Revenge isn’t always a dish best served cold.
Check out this new clip from Zack Parker’s Proxy, which creeps towards some gut-wrenching revenge.
The film is now on various VOD platforms and will also be opening in New York’s IFC Center with a Nationwide rollout to follow.
Alexia Rasmussen, Alexa Havins, Halloween‘s Kristina Klebe, and The Sacrament and V/H/S‘ Joe Swanberg all star.
“A very pregnant Esther Woodhouse (Rasmussen) is walking home after her latest OB appointment, when she is brutally attacked and disfigured by a hooded assailant. When Esther seeks consolation in a support group, she finds friendship and empathy in Melanie (Havins), another mother scarred with tragedy. Esther soon begins to believe that the horrific event might be a bittersweet act of fate. However, friendship and empathy can be very dangerous things when accepted by the wrong people.“
Here’s an alternate poster for Clif Prowse and Derek Lee’s Afflicted (read our review), which is a cross between V/H/S and Chronicle.
The found-footage film is now in limited theaters as well as VOD (iTunes, Amazon, VUDU, Google Play, Cable On Demand, Playstation and XBOX) via CBS Films.
In the pic, “This terrifying horror thriller follows two best friends who set out on the trip of a lifetime around the world. Their journey, documented every step of the way, soon takes a dark and unexpected turn after an encounter with a beautiful woman in Paris leaves one of them mysteriously afflicted.”
Clif Prowse, Derek Lee, Edo Van Breemen, Zachary Gray and Baya Rehaz all star in the film.
I can’t believe I’m just hearing about Vogelsap’s The Flock now, almost a year after its initial reveal, but I’m going to go ahead and chock that up to there being a a ton of promising indie horror games that are all well worth being excited about. There are so many that, at this point, it’s becoming hard to keep track of them all.
Anyway, The Flock aims to stand out from the myriad others by using mechanics and themes that are both familiar (light vs. dark) and unfamiliar (asymmetrical multiplayer) to horror fans.
The game pits monsters, the Flock, against their prey, the Carriers. The latter is named this because they carry with them a source of light called the Light Artifact, which also happens to be the Flock’s only real weakness. The Carriers’ goal is to survive as long as possible, while the Flock are tasked with using their superior agility to take them out. Both sides are player controlled.
See it in action below.
Did I mention this is a student project? Pretty impressive. For more of The Flock, feel free to follow it on its official website.
Imgur user Rapture Records is putting together an absolutely amazing collection of photo albums that document the vinyl records used in putting together the soundtracks to the hit games BioShock, BioShock Infinite, Fallout 3, L.A. Noire, and much more. He finds original pressings and comments on the usage of the songs within the game as well as a little blurb about the song itself. It’s really fascinating to dive into these classic songs, especially now that I have a connection with them having heard them during the games.
Click on the link above to dive into these fantastic albums!
Did The Raid 2 leave you hungry for more badass hand-to-hand combat? Well then, Raze (review) is precisely what the doctor ordered, serving up brutality and sexy ladies in equal amounts. Read on for home video release details, courtesy of IFC Films!
From the Press Release
At the unforgiving intersection of Chained Heat, TV's "Spartacus," and "Orange Is the New Black," stands RAZE, a viscerally thrilling new action-horror film where it's every woman for herself.
The brutal shocker, director Josh C. Waller's "self-assured debut" (Los Angeles Times), comes to DVD from IFC Films and MPI Media Group on May 20, 2014, with an SRP of $24.98.
After she is drugged and abducted, Jamie (Rachel Nichols; Star Trek, "Continuum") awakens to find herself in a concrete bunker, where she meets fellow abductee Sabrina (stuntwoman-turned-action star Zoe Bell; Death Proof, Kill Bill, Oblivion). Before long the two women discover that they are in a modern-day coliseum, where they and 48 other women have been selected to fight to the death. If they refuse, their loved ones will be killed.
Co-starring genre favorites Doug Jones (Pan's Labyrinth, Hellboy) and Sherilyn Fenn ("Twin Peaks") as the sadistic organizers of the battles, RAZE is director Josh C. Waller's (McCanick) no-holds-barred assault on the senses, featuring some of the most brutal fist-to-the-face combat ever put on film. In this contest, may the best woman win.
Extensive bonus features on the DVD include filmmaker commentary, cast and crew interviews, a behind-the-scenes featurette, deleted scenes, extended fight scenes, gag reel, and more.
Neil Genzlinger of The New York Times said, "There is food for thought here about the subjugation and exploitation of women, the limits of psychological and physical endurance, and more." "As violent as it is, RAZE is refreshing," wrote Shannon M. Houston of Paste magazine. Brian Orndorf of Blu-ray.com called the film "strong stuff, but also briskly paced and interested in the psychological ramifications of such unrelenting brutality." Matt Zoller Seitz of RogerEbert.com praised, "If RAZE had been released in 1975, Quentin Tarantino would never shut up about it."
The world of mixed martial arts has seen more than its fair share of violence over the years, but never like this. That's right, kids! The folks over at YouTube's BlackboxTV are back with something that kicks like a bull! Read on for your first look at Everlast.
From the Press Release
BlackboxTV, the horror-themed YouTube channel by Tony E. Valenzuela, collaborated with MMA and UFC legend Frank Shamrock for Everlast, a horror short film set in the world of mixed martial arts, at YouTube Space LA.
The film, a modern retelling of a classic horror story in the violent world of MMA, tells the tale of the strong, proud, and undefeated Angel Shepard. He thinks he’s the best fighter that’s ever competed in mixed-martial arts. One evening he’s confronted by a stranger offering him the opportunity to achieve the legendary fame he’s desperately sought but only under one condition – he must be willing to risk everything.
“Everlast” features a cameo by the #1 ranked female boxer Mikaela Mayer. The full cast includes:
Everlast, currently in post-production, was shot mainly at YouTube Space LA, and the crew built a state-sanctioned fight cage inside the facility’s Stage 1. The film was financed in part by a grant from Technicolor's Creative District.
The filmmakers are currently aiming for a summer 2014 premiere on BlackboxTV, YouTube's largest horror channel.
Photo Credit: YouTube Space LA
Tim Daniel has had a banner year. His devotion to the medium has taken him onto several inspired projects. He brought us a chilling recreation of the werewolf mythology in “Curse” from BOOM! Studios. He’s blurring the line between utopia and dystopia in “Skinned” from Monkeybrain Comics and now he’s returning to his first-born: “Enormous.”
A little one shot graphic novel about a world overturned by a mutagen. Entire cities were devastated, and humanity lies on the brink of extinction. Yet, “Enormous” doesn’t concern itself with the horror of being yet another post apocalyptic survival tale. Instead it’s about the plight of what comes next. The bigger picture of what humanity must move towards and the agony that comes with the birth of an entirely new way of life. It just happens to have incredibly large devastating beasts too.
After a one shot graphic novel in 2012. “Enormous” became the first of it’s kind when Machinima adapted the world into an original web series. Now, the book is about to return to the stands in June from 215 Ink. So, Daniel sat down with Bloody-Disgusting to talk about his exciting new take on the series and offered us a MASSIVE preview of the first issue. Find it all after the jump.
Bloody Disgusting: “Enormous” feels like Godzilla meets The Walking Dead with a hint of The Last of Us.
Tim Daniel: Definitely. You know, it’s funny that is definitely part of the DNA. I can’t help it. I grew up on Friday night creature features. The host would sit there in a rocking chair with a cigar, and a skull. He would introduce these films that are so terrible and that’s what made them so awesome. He was very stoic about these crap movies.
My heart broke when “The Last of Us” came out. I thought they really beat me to the punch here, even though I started this in 2010 and the one shot was published in 2012. We had built the basis of what’s happening around the cordyceps fungi. This parasite basically inhabits an ant’s body and remote controls it up a shrub, makes it plant its mandables in the stem. It dies and the parasite has at this point become the ant itself. This thing meshes with the tissue of its host. It’s kinda gnarly. It fruits literally out of the head, it erupts and starts all over again.
There was film in the creature features on a Friday night when I was twelve years old called Attack of the Mushroom People. Holy crap, this film scared the hell out of me. It was survivors on this Japanese fishing vessel they pull up to this fog shrtouded island. They are stranded there, and of course one of their crew memebers gets infected. His face begins to bubble, pop, and ooze. It’s absolutely awesome. That was the influence if anything.
BD: What can fans of the original one shot look for in these new chapters of Enormous? For me, it felt like a directors cut.
TD:That’s a great way of putting it. When we got the book at the original publisher, we had to agree to do a one shot. Rather than as it was conceived which was as a series with a finite ending. As someone looking to get their book published you agree to things and you agree to them in good spirit. The one shot was 64 pages and there was no negotiating that. I took a story of what I had and tried to boil it down in those 64 pages. Which was both a challenge and a mistake. You can’t be economical, it was way more than I thought as a first time writer. It was difficult in terms of structuring and pacing, but I wanted to publish the book and tell the story.
What readers can expect from this new series is, were going to go as long as we need to go to tell the story. We do have a definite end in mind, it is finite, it’s not going to go on for the next ten years, that’s not an approach I necessarily agree with in comics. I like to signal there are a beginning, middle, and end to the story. If it takes 15 issues to get there and we’re lucky enough to do that then we will, if it takes sixty then we will. I’ve got a clear course and I know where we going.
We will open the floodgates on the number of monsters and creatures, we will focus on action sometimes exclusively between the beasts. Then we’ve got what I call the ground game. You have a catalyst for these beasts, but that effect is going to have a big toll on the human beings. If something can spawn Godzilla, why doesn’t it have any effect on humans? Why isn’t there a mutation present in humans, they should pay a cost for that too. That’s our ground game.
TD: We are going to see the one shot. How we’re going to see it is indicated in the first issue of the ongoing. You see a similar sequence. In the one shot that sequence was told in maybe three pages. In the ongoing we had ample space with a 48 page first issue, we had the chance to tell that sequence the way we wanted to. With more action, more buildup, and a bit more peril to the character. We’re going to see the one shot broken down and inserted in and around the story as it was conceived.
For instance we’ll see the formation of the team that takes residence in the silo by the end of the first arc. Readers will understand we’re heading in a definite direction that intersects with the one shot. How that happens is completely different. It’s not a retread, it’s new.
BD: I really enjoyed the diversion in the first issue. It really deepened Ellen’s character. The massive escape that makes the bulk of issue one is explosive. How do you script something like that?
TD: Okay, here’s the truth to the matter. The original script for the first issue was 24 pages. Then we got it in our heads that we’d do a thirty page opener and closer. Both issue one and six would give a little extra value to the reader. Here’s the beginning and here’s the end of the arc, that was the intent. When I wrote it, Medhi took a look at it, and went off the rails and kept sending me pages of this gigantic action sequence. The first issue is a cause for celebration, let’s do it. Let’s go to forty eight pages, there was no written script for that sequence. There was no script for those sections. I would go back and add more to it.
I’d have a simple panel shorthand where in three panels Ellen is to fall from the fire escape, hangs there swinging, and then we see the emergence of the beast. Medhi took that and blew it out into two or three pages. He included bits and pieces of information that weren’t there. Suddenly there are helicopters firing on the beast, and I would go back to write the script against his art. All he had to know was Ellen had to get from A-Z in this sequence that would conclude with a very specific beat.
BD: It must be an excellent way to work.
TD: [Laughs] It’s both excellent and horrifying. As a writer you want to be in control of everything. Then an artist does something that you couldn’t have imagined. They tell the story better than you could have. Colin Lorimer and Riley Rossmo took the script that Mike and I offered in “Curse.” Where did that come from? They added a little touch. They are very seasoned storytellers that collaborate to make our story better. Because you think you’re in control of the story so to speak when you see something that is not your own, it’s a little bit jarring. But if you take a minute you’ll see it really works. It deepens the world, and you can then build on to it. It’s all about finding those little opportunities in the story.
BD: “Enormous” isn’t typical. It’s a kaiju gigantic monster story in North America, and unlike the stories that inspire it, it’s not about battling the monsters, or the beasts themselves, it’s about survival on the ground. How did you develop the idea for the series?
TD: The original conception required me to really sit down and do some research to create a bible. I sat down and looked at common causes of mutation. Radiation, weather, geography, are these very basic components of our daily existence. Then I noticed bacteria, viruses, and fungi. I started looking at things like terraforming, specifically agriforming. How do you take land and turn it into something airable? Turn it into something that can be farmed. At the time there was a lot of talk about GMOS.
So what that means for our future and our food all kind of collided together. I wrote a bible around all of that. Over very big and broad strokes I wrote down what these characters would experience and where they’d end up. The creatures operate on one simple rule. There would always be a basis for their existence in reality. A reader can recognize the creature that inspired the beast. It can range from the microscopic and petrifying creatures to apex predators. The idea was to always have basis recognition. The creatures would display certain attributes. I’d take photos and manipulate them in photoshop to send off to Medhi.
Certain creatures can only get so big before gravity takes hold and they crush themselves. Godzilla is what? 400 feet tall? The target keeps moving. Modern readers demand at least a hint of reality. None of our creatures get to the point where they would exceed the lays of physics. You’d never have something so large that it would be impossible.
BD: Children are very important in the story, so I’m sure being a father informs that element?
TD: No doubt. As a dad it seems to seep into my work. I do kind of look at everything though that lens. Watching my daughters grow up is something else. The preoccupation about what the future holds for us is something we can all agree to. When I look at my children I definitely have that concern. Writing “Curse” as a father son tale, and with “Enormous” about this woman who is desperately preoccupied with rescuing these orphans. I look at Ellen now, and working with the character over these last few years. She has lost everything. She’s got nothing left to loose. She’s selfless. Her preoccupation with these children means everything to her on this personal journey. As we’ll see in the first three issues her relationship with her parents isn’t so great either, but she’s doing this for a reason.
BD: The Series begins with the big reveal from the one shot. The virus’ alluring and intoxicating properties are juxtaposed against the cumbersome terrifying creatures, but both seem to have the same roots in the phenomenal events happening to the earth.
TD: It’s a mutagen. So think of it like a Venus Fly Trap, some effects are highly irresistible to the humans who come into contact with it. It might not be everyone. The reasons behind who it reacts to are very pervasive throughout the story. You look at that aspect and you look at children. You relate Ellen’s quest to that, and you might have one of the reasons she’s on, without even really being aware of it yet. There may be a relationship there.
There’s this idea of beauty and splendor juxtaposed against these horrendous beasts. Those two aspects opposing one another is really about where the story goes and what this story is really about. I think a lot of people look at “Enormous” like just another post apocalyptic tale. I deliver the message very clearly. This isn’t the end. You look at human evolution and there are eras. One may end but it signals the beginning of another.
I consider this an evolution. We’re witnessing the birth of something else all together. There is always this pervasive fear that we’re dooming ourselves. When the earth tires out with us, the earth will say goodbye. Like it does to every other creature that walked this planet. We’re insignificant. Really. Truly. It’s not sinister. It’s reality.
What’s next? What is beyond what we consider to be the apocalypse? Whether it’s a zombie uprising or a deadly virus that wipes out the planet. What’s that after future look like? Can we imagine it.
BD: So that must be one of the core themes of “Enormous.”
TD: No doubt. It definitely is. As much as hope, discovery, it’s right there front and center.
BD: The Machinima web series adaptation must have been something else. How did you feel after you had seen it for the first time?
TD: I loved it. I’m just thrilled about it. Always have been. I got to watch a ton of people work so hard to achieved nine minutes and I realized something. This little tiny story that reached 5,500 people for sales had been watched 55,000 times in five days. More people got exposed to this story. I loved every minute of it.
I felt like I was 12 years old again, on a Friday night, watching it. I couldn’t even hope for anything better than that. I hope it continues. What was outlined for that series was really fun. There are some really cool ideas that would be explored and there is a lot more monsters and action line up. I look at like the one shot comic. A lot to do, little space, with a limited amount of resources. They pulled it off. The director Bendavid Grabinski really accomplished something. I’m really proud of it.
BD: This is something new for the comic book adaption world. This web series, to my knowledge is the first adaptation of its kind.
TD: What I love about the webspace about content. You’re outside what is typically the means by which we enjoy film or television. It gives you a lot of flexibility and latitude. A lot of things that wouldn’t fly in those formats can work here. It’s not a big production like “Godzilla.” You can enjoy this any time you want, in any way. You don’t have to have a schedule, or a time, you can just digest it whenever you want.
There is a whole lot more to explore with this series. We’re the first of our kind. It’s kinda cool! Machinma had Mortal Kombat make the transition. That was really awesome. Motion comics had a little bit of a explosion, but this is something completely different.
BD: The web series is a format that nears creator owned comics. You have a team filled with passion and there isn’t nearly as much influence from the people behind the production. Both formats kind of leave you alone to play.
TD: Yes. Absolutely. That’s a great analogy. There is definitely a parallel. People who know the film industry better than I do that budget and studio involvement changes everything have told me. The bigger something becomes the less control the creative contributors have. There is more at stake. Ben David really had his hands on the wheel. Machinima was really good about letting them fulfill their project. There was support. It was wonderful. I felt the same way. I looked at what Ben David was doing and I said “go, do your thing. Tell your Enormous story. I’ve already told mine.”
ENORMOUS #1 HITS 06/25/14. USE THE ABOVE FORM TO PREORDER YOUR #1 NOW.
Still not convinced? Check out this massive preview of #1 now, EXCLUSIVELY here on Bloody-Disgusting.
Details about the upcoming sixth installment in the smash hit Resident Evil film franchise have been extremely scant in recent months so we here at Dread have been hungry for any info we can get our hands on. Today we've got a little something-something for ya so read on for the latest!
Per CCTV, Paul W.S. Anderson recently revealed some details about Resident Evil 6 at the ongoing Beijing International Film Festival, where he was on hand to discuss the future of 3D technology.
Not only did he tell the audience that the impending sixth installment will most definitely be in 3D, but he confirmed that actress Li Bingbing will appear in the film, reprising her Resident Evil: Retribution role of character Ada Wong.
"I have to go home tomorrow for 'Rising Resident Evil.' That's what I'm going to do. As you know, Bingbing is in the last movie, and she will be there again... After Resident Evil I want to come to China and shoot film again," said Anderson.
We had previously learned that the film would be titled Resident Evil: Rising so it seems likely that's still the plan, and the title was simply lost in translation.
Whatever it's called, Resident Evil 6 will be written and directed by Anderson, and Milla Jovovich will be returning as Alice. It could potentially be the final film in the franchise, which Anderson plans on neatly wrapping up.
More as we learn it!
Donnie Darko and The Cabin in the Woods‘s Fran Kranz, pictured, stars with Pedro Pascal and Yvette Yates. Joel Murray, Joey Kern, Patricia Rae, Emma Fitzpatrick and Parvesh Cheena also star.
While IMDB carries most of the information, the Tracking Board reveals that the horror comedy is pitched as “The Office” meets Shaun of the Dead in which “a down-on-his-luck cubicle worker must deal with the horrible reality that everyone in his office is turning into vampires.“
With just three weeks to wait until the premiere of "Penny Dreadful" on Showtime, the network has released another production blog (this one focusing on British exploration and the search for the Nile) plus another promo!
First up is Production Blog #8, in which author/historian Matthew Sweet discusses the impact of British exploration on Victorian life and how it relates to "Penny Dreadful." That's followed up by a new promo teaser titled "Just Like You."
"Penny Dreadful" is set to premiere on Showtime on Sunday, May 11th, at 10PM ET/PT.
"Penny Dreadful" is created, written, and executive produced by three-time Oscar nominee John Logan (Hugo, The Aviator, Gladiator) and executive produced by Oscar winner Sam Mendes (American Beauty, Skyfall) and Neal Street's Pippa Harris (Revolutionary Road, "Call the Midwife").
Timothy Dalton, Reeve Carney, Josh Hartnett, Harry Treadaway, Rory Kinnear, Billie Piper, and Eva Green star. Juan Antonio Bayona (The Orphanage, The Impossible) directs the first two episodes.
Some of literature's most terrifying characters, including Dr. Frankenstein, Dorian Gray, and iconic figures from the novel Dracula, are lurking in the darkest corners of Victorian London. "PENNY DREADFUL" is a frightening psychological thriller that weaves together these classic horror origin stories into a new adult drama.
For more info visit "Penny Dreadful" on Showtime, "like" "Penny Dreadful" on Facebook, and follow @SHO_Penny on Twitter. Be sure to also visit the Penny-Dreadful.com website; it's chock-full of goodies!
We kicked off this past weekend with our first look at the poster art for the Drew Barrymore-produced Animal, and so it seems only right that we kick off the work week with a trailer for the flick, which gives us our first glimpse at the predatory action.
Dig in, courtesy of Entertainment Weekly!
Animal, which airs later this year on NBCUniversal-owned Chiller after a limited theatrical and VOD run, follows a group of close-knit friends who find themselves stranded in unfamiliar territory, pursued by a bloodthirsty predator.
Holed up in isolated cabin, tensions mount as secrets are revealed. As the body count rises, the group members put their differences aside and fight for survival.
Keke Palmer, Amaury Nolasco, Parker Young, Joey Lauren Adams, Elizabeth Gillies, Paul Iacono, Thorsten Kaye, and Jeremy Sumpter star.
Barrymore is an executive producer alongside Flower Films’ Nancy Juvonen and producers Chris Miller, Ember Truesdell, Kelly Smith, and Thommy Hutson. Hutson and Catherine Trillo penned the script, which is directed by Brett Simmons. Gary J. Tunnicliffe created the creature effects.
Releasing around the same time at You’re Next, Lionsgate is committing to their August 29 release of Jessabelle, their new haunter from Saw VI director Kevin Greutert.
The trailer will be right here on Bloody Disgusting Thursday at 1 p.m. ET/10 a.m. PT. Until then, check out this crazy new image that will ensure you don’t close your eyes the next time you take a bath.
The film is “about a girl who is forced to return to her father’s home in Louisiana when a car accident leaves her without the use of her legs. What she finds there is a mystery surrounding her own birth and an angry ghost that seems determined to destroy her.”
Sarah Snook, Mark Webber, Joelle Carter, Ana De La Reguera and Amber Stevens star.
Sony wants a slice of the survival game pie that’s currently being gorged upon by games like DayZ and Rust, and H1Z1 is their attempt to take it. It’s very similar to its competitors, and they know this. But that isn’t stopping them from making the best zombie apocalypse themed survival sandbox they can.
I’m not much into games like these, mostly because they tend to turn people into gargantuan dicks, but I’m sure there are plenty of fans who are foaming at the mouth for another game like this. If you count yourself among them, it sounds like you might not have to wait long.
Sony Online Entertainment (SOE) recently held a H1Z1 livestream where they showed more of the game in action. You can check that out below.
Skip to 1:50 for the beginning of the livestream.
If you’ve played DayZ and enjoyed it, you’re going to like H1Z1. SOE’s John Smedley took to the game’s subreddit to answer additional questions about the game.
We will have first and third person. Third person will not give you LOS over obstacles. We intend to make it more of a preference. I find myself switching to it occasionally but I love combat in first person. To those who say we can’t serve two masters – play the game before you judge.
2) Vehicles will be in third person only. Could this change? Maybe but that’s what we’re putting in for now.
3) Why was there so much stuff around 15 years later – we wanted to show you how the mechanics worked. Simple as that. We intend to make surviving a lot about catching your food. Longer term about growing it and protecting it.
4) How is this different from Day Z? – saw this a lot. Not going to give some politically correct dodgy b.s. answer. It is a survival in a Zombie Apocalypse game. So is Day Z. They have made a brilliant game (first I might add). They have a great vision for it and can count myself and most of the people on our team as fans and contributors.
We’re making the game we’re making. Long term we plan on making this about a persistent world with a big landscape with thousands of players. The way we would like to see this roll out is much more like players building small enclaves or pockets of territory and hold out against a legitimate zombie threat that’s ever present while others go it alone taking their chances.. These player built structures, forts and towns are one of the ways the players try to carve out some small space in a dangerous world.
We also want to make sure we have a deep in-game economy that is heavily dependent on crafting. Players will be able to become manufacturers.. sell bullets, arrows.. etc. The in-game economy will be entirely player driven.”
Anyone interested in this, or are you too busy playing something similar?
The Stanley Film Festival is honored to welcome Academy Award nominee, Taika Waititi (Two Cars, One Night) to present the Closing Night Film, What We Do In The Shadows on Saturday, April 26 at 7:00 pm. Waititi directed and wrote the film with Jemaine Clement (Flight of the Conchords). The duo also worked together on Eagle vs Shark.
To add to the overall atmosphere of the festival, guests of the hotel will be treated to special round-the-clock programming across multiple in-room channels. A tradition of the Stanley Film Festival, channels will feature classics, short films, rarities, trailers, secrets, oddities and more. Some of this year’s selection includes content from Channel Z, IFC Films, SpectreVision, Glass Eye Pix, and Chiller.
The pic “unfolds in a near future in which an alien race has hit the Earth in an unrelenting assault, unbeatable by any military unit in the world.
“Major William Cage (Cruise) is an officer who has never seen a day of combat when he is unceremoniously dropped into what amounts to a suicide mission. Killed within minutes, Cage now finds himself inexplicably thrown into a time loop—forcing him to live out the same brutal combat over and over, fighting and dying again…and again.
But with each battle, Cage becomes able to engage the adversaries with increasing skill, alongside Special Forces warrior Rita Vrataski (Blunt). And, as Cage and Rita take the fight to the aliens, each repeated encounter gets them one step closer to defeating the enemy.”
The international cast also includes Bill Paxton (Aliens, HBO’s “Big Love), Brendan Gleeson (Harry Potter and the Deathly Hallows: Part 1), Noah Taylor (Lawless), Kick Gurry (Australian TV’s “Tangle), Dragomir Mrsic (Snabba Cash II), Charlotte Riley (World Without End), Jonas Armstrong (BBC TV’s “Robin Hood), Franz Drameh (Attack the Block), Masayoshi Haneda (Emperor) and Tony Way (The Girl with the Dragon Tattoo).
Liman is directing Edge of Tomorrow from a screenplay by Christopher McQuarrie and Jez Butterworth & John-Henry Butterworth, based on the novel entitled “All You Need is Kill” by Hiroshi Sakurazaka.
Monkeybrain comics don’t specialize in anything save for quality books. “Monkeybrain Monday” showcases some of the digital titles this small publisher has to offer. This week’s entry may not be in print, but the fear is very real on the pages of “High Crimes.”
Christopher Sebela takes a familiar concept and twists something new into the heart of the story. The result is cooly refreshing like mountain air. It has a chill sense of dread with a protagonist who makes death his business, a supporting character who just can’t escape her past, and just when you thought it was a by the numbers murder mystery the antagonist bursts onto the scene and changes everything. This is how you write crime comics, folks.
ART BY: Ibrahim Moustafa
PUBLISHER: Monkeybrain Comics
GET IT HERE: http://www.monkeybraincomics.com/
Its no secret that Christopher Sebela’s “Dead Letters” was a resounding success last month. I’d be lying if I didn’t say that’s what brought me here, but inside this comic isn’t the makings of a great crime writer, its an already great crime writer doing his thing.
Haskell Price and Zan Jensen are working literal cold cases. They take to mountains and dig up lost bodies in an attempt to trace their past and sort out their affairs. Of course they come to dig up the wrong man and involve themselves in a massive conspiracy.
“High Crimes” does an excellent job at taking a familiar concept and throwing it into an unfamiliar world. The things you come to expect with the genre are all here, but they have to be explained in radically different ways. Something as simple as a lopped off hand seems to be the most important piece of the puzzle.
Ibrahim Moustafa has bold and clean art that manages to make the dizzying peaks of the book look as threatening as the gun-toting goons. He has a style with a thicker line weight that reminds me of Michael Walsh. His colors are bold but appear to be diluted and a little washed out. He can also draw one hell of a frozen body, but that’s beside the point.
“High Crimes” is an incredible debut issue that spins several plates at once without faltering. It’s as impressive as it is engaging and manages to keep my interest despite being another crime story. Yet, it’s unique setting and complicated and morally ambiguous characters add a lot of heart and intrigue to the story outside the allure of a dead body. The idea of risking your life just to bill the survivors and remind them of the person they lost is wonderfully morose.
In the supernatural horror opening April 25, “A university student (Sam Claflin) and some classmates are recruited to carry out a private experiment — to create a poltergeist. Their subject: an alluring, but dangerously disturbed young woman (Olivia Cooke). Their quest: to explore the dark energy that her damaged psyche might manifest. As the experiment unravels along with their sanity, the rogue PHD students are soon confronted with a terrifying reality: they have triggered an unspeakable force with a power beyond all explanation.“
Inspired by true events, The Quiet Ones is directed by John Pogue and stars Jared Harris, Sam Claflin, Erin Richards, Rory Fleck-Byrne, and “Bates Motel’s” Olivia Cooke.
Undead Labs has revealed a somewhat nebulous — but still very welcome — June release window for State of Decay: Lifeline. The game’s second expansion, after Breakdown, which released this past December, takes the military’s perspective as they scramble to form a defense against the undead hordes.
According to the developer, Lifeline will give players the ability to defend and fortify a substantial military operation, using “minefields and defenses to build and upgrade. Off-map artillery to call in. Well-trained soldiers who will guard weak points and respond to zombie threats. A stock of military-grade weaponry to use from several commanding positions. But in the end, when the zeds get into the heart of your base, it’s down to fighting tooth versus blade.”
In related news, our very own T. Blake Braddy recently had a chance to sit down with Jesper Kyd, composer on State of Decay, about his work on the game, as well as the new SyFy series, Metal Hurlant Chronicles. You can check that out here.
These are the moments I regret leaving California. Those of you still there will be able to witness the greatest screening ever of Ronny Yu’s incredible 1998 classic Bride of Chucky with writer Don Mancini, and stars Jennifer Tilly, Brad Dourif and Alexis Arquette in attendance!
The screening takes place at the MGN Five Star Cinema in Glendale on April 24 at 8PM. It’s brought to you by the Screamfest Film Festival.
The price includes admission to the film and two beers!
In the film, Chucky, the doll possessed by a serial killer, discovers the perfect mate to kill and revive into the body of another doll.
CCTV reports on an interview with Resident Evil franchise writer/director/producer Paul W.S. Anderson at the Beijing International Film Festival where he talked about the looming sixth Resident Evil adaptation.
“I have to go home tomorrow for Rising Resident Evil,” he explained, further revealing a returning cast member, “That’s what I’m going to do. As you know, [Li] Bingbing is in the last movie and she will be there again…“
We exclusively reported that the sixth film would be titled Resident Evil Rises, so I’m curious if this was lost in translation.
Anderson also says he believes 3D technology has now become the fabric, rather than just a special sauce, for a film. And, his next Resident Evil will “definitely be 3D”.
What we know about the “final” final in the new trilogy is Alice (Milla Jovovich) will battle the undead from the White House.