thriller, Let Us Prey exhibits brooding visual flair with a story that begins as an engaging mystery, but sadly loses steam at about the midway point. There’s a lot to like here, but that gripping sense of mystery the first half does so well gets lost in its bloody, feverish final chapter.
After an ominous opening credit sequence, we meet by-the-books Officer Rachel Heggie, who has just been transferred to a remote town where things are done a little differently. Pollyanna McIntosh, the impressive lead in Lucky McGee’s The Woman and Simeon Halligan’s White Settlers (which I really enjoyed), is a really compelling actress to watch. She can talk the talk but she’s even more absorbing during her silent moments – when she’s got that look of icy calculation.
On her way to the station, a stranger walks through town and is struck by a car. Rachel runs to his aid only to find the man has vanished. Shortly after, the man appears at the police station and brings a hefty atmosphere of paranoia with him. As this stranger stirs the pot, the small town’s dark secrets begin to surface.
The first half of Let Us Prey has an air of mystery that really gets under the skin. The eerie photography and presence of the bearded stranger enhance this atmosphere and once all of the main characters are set into motion, the real mystery begins.
The whole cast does a top notch job bringing weight to the intrigue, with expressive glances and smirks that belie their intentions. Best known for his role on Game of Thrones, Liam Cunningham delivers an intimidating performance as the stoic stranger who sets the gears in motion. As shit wildly begins to hit the fan, Cunningham keeps his calm demeanor and a gaze that could pierce Kevlar. I wish the script by David Cairns and Fiona Watson gave him a little more juicy material to play with, but for what he’s given Cunningham kills it.
Rachel’s exacting approach to police work does little to impress her new boss, Sergeant MacReady (Douglas Russell), who’s awfully defensive about his little police station. Russell (A Lonely Place to Die, Valhalla Rising) gets to unleash with a truly crazy performance, though the source of his insanity is a wee bit ridiculous.
As Let Us Prey gets progressively more absurd and madly violent, it remains a visually engaging film. Unfortunately that strong sense of mystery the first half maintains so well is pretty much shattered by a climax that doesn’t feel nearly as inspired as the rest of the film. It’s certainly worth a watch, however, thanks to its moody atmosphere, performances, and really, really sharp photography. Just don’t expect any mind-blowing revelations at the end and enjoy the ride.
“What exactly is supposed to be following you?”…. “I don’t know.”
David Robert Mitchell’s It Follows arrives on Digital HD July 3rd and on Blu-ray, DVD and On Demand July 14th from Anchor Bay Home Entertainment.
The many special features on the Blu-ray and DVD include a critics’ commentary, the featurette “A Conversation with Film Composer Disasterpeace” and a Poster Art Gallery.
“Maika Monroe plays 19-year-old Jay, who, after a seemingly innocent sexual encounter, suddenly finds herself plagued by nightmarish visions. She can’t shake the sensation that someone, or something, is following her. As the threat closes in, Jay and her friends must somehow escape the horrors that are only a few steps behind.”
For those who have seen It Follows, read what the director had to say about the finale.
As we keep pushing on you: I gave It Follows a perfect score, calling it “a classical horror masterpiece.” Mike Pereira referred to as a creepy, mesmerizing exercise in minimalist horror” when reviewed out of the TIFF last September.
Guillermo Del Toro’s “The Strain: Season 2” will be returning to FX on July 12th at 10pm EST. The second season continues the story of Dr. Ephraim Goodweather and his quest against “The Master”.
The second season synopsis reads:
As the second season unfolds, the transformation has begun. It can no longer be denied — New York City is rapidly falling to an evil epidemic, and no one is coming to its rescue. Its citizens must fight or die. Dr. Ephraim Goodweather (Corey Stoll) and his unlikely allies tried to take down the embodiment of this evil — the Master — and failed. Now Eph and Dr. Nora Martinez (Mia Maestro) concentrate on creating a biological weapon to wipe out the creatures, while Abraham Setrakian (David Bradley) searches for an ancient book he hopes will reveal the strigoi’s entire history…and possibly a way to kill them. Meanwhile, the Master is out for revenge, unleashing new and even more terrifying breeds of bloodthirsty creatures after our team. Our team must find a way to defeat him before the infection spreads too far and becomes irreparable … before they become monsters themselves.
The Strain hails from Showrunner/Executive Producer/Writer Carlton Cuse along with Co-Creators/Executive Producers/Writers Guillermo del Toro and Chuck Hogan. Gary Ungar, J. Miles Dale, Bradley Thompson, David Weddle and Regina Corrado serve as Executive Producers. The Strain is produced by FX Productions.
You can see our coverage of season 1 here.
When people think of Rob Zombie, most people focus on one of two paths that he has taken. Either they focus on his musical career, which includes his self-titled band or, if we go back in time a bit, the heavy metal hitters White Zombie, or they focus on his film career, which includes such titles as Halloween, House of 1,000 Corpses, The Lords Of Salem, and more. Personally, I’m in the former group.
I grew up blasting White Zombie and Rob Zombie, relishing the horror-themed metal of Astro-Creep: 2000 and Hellbilly Deluxe. And while I was too young to appreciate just how much went into those albums, I now recognize them as wildly inventive and insanely entertaining!
Now, some people – I’m looking at you, Mom – seem to think that Zombie’s musical career is one of anger, violence, and negativity. But I’m here to tell you that the total opposite is the truth! What you may not realize is that Rob Zombie is one of the most positive voices in music these days. He is the “yes man” of this generation and needs to be recognized as such.
By using AZLyrics, I have counted every written instance of the times that Rob Zombie has said “Yeah” in both White Zombie and Rob Zombie. To make things simple, I’ve only used studio albums and have avoided EPs and additional songs that were used for other purposes.
Do you know how many “Yeahs” that amounts to? Are you ready for this?
Hell, just in “More Human Than Human” he says it 19 times. If this doesn’t convince you that Zombie is all about saying “Yes!” to every situation he encounters, I don’t know what it will take. The man is my hero.
A new breed of screen villain takes over in Let Us Prey, about a malignant loner’s chilling effect on everyone he encounters during a night in jail. The supernatural horror film will be available on VOD and Digital Download from Dark Sky Films on May 26, 2015 – it will also be available on Blu-ray/DVD day & date.
Bloody Disgusting has an exclusive clip that puts the beatdown on two individuals.
“Rachel (Pollyanna McIntosh, The Woman, Filth), a rookie cop, is about to begin her first night shift in a neglected police station in a backwater town. Surrounded by both disgruntled officers and irate petty offenders, her job becomes all the more difficult and terrifying when a mysterious man (Liam Cunningham, “Game of Thrones'” Davos Seaworth) is brought in and strange things start happening to everyone in the station.
As it becomes clear that the enigmatic stranger, known simply as Six, has something to do with the supernatural, terrifying events, Rachel finds herself in a fight for her life against cop and criminal alike as one by one they turn on each other. Now she must survive the night and uncover the stranger’s true plans for the station’s hapless denizens before she too falls prey to the unholy power that seeks to destroy them all.”
Also starring in the film are Hanna Stanbridge (Outcast) and Bryan Larkin (TV’s “Outlander”).
Available now for purchase is Death Waltz’s new original title Law Unit, which was composed by Umberto (Prophecy Of The Black Widow) and Antoni Maiovvi (Yellow). The album, “…moves past the retro-futurist works of their individual solo releases to explore a world of early industrial and experimental music.”
You can stream several tracks right here.
You can purchase the album on either vinyl or CD via Mondo Tees.
Many horror and art fans alike were devastated to hear about H. R. Giger’s sudden death in 2014. Known for his biomechanical sculptures and paintings, the man is probably most known for his design of the iconic Xenomorph alien in the Alien franchise. And now, practically a year after his death, Belinda Sallin’s intimate documentary, Dark Star (filmed just two weeks prior to Giger’s death), receives a limited North American release.
The documentary begins with a crane shot of Giger’s house in Zurich, which slowly descends to show off the tangled trees at the front of the house. After the relative calm and peaceful establishing shots from around the hosue, the camera slowly advances into the house, showing off Giger’s art that has readily been integrated into the home decor. Accompanied by the ambient and mysterious score by Peter Scherer, those familiar with Giger’s art know what to expect. After several lingering shots of some of Giger’s sculptures, we’re finally introduced to the man himself, barefoot and plodding around his house/studio.
Rather than focusing in detail on a career that’s spanned decades, Dark Star treats viewers to more of a focused overview, beginning with his initial break with designer Hans Kunz. Obviously, Giger’s work on Alien takes centre stage, albeit through archival footage. If you’ve seen the Alien Quadrilogy documentary, you have an idea of Fox’s reaction to Giger’s work, and here it’s just re-confirmed. Luckily for Giger, he had his supporters, including Ridley Scott. Dark Star features a mix of archival footage with interviews from friends, coworkers and fans of his work. Notably, but predictably absent is any sort of input from Hollywood. Giger’s fallout with Fox is a good reason for that, but we still miss input from people such as Alejandro Jodorowsky, for whom Giger had designed props for Jodorowsky’s failed Dune project.
Part of the appeal of this documentary is the chance to see more of Giger’s work and his process. Many people who have worked with Giger in the past have noted the beauty in his art, which to be honest, is not for everyone. However, Sallin’s documentary features several people, ranging from other artists and even a psychologist praising Giger’s work and his contributions spanning across a variety of mediums. Notable is his wife, Carmen Maria Scheifele Giger, whose praise and protectiveness of Giger is cloying, but at the same time, not unlike someone’s mom who seems infinitely proud and boastful of her son’s accomplishments. As for Giger himself, he appears to take it all in humble fashion. He explains his reasons for doing what he does as a sort of catharsis for his visions of said art, and how putting them to canvas/sculpture “frees” him from the fear that these visions cause him. Tom G. Warrior (leader singer of Triptykon, and who is Giger’s assistant), echoes this process, but also refers back to Giger’s generosity with young artists. All of this humility is however amplified by Giger’s pale appearance. Shuffling around slowly, Giger appears frail with a downturned mouth, speaking in a gravelly croak that seems uncomfortable to him, and by proxy, the audience. It’s a definite far cry from his prime, and from his appearance in the Alien Quadrilogy documentaries.
Given the nature of Giger’s art, and his condition at the time, there’s a definite sadness to this documentary. Adding to this feeling is the topic of Giger’s girlfriend, Swiss actress Li Tobler, who committed suicide in 1975. Tobler’s brother Paul is interviewed about the subject, who tells of their strict Catholic upbringing that greatly contrasted with Giger’s, which caused great turmoil within Li. Not many kids would be given a human skull, then choose to walk around with said skull attached to a string in order to conquer their fear of death. Giger’s input on the subject, coupled with his health, casts another cloud on an already dark yet intimate retrospective. Thankfully, there are brighter moments, such as when Giger travels to the opening of one of his exhibits at the Lentos Art Museum in Austria, or at one of his book signings. It’s still amazing the amount of fans and adoration he receives in Europe is quite the stark contrast to the attention he received here in North America.
Ultimately, this documentary is more about an artist in the twilight of his life. There’s a shot of Giger in his backyard garden, with all of his sculptures mixed in with the various plants and trees, that coupled with what we’ve already seen, dips back into Dark Star‘s overall dour feeling. Seeing archival footage of him on a track that he had set up to tour his backyard garden, and the construction of the garden itself, is just another in a series of stark contrasts. Giger himself seems tired, stating his thoughts on death and it’s finality, stating that he’s “seen everything I wanted to see” and done “everything [that he] wanted to do or show”. Indeed, the last shot of the documentary is of Giger descending stairs, out of sight, which fades to black.
Obviously, this is not the final word on Giger the artist. The documentary doesn’t cover all of Giger’s career, nor does it explore his other contributions in more detail, such as other films, video games, music or even his Giger bars. We get glimpses, but they’re just that. We’re also not privvy to comments from his critics, even though we are given an idea as to what they think. Still, Sallin has definitely given fans of Giger something that they will enjoy, but at the same time, isn’t that overarching career retrospective that fans really want, and be more accessible. Well, as accessible as Giger’s art can be. Definitely an interesting look at an artist whose unique style went far beyond the big screen.
According to Vulture, Conan O’Brien will act as executive producer on “The Group“, a new comedy series about alien abductees.
O’Brien told Vulture, “The script is an absolute page-turner. It wasn’t even particularly that it was about aliens that attracted me to it. It felt like a very funny X-Files.”
Greg Daniels (“The Office”) will act as producer for the TBS show.
No further information has been released. If this works out, it could be a very entertaining and possibly original show.
Variety is reporting that Bertrand Blier will be directing Existe En Blanc, which is the title of his second book, published in 1998.
The film will star French actress Maiwenn, who appeared in The Fifth Element as well as High Tension as Alexia. It will also star Benoit Poolevorde, Anais Demoustier, and Gregory Gadebois.
According to the site, Existe En Blanc is, “…a decadent and subersive tale charting the life of Baudouin Treutte, a Belgian serial killer who has strange sexual obsessions.“
Indie distributor A24 has announced a multi-picture deal with director Edward Shults, according to Deadline. The deal includes Shults’ current film Krisha, which won awards at the 2015 SXSW, as well as having A24 produce and distribute the psychological horror film It Comes At Night.
According to the site, It Comes At Night will be, “…a psychological horror film about a father who will stop at nothing to protect his wife and son from a malevolent, mysterious presence terrorizing them right outside their doorstep.”
A24 stated that Shults is…
…an artist on the rise and we are proud to partner with him. His unique approach, singular style, confident storytelling and edge shines through Krisha and we are excited to collaborate with such an exceptionally talented filmmaker at the beginning of what will no doubt be a long, celebrated career.
Xavier Gens, who you may remember as the director of Hitman and Frontier(s), is heading to Cannes with Lights Out, a new home invasion thriller that introduces a strong female protagonist who is…blind.
“Lights Out is about a young blind girl, living alone with her seeing-eye dog, who is forced to battle Russian gangsters who invade the secluded family mansion following her father’s suspicious death. Her only hope of survival is to cut the power in the house and use the fighting skills her father taught her.”
The script was penned by Lamont Magee and Jeff W. Byrd, and the film will be financed by Arclight’s Asian arm, Easternlight Films, and China’s Huace Pictures.
Gens is also working on The Crucifixion, which is being written by The Conjuring writers Chad and Carey Hayes.
Including a first ever look at the film, ScreenDaily reports that 13 Films has sold multiple territories on action horror film Untöt starring Hayden Christensen.
Kaleidoscope Film Distribution will distribute in the UK and Splendid has acquired German and Benelux rights to the story of a Second World War German Army unit that encounters an undead force in a secret weapons facility.
“Untot, meaning “undead” in German, is set towards the end of World War II in December 1944. During a blizzard, an elite military unit headed by Lt. Fredrick Hank (Christensen), is dropped behind enemy lines in the mountains of Poland to destroy a secret Nazi weapons facility. The soldiers must face their greatest fears when they encounter something they could never have been trained for. The undead.”
13 Films president Tannaz Anisi also announced further deals in South Korea (Sookie Pictures), the Middle East (Eagle Films), Tanweer (Indonesia), Red Pictures (Malaysia) and South Africa (Ster-Kinekor).
Video game producer-director Kris Renkewitz makes his feature film debut and Greg O’Connor of Solaris Entertainment produces Untöt.
“We are thrilled with the positive response from overseas buyers on Untöt,” said Anisi. “Hayden Christensen has commercial appeal and Renkewitz has crafted a chilling and suspenseful tale which will leave audiences on the edge of their seat once this story is brought to life.”
Joseph White will direct the sci-fi thriller Genus for London based production and finance outfit Catalyst Global Media, Bloody learned out of Cannes.
Based on the acclaimed novel by Jonathan Trigell (writer of Boy A, dramatized by Film Four and The Weinstein Co. and recipient of four BAFTA Awards), Genus is a gripping and action-packed sci-fi thriller set in a bleak and dangerous future.
The film is being adapted for the screen by Mike Carey, the award-winning novelist, graphic-novelist (“Lucifer,” “Hellblazer” and “X-Men: Legacy”) and screenwriter of Cannes 2015-reported Warner acquisition She Who Brings Gifts starring Gemma Arterton, Paddy Considine and Glenn Close.
“In the not-so-distant future, genetic selection and physical perfection are the norm – all the qualities men and women aspire to can be purchased prior to birth, and those financially unable to ‘self-improve’ are ostracized as an underclass in London’s King’s Cross (The Kross). When a series of disturbing murders shakes the Kross, the unorthodox Detective Gunt is assigned to the case. As tensions mount between the improved and the unimproved, Gunt is running out of time. But as he gets closer to the truth and uncovers a larger conspiracy, he will come to question everything he’s ever known to be true.“
“Genus is a fascinating proposition from novelist Jonathan Trigell who presents us with a piece of science fiction that is relevant and frighteningly possible. Mike Carey was our number one choice for this adaptation and we are thrilled to be announcing the talented and visionary director Joe White at the helm,” said Catalyst CEO Charlotte Walls. “Tonally and stylistically we see Genus as “Gattaca” meets Looper wrapped up in a detective thriller akin to Se7en and we know that Joe’s wide-ranging talents can make this a reality.”
Joseph White, who’s VFX background includes credits on such films as Skyfall, has recently garnered much notoriety and acclaim for The Brain Hack – an ambitious, mind-bending, award-winning and viral 19-minute online sci-fi thriller that he wrote and directed and which was commissioned, financed, produced and scored by Catalyst. The Brain Hack has already been optioned for a feature film remake by Jeff Robinov’s Studio 8 and will be produced by 3 Arts Entertainment’s Erwin Stoff, Will Rowbotham and Richard Abate.
Genus will go into production later this year.