Earlier today, we posted that Tom Cruise was in talks to star in Universal’s reboot of The Mummy. However, it looks like that won’t be happening, according to Deadline, as Cruise is too busy shooting a sixth Mission Impossible film as well as a sequel to Jack Reacher.
Now, that doesn’t mean that Cruise is not going to be part of this new universe that Universal is working on. It just means that this won’t be his appearance in the franchise. Talking about the possibility of Cruise appearing in the series, Brad’s, “…own personal guess here is that he’s in talks to play VAN HELSING, the epicenter of the Universal Monsters universe who is also rumored to get his own movie.”
But let’s stick to facts right now, shall we? The Mummy is getting made and Tom Cruise is not a part of it. Until we know something that points otherwise, that’s the latest information.
Seven years ago, I was given my first introduction to the quirky, post-apocalyptic world of Fallout, in which our pursuit of the American Dream has been forcefully put on hold in order to make room for a nuclear war. I had no idea what Mirelurk were or how delicious they could be after your tastebuds have been irradiated to the point that everything tastes like the wall of a gas station bathroom. I didn’t even know that war never changes. Like, not ever.
On the surface, Fallout 4 looks like a worthy, if not terribly exciting, continuation of one of gaming’s most beloved franchises. My initial impression of the game was lukewarm. It was fun. I loved my canine companion, scavenging for precious resources, exploding Raider faces from afar using V.A.T.S., and watching my lady character gradually transform into a true warrior of the wasteland.
About sixty hours later and I have officially fallen for Fallout all over again.
The game starts out somewhat slow, especially if this isn’t your first time. Aside from a pre-apocalypse bit at the very beginning, it follows the formula established by Fallout 3’s memorable prologue — choose a survivor, spend way too much time customizing your survivor, get in the vault, escape the vault, wait a minute for your eyes to adjust to the wasteland’s horrific beauty, pick your jaw up off the floor, accept your first mission, ignore your first mission, treat the world like it’s Black Friday and you’re the only one in line.
A lot of what’s new isn’t immediately apparent, it takes time to seek out. That’s true for most things, with the exception of the base-building, which is arguably the game’s most ambitious feature.
In Fallout 4, you can use the endless amount of supplies you’ll recover while adventuring to invest in the construction of bases. You can’t build just anywhere, the spots are predetermined and there are plenty of them to keep you busy until next Spring, at least.
You’ll need that much time to turn these trash hills into robust towns with their own scalable economies, renewable sources of food and water, power supplies and defensive capabilities. You’re in charge of everything, from planting crops to assigning farmers and even placing turrets, building homes and powering all of it to keep everyone happy. Treat your settlers right and they’ll return the favor by giving you a source of income, missions, information and kinship. Plus, some of these weirdos are downright hilarious.
I spent many more hours than I care to admit transforming the town of Sanctuary — the first, and largest, spot you’ll get to build on — from a garbage field of misery into a settler’s paradise known for its rustic charm. It’s rewarding even without any of the measurable benefits that come with it.
There’s plenty to look forward to for veteran vault dwellers, too. Character progression is governed by the S.P.E.C.I.A.L. system (Strength, Perception, Endurance, Charisma, Intelligence, Agility and Luck) that’s returning with no significant tweaks other than an occasionally frustrating-to-navigate poster layout. Each perk is laid out in an unintuitive grid format that had me scrolling through it longer than I would’ve like in order to find the right perks.
Forming a character that suits your play-style is simple, and while it’s still important to prioritize the traits you want the most for your specific build, the nonexistent level cap means all of them can be unlocked with enough playtime.
Since the world itself is the first thing you’ll see after fleeing Vault 111, it’s easy to come away unimpressed. The graphical evolution isn’t as impactful as I was expecting it to be, even though there’s a huge leap in the amount of detail that can be displayed on-screen at any given time. The world feels more alive than ever, it just takes its time revealing what’s new about it.
There’s more variety this time around, particularly in the dynamic weather system. Sunny days are broken up by the odd smattering of rainstorms, thick fog and even rare nuclear storms that come and go, painting the world in an eerie, sickly green color before quickly dissipating.
The level design may be the most surprising evolution I noticed in the environments. Towns aren’t merely fields sprinkled with buildings, they’re more fluid. They feel less “game-y” and everywhere you look there are hidden stories waiting to be uncovered. There was one town in particular that had been flooded, forcing its residents to take to the rooftops.
Crude bridges connected each building, resulting in another town that sat on top of the remnants of the first. Pay close enough attention and this incredible attention to detail can be found everywhere.
The combat has never done much to elevate the gameplay in this series, but that’s no longer a hindrance thanks to some necessary refinements to the shooting mechanics and a tweaked V.A.T.S. that now lets you activate critical attacks with the press of a button. I promise that’s a way bigger deal than it sounds like it is.
Of the 200+ hours I lost to Fallout 3, most of them were spent strategically targeting slow-moving enemies and their exploitable weaknesses using V.A.T.S.. This time around, it’s been about 50/50. I still enjoy watching as an unsuspecting Raider suddenly explodes in slow-motion after a successful sneak attack, but the guns now feel accurate enough that I don’t feel like I need to use it.
It hasn’t reached the near-perfection of dedicated shooters like Halo or Call of Duty, but perfection isn’t a realistic goal when you have an arsenal built from pipes, screws and a good old fashioned desire to not let an apocalypse stand between us and our right to murder living things with guns. What would humanity do without them, pool our remaining resources and unite to ensure our species has a future? Not in my America.
With open-world games like this, an element of discovery is crucial. Dropping dozens, or even hundreds of hours in this game isn’t frighteningly easy, so a steady source of intrigue is necessary to motivate the player to keep going, to keep discovering. Bethesda has mastered this here. I can’t guarantee that its world will appeal to you, but I can guarantee that if it does, you won’t run out of things to see and do anytime soon.
The Final Word: Fallout 4 is a sequel built on a myriad small tweaks, subtle refinements and quiet additions that all come together to make it one of the most complex, rewarding and addictive open-world games of this console generation.
Update: It’s Marty Feldman, not Friedman, the ex-guitarist of Megadeth. Sorry about that
Tom Hodge (aka The Dude Designs) has produced a mash-up poster for Victor Frankenstein, which pays homage to Mel Brooks’ hysterical and absolutely brilliant comedy Young Frankenstein. The new poster is nearly identical to the original, only this one replaces Gene Wilder and Marty Feldman with Daniel Radcliffe and James McAvoy. It’s a wonderful concept and I love that he chose Brooks’ film for this poster.
Released in 1974, Young Frankenstein tells the tale of Dr. Frederick Frankenstein (Wilder) as he travels to Transylvania to manage his late grandfather’s estate. Although highly skeptical and disbelieving of his grandfather’s work, Frederick begins his own experiments with the assistance of Igor (Feldman) and Inga (Teri Garr). If you haven’t seen this movie, I cannot stress to you just how funny it is. Every time I see it, I find myself nearly in tears from laughter.
The synopsis for Victor Frankenstein reads:
Told from Igor’s perspective, we see the troubled young assistant’s dark origins, his redemptive friendship with the young medical student Viktor Von Frankenstein, and become eyewitnesses to the emergence of how Frankenstein became the man – and the legend – we know today.
Directed by Paul McGuigan, Victor Frankenstein comes out tomorrow, November 25th!
There aren’t very many words that can so effectively ignite the fiery passion of the gaming community than microtransactions. Tripwire Interactive learned this with the just-announced Trading Floor, a new in-game shop in Killing Floor 2 where players can take a break from murdering Zeds to purchase cosmetic goods.
“The Trading Floor allows immediate access and purchase of these items outside of the field of combat,” reads an announcement on the official website. “Simply access the Trading Floor and peruse the available selections anytime, from the comfort of your quarters. These items are designed and made by people just like you. Buy their creations, learn their secrets, use them better and, most importantly, look good doing it!”
Some members of the community aren’t having it.
For now, the Trading Floor won’t have any impact on the delicate gameplay balance that must be maintained in every multiplayer game. It exists so Tripwire can use the additional funding to invest in future content, such as “new and ever-more exotic locations in which to exterminate the Zed menace.” These free updates cost them money, so it makes sense that they’d want to create an additional source of income to keep them coming.
As first reported by Destructoid, the Trading Floor has been met with an overwhelmingly negative response from players. The backlash is coming from a few different places. Some are upset that an Early Access game is charging for content, others have simply refocused their lingering frustration after last month’s Payday 2 loot safe fiasco, and then there’s this Q&A from the Trading Floor FAQ.
Q: Will I have to spend money to remain competitive?
A: No. All of the content added in Trading Floor at launch will be cosmetic only and not affect gameplay in any way. In the future we may be adding weapons with new gameplay for sale, but this will appear in the “Shared Content” area on the server. This means that, if any player on the server has a weapon (like the Chivalry Zweihander now), then every player on the server will be able to use it. No-one gets any “advantage”. Co-op game – everyone starts out equal! Our goal is for any such weapons to be side grades anyway, so they won’t provide an edge over the current tier of weapon power.
There are valid points on each side. Tripwire needs money to continue making progress on Killing Floor 2 and their fans need to know they aren’t being cheated.
“Not much time left to change anything before the update, but we are listening.” wrote Tripwire Vice President Alan Wilson in a response to the community. “And, to those asking “why not get the game out of Early Access first?” – well, here’s your answer. Feedback, leading to changes in what we are doing with this, changes to future plans. So that, when the game comes out of Early Access, it is actually finished, with core systems like this ironed out and working the way people want it to.
There’s no release date for this update yet. When it does arrive, it will bring with it two maps and the new Gunslinger perk, in addition to the Trading Floor. Out of curiosity – where do you stand on this?
“Will the found footage fad ever go away?” I asked myself that several times during Mark Netter’s Nightmare Code. Considering that the Paranomal Activity series thankfully ended this year with Ghost Dimension (and considering its box office return), audiences may have finally had their fill with the subgenre. That’s all kind of unfair to Netter’s film. Sure, the film is yet more indie fare that uses the tired trope as the basis for its plot. But perhaps Nightmare Code does something more with the idea?
OptDex’s ROPER is a new surveillance system that aims to determine the emotions of people, and therefore predict their actions. The program’s creator, Foster Cotton (Googy Gress), apparently snapped one day and murdered several of his co-workers before shooting himself in his office. Enter computer programmer Brett Desmond (Andrew J. West). Desperate for cash to pay off his legal bills for being a whistleblower, Brett agrees to join the OptDex team to help complete ROPER. However, as Brett delves into the code for ROPER, he discovers that the ROPER code is capable of more than just behaviour prediction.
Right away, Nightmare Code tackles the problem that so many found footage films stumble over and are unable to recover from. That is, the problem of why the camera or cameras are always in opportune positions, and are constantly recording. The solution being that the entire film is taken from the POV shots of the security cameras at OptDex, with ROPER doing the viewing. As a result, the film is less found footage, and has more of a Big Brother-esque feel to it. But given that these are all programmers confined to their own offices, that presents another problem. As a solution, the film will switch to a four-way splitscreen, where you get multiple characters interacting via their webcams. It’s a strange sense of voyeurism, seen through the eyes of ROPER, that’s both intriguing and creepy.
Despite the obvious obstacles presented in the film, the performances are fairly well done. Despite the problem of often having single characters in the room at one time, Netter solves the issue by having the characters talk to themselves to further exposition. Sure, it’s might seem awkward, but you can’t say that there aren’t people who talk to themselves when they’re alone. Getting into specifics, West is quite good as the film’s flawed protagonist in Brett. Him being slowly consumed by his work makes Caitlyn Folley’s turn as Brett’s increasingly-concerned wife Jennifer that much more convincing. Still with West, the chemistry that he and Mei Melançon’s character Nora Huntsman share is also believable, and again feeds into the idea of a flawed protagonist (you’ll see). Gress handles the egotistical and eccentric Foster Cotton with ease, and makes for a good antagonist.
Nightmare Code unfortunately falters in spots. While the four-way splitscreen does solve the issue of having a character confined to one area at a time, it can often lead to confusion. Having multiple characters interact via this method has multiple characters reacting at the same time. This of course has the viewer darting around the screen to follow said reactions and responses. Those of you who have had a Skype video call where multiple people talk and react know what this is like. Also, once you get into the film, you realize that the premise is not that original. Despite the fancy window dressing that is the surveillance cameras, the film boils down into your typical “rogue computer program running amok” story.
Still, in spite of treading a familiar path, Nightmare Code is a nice break in an overdone subgenre. Netter uses the found footage idea in a way that actually makes sense, and creates an unsettling mood with the constant surveillance of the film’s characters. The performances are all well done, and only add to the creepy feelings. It’s not a perfect film, but it definitely tries to be more than what many indie films using the idea eventually become.
Presented in 1.78:1 anamorphic widescreen, the video presentation is about what you’d expect from a low-budget indie release. Colours are accurate, although the image overall is a tad dark. There’s a bit of mosquito noise throughout, but nothing too distracting. It’s adequate, and typical of what you’d expect of a film like this.
The Dolby Digital 5.1 audio is again consistent with the film’s low budget origins. Dialogue is clear and easy to understand, and there is some good use of directionals at points during the film. It lacks the “oomph” of bigger budgeted releases, but that’s to be expected.
First up is an audio commentary with director, producer and co-writer Mark Netter and actors Andrew J. West and Mei Melançon. The trio turn in a very informative track, with Netter handling much of the talking. Personal stories about the production and behind the scenes information are shared, with the entire session being entertaining as well.
Following that are a series of mini EPK-style featurettes that can be played individually or one after another. ‘Characters’ covers the film’s characters as told by the cast and crew, ‘Technology & Fear’ talks about how technology has evolved and the power that it unlocks, ‘The Production’ covers the making of the film, while ‘Indiegogo’ is the video used for the film’s fundraising campaign.
The film’s trailer rounds out the extras.
Overall, a decent DVD presentation with an entertaining commentary being the highlight of the extras.
A new trailer for the Israeli epic horror film Jeruzalem has been released and it teases some sort of gigantic demonic creature, although we never get a good look at its dimensions. Regardless, it’s definitely piqued my interest!
“Two American girls on vacation follow a mysterious anthropology student on a trip to Jerusalem. The party is cut short when the trio is caught in the middle of a biblical apocalypse. Trapped between the ancient walls of the holy city, they must find a way out as the fury of hell is unleashed upon them.”
Directed by Doron & Yoav Paz, Jeruzalem has been getting a lot of interest and positive reviews as it goes through the festival circuit. It hits limited theater and On Demand on January 22nd, 2016.
Thanksgiving is that wonderful time of the year where we all come together to honor a really bad thing the Pilgrims did hundreds of years ago. Everyone celebrates this holiday differently. Some volunteer at local shelters or food banks, others overdose on tryptophan and whatever’s on the television, and then there are the more creative types who use this holiday as an opportunity to blaspheme by consuming Turduckens — a Frankenbird made from a chicken stuffed inside of a duck that’s been crammed inside of a turkey.
Birdception has always intrigued me, but I’ve never tried it myself. And since I won’t be laughing in the face of nature this year by breaking Bird Law with my relatives, that means I’ll have time to try this ‘being thankful’ thing.
Thankfully, there’s a lot to be thankful for this year.
At the risk of being cheesy, I’d like you to tell me what you’re the most thankful for. It doesn’t need to be about video games, horror or otherwise, but at the very least I’d love to know which horror games, if any, you’re planning on playing over the break.
I’ll be playing through Bloodborne: The Old Hunters, which released this week, when I’m not feeding my growing addiction to Fallout 4. I’m considering going through Until Dawn again in preparation for its upcoming Rush of Blood expansion.
If you need any help deciding on what you’re thankful for, it could be one of the many great horror games that have come out this year (Dying Light, Resident Evil HD, Resident Evil Revelations 2, SOMA, Until Dawn, The Park, Stasis), or the games we now have to look forward to after successful crowdfunding campaigns (Friday the 13th: The Game, Ashen Rift, Perception, NightCry). There’s so much more, but that should get you started!
Here’s another thing to give thanks for on Thursday! Universal Cable Productions is working to make a TV series of “Tremors” and the word is that Kevin Bacon, who starred in the original 1990 film, will be returning not only as an executive producer but also will star in the series!
The original film produced four direct-to-video sequels, including the brand new Tremors 5, and a 13-episode TV series aired in 2003 on SciFi.
Who’s ready for more graboid action??
Update: Tom Cruise is not starring in this movie. Story here.
Universal Pictures is choosing to go big with their newly revived Monsters universe.
After dropping the ball with Dracula Untold, the studio is focusing on real star power to reignite the franchise that quite literally started it all.
First, there’s talk of Scarlett Johansson toplining the Creature From the Black Lagoon reboot.
Then, just the other day, word got out that the studio is targeting Angelina Jolie Pitt for the leading role in Bride of Frankenstein.
Now, Tom Cruise is in talks to star in the latest take on The Mummy, according to Variety.
The studio tapped Alex Kurtzman and Chris Morgan last summer to help develop a universe for Universal where its classic monster movie library is front and center. Kurtzman is also on board to direct and will produce alongside Morgan.
Jon Spaihts (Prometheus) is penning the script that is set in present day, unlike the previous three installments starring Brendan Fraser.
The bigger news here is that, according to the site, Cruise will play a major part in helping develop this new franchise, and is expected to play a large part in not only the Mummy franchise, but also in the monster universe, as it’s planned that characters will have roles in other monster movies leading up to an Avengers-style tie-in film.
My own personal guess here is that he’s in talks to play VAN HELSING, the epicenter of the Universal Monsters universe who is also rumored to get his own movie. Although, I’m not exactly sure how that would play into The Mummy films.
I was starting to doubt Universal’s master plan, but the stars are (literally) starting to align. I’ve always been a huge fan of Cruise, even during his “insane” years. Many people can’t separate a star’s public perception from their talent (Kanye West is the perfect example). Cruise is easily one of the best actors of all-time, and would be welcomed once again into our genre (he was so superb as Lestat in the Interview with the Vampire adaptation).
Starz has uploaded a short preview of the next episode of “Ash vs Evil Dead“, which makes it look like our loud mouthed hero may lose his cajones, literally more so than figuratively! You can see the clip below.
The description for “The Host”, which airs this Saturday, reads, “Kelly’s current state puts others in jeopardy. This forces Pablo to make a brave move and Ash to reveal a new side to his character. Ruby and Fisher join forces in pursuit of Ash.””
For those following along, how are you liking the series so far? Leave your thoughts in the comments!
The Hellraiser films are a franchise that is both inspiring and depressing. The first few films are really damn solid and have a feel that no other franchise offers. They also succeeded in creating a new series of horror icons in the form of the Cenobites, extradimensional beings who reside in Hell and emerge when the Lemarchand box, also known as the Lament Configuration, is opened. While the most popular is, without a doubt, Pinhead, there are still several other Cenobites that have graced the silver screen, each offering their own twisted and demented form.
Based upon your personality and some basic inherent facts, the below quiz aims to try and figure out with Hellraiser Cenobite you’d be!
I took it and my answer was “You are Chatterer” (my personal favorite, so I’m extremely excited!), which reads:
The right-hand man, you are one of the classic cenobites. You are the muscle in the group. Although quiet most of the time, once you get started you’re hard to stop chattering. Although your mission is clear, you keep the morale high and are willing to do the right thing in extreme situations.
Take the quiz and let us know in the comments which Hellraiser denizen you turned out as!
Get your calendars out because we’ve got the locked down dates of new genre titles streaming on Netflix this coming December.
After just revealing plans for the next Riddick sequel and television series, the 2004 animated feature The Chronicles of Riddick: Dark Fury will be available on December 1st, as will Sam Raimi’s superhero horror Darkman. You’ll also want to paint it black after revisiting David Koepp’s criminally underrated 1999 Stir of Echoes, starring Kevin Bacon, which also arrives Dec. 1, along with its sequel Stir of Echoes: The Homecoming.
In addition, the only other movie is the awful Vampire Academy that will hit on December 7th.
Being that it’s the winter holidays, it’s no surprise that Netflix is lacking in new horror, but there is one gem set to drop right on Christmas. Shit, it’s the best present you’re going to get all year.
Netflix has set December 25th as the U.S. debut of the “Black Mirror” holiday special, ‘White Christmas,’ which stars Jon Hamm in a must-see mind-fuck from the best sci-fi anthology series this decade.
In the episode, “Joe Potter (Rafe Spall) and Matt Trent (Jon Hamm) work at a small, remote outpost in the middle of a snowy wilderness. Joe wakes up on Christmas Day and finds Matt preparing Christmas dinner, with “I Wish It Could Be Christmas Everyday” playing on the radio. Matt tries to get Joe to talk about why he accepted the job at the outpost, a topic they have never discussed in the five years they have worked together. Joe is reluctant to say anything, and instead asks why Matt took the job. Happy for the conversation, Matt begins his own story.”
This is the perfect way to set up the new series coming via online streaming company next year. Open this present first so you can watch with the entire family.
When it comes to Resident Evil, Capcom is making sure there’s something for everyone.
Old school fans are getting Resident Evil 0 remaster and a Resident Evil 2 remake while more competitive types can enjoy the Operation Raccoon City-esque Umbrella Corps spin-off. And those are just the games we know about.
Dark Mask Cosplay has done a fine job with this Albert Wesker cosplay, but am I the only one who would like to see what he’d look like post-Resident Evil 5 rocket facial?
And since this is Bloody Disgusting, here’s some bonus Jason Voorhees cosplay.
Ever get the feeling that the people around you aren’t quite human? Or more accurately, don’t act human. No, this isn’t leading into Invasion Of The Body Snatchers. Actually, it’s director/writer Steve Oram’s feature-length debut Aaaaaaaah!, which recently screened at the Ithaca International Fantastic Film Festival. To say that the film is a little odd is understandable. With Aaaaaaaah!, Oram has taken the unorthodox approach of having humans ape the behaviour of, um, apes. If that’s not a setup, I don’t know what is.
In a world where humankind has the same base social and intellectual capabilities of apes, we follow Alpha male Smith (Steve Oram) with his sidekick Keith (Tom Meeten) as Smith moves to take over a local community suburb. After staking his claim on a female named Denise (Lucy Honigman) and her tribe, Smith unknowingly sparks a feud within the tribe and its Alpha male named Jupiter (Julian Barrett), reigniting grudges and heightened tension among its members.
Calling this film “experimental” would be an understatement. Depending on your point of view, the entire gimmick is either a stroke of genius or a one-note joke. There’s no dialogue here, per se. Rather, the actors communicate through a combination of grunts, yelps and screams. This is all in addition to the physical acting, which altogether is the highlight of the film. Surprisingly, it’s all quite easy to follow along and get what’s transpiring. This is in spite of the more bizarre ape-like mannerisms, such as Oram urinating on a picture of Honigman to stake his claim (in addition to Meetan cleaning up), a cooking show host with bare breasts smacking the crap out of meat to tenderize it, defecation, masturbation and so on. I definitely wouldn’t be able to keep a straight face if I was doing this stuff, so kudos to the cast for keeping things going, and even bigger props for Oram.
The horror aspects of Aaaaaaaah! are purposely low budget, and are a relatively minor component of the film. Still, special effects artist Dan Martin does come up with a few squeamish moments (such as the department store shakedown) that earn marks for fitting in with the film’s concept. It clear that Oram wasn’t shooting for a straight-up horror film, but there’s enough violence and savage tone in parts to separate it from being just an off-kilter mockumentary. These people are acting like apes, after all.
As you’ve probably guessed, this film isn’t going to click with general audience. Aaaaaaaah! veers into the arthouse crowd with its strange concept, which definitely limits its appeal. It’s also not a traditional horror film, which limits its viewership even more. Simply put, you’ll either love this film or hate it. Then there’s the issue of the film’s length. With a concept like this, you really can only go so far before the audience’s patience (not to mention their willingness to go with the film’s concept) wears thin, regardless of whether they’re enjoying what they’re seeing. There’s definitely talent and some interesting ideas at play here, but at almost 120 minutes long, things really start to drag an hour in.
It pays to be ambitious when you’re starting out as a director in the film industry, and on that front, Oram has succeeded. Aaaaaaaah! takes a goofy concept, and with some strong physical acting by all the players involved, succeeds in both being bizarre and grabbing your attention. The weird nature of the film is also unfortunately its weakness, which will end up dividing viewers and turning off a lot of people. The running time doesn’t do the film any favours in that regard, either. Still, for those who enjoy this type of film, this is one to check out.
Screened at the Ithaca International Fantastic Film Festival.
The fate of the BioShock franchise has been hanging in the air, held aloft by promises that it would continue, since Irrational Games, the studio that created it, closed its doors nearly two years ago.
What’s left of Irrational, including series creator Ken Levine, have moved on to a “highly creative and innovative project” that we don’t currently know anything about. Where BioShock goes, or rather, where it takes us next, is entirely up to its new owners at 2K Marin in California.
“The franchise is in the hands of 2K,” Take-Two CEO Strauss Zelnick told GameSpot last week.
“They’ll make announcements in due time about any upcoming releases. But BioShock is unquestionably a permanent franchise for our company and one that we do believe in.”
They’ve also confirmed that BioShock will not become an annual franchise, like Assassin’s Creed and Call of Duty. That’s good news.
It’s not a lot to go on, but 2K did handle BioShock 2, and that was a strong game with some exceptional DLC. Seriously, if you haven’t played Minerva’s Den, I highly recommend it. And while we wait for actual news to surface, you could always burn some time by checking out this Little Sister body paint video, a gruesome fan-made Splicer mask, some Dead Space/BioShock mash-up, or this incredibly impressive impressive fan remake.
Film Independent has announced its nominees for the 31st Independent Spirit Awards, which will take place Saturday, February 27, 2016; and a couple of films we’ve been championing here on Dread Central made the cut!
In the Best Director category, David Robert Mitchell received a nomination for It Follows, which also garnered nominations in the Best Cinematography (for Michael Gioulakis) and Best Editing (for Julo C. Perez IV) categories.
Also receiving multiple nods is Bone Tomahawk. It’s nominated for Best Screenplay (for S. Craig Zahler) and Best Supporting Male (for Richard Jenkins).
Lastly, Robin Bartlett from the sci-fi thriller H. was recognized in the Best Supporting Female category.
In the “not quite horror but we’re still interested” category is Anomalisa, which scored four nods: Best Feature, Best Director (for Charlie Kaufman and Duke Johnson), Best Screenplay (for Charlie Kaufman), and Best Supporting Female (for Jennifer Jason Leigh).
For the full list of nominees, visit IndieWire, and also be sure to keep an eye on the Spirit Awards website. The 2016 Film Independent Spirit Awards will be broadcast exclusively on IFC on February 27th LIVE at 2:00 pm PT / 5:00 pm ET.
at 2:00pm PT / 5:00pm ET.
The post It Follows and Bone Tomahawk Receive 2016 Independent Spirit Awards Nominations appeared first on Dread Central.
Anyone who’s ever played a video game or watched a sci-fi or horror movie since the release of James Cameron’s Aliens can attest to the impact that film had on vehicle designs. Recognizing this, NECA has decided to release a new line entitled “Cinemachines” celebrating these futuristic wonders.
From the Press Release:
Introducing a brand new line of die-cast collectibles celebrating some of the most iconic vehicles from film and television!
CINEMACHINES brings these supporting cast members to life in exceptional detail, ready to add to your collection. Each measures 5″-6″ long and is made from die-cast metal and plastic that’s carefully hand-painted.
Series 1 highlights vehicles and vessels from the Alien universe and includes:
- UD-4L Cheyenne Dropship, with miniature Armored Personnel Carrier that fits inside the bay (Aliens)
- M577 Armored Personnel Carrier (Aliens)
- “Origin” Derelict Ship with display stand (Alien)
- Fossilized Space Jockey (Alien)
The tale of Mary Shelley’s Frankenstein is one that has resonated with many for generations, its tale of man versus monster (is it ever clear who is which?) still incredibly relevant in today’s society. But considering that it was written almost 200 years ago – it was anonymously published in 1818 and Shelley’s name was added five years later in 1823 – how faithful are we to the original story? How well do we remember what the parable was truly about?
Below is an infographic that dives into some facts about Frankenstein, explaining not only the story but also giving a bit of information about Mary Shelley, the main characters of the story, and some interesting statistics that have emerged since the story’s release.
After checking it out, why not tell me how Frankenstein has impacted your life? Is it something that you simply enjoy as a story or does it go deeper and have a personal connection?
Source: Course Hero
Uncork’d Entertainment will bring the horror comedy Crying Wolf to VOD on December 12th, and right now we have some brand new stills for you to sink your teeth into.
Caroline Munro, Joe Egan, Kristofer Dayne, Gabriela Hersham, and Ian Donnelly star. Tony Jopia directs.
From the director of Deadtime and Zombie Harvest comes Crying Wolf! They’re hungry, hairy, and ready to hunt you down!
The comedy horror Crying Wolf tells the story of strange and weird goings-on in a little English village called Deddington. The gruesome death of local girl Charlotte by a rabid monster causes alarm and revulsion – before desperate reporters, crazy detectives, and revenge-seeking hunters descend on the scene.
Crying Wolf is a fast-paced British comedy horror that will keep you howling for more!
Certain serial killers have become media sensations based solely on their particular method of killing. Look no further than the notorious “Hillside Strangler(s).” Los Angeles’ San Fernando Valley is about to get its own serial killer with a specialty m.o., The Valley Drowner, and the press is going to love him.
Randy Wayne (“The Dukes of Hazzard: The Beginning,” Android Cop) stars as Johnny Taylor, a serial killer with a fetish for drowning hot girls. After killing his sexually-abusive babysitter in a swimming pool when he was younger, Taylor grows up to be a deeply troubled young man fighting a particularly deadly trigger: When he sees water and attractive young women together, his natural inclination is to drown them. Making matters worse, the only job he can get is that of a pool cleaner. This mass murderer doesn’t just rest with fatal swimming pool baptisms; give him a sink, a bath tub, a toilet – even a bucket of water will suffice. His killing spree sparks a media frenzy that turns him into a pop cultural phenomenon amid the seedier side of L.A.
Sara Malakul Lane (Kickboxer, Shark Lake), Shawn C. Philips, and a bevy of porn stars co-star in Jared Cohn’s (Atlantic Rim, Bound) twisted thriller inspired by true events about what happens when lust for fame meets the urge to kill.
Considering the film is set against the backdrop of the drug-fueled porn industry, The Valley Drowner looks to be the worst thing to happen to the adult film biz since Charlie Sheen.
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