The final girl has been a horror trope for decades but the term was actually coined by Carol Clover in her book “Men, Woman and Chainsaws: Gender in the Modern Horror Film.” The trope of the final girl has become such a staple in the genre that it was lampooned in the film Behind the Mask: The Rise of Leslie Vernon to hilarious effect (in the film, the final girl turned out to be a typical horny teenager who died shortly after having sex). Since the long-awaited horror comedy The Final Girls (review) was released last weekend, we thought we would take a look back at some of the best final girls in horror movie history and rank them!*
*There is no strict method to my madness, but the criteria I used is a combination of how tough the girl is, the extent of the trauma she endures to survive and how likable she is.
Principal photography is underway on the latest installment of Screen Gems/Lakeshore Entertainment’s blockbuster Underworld series, which has grossed nearly $500 million worldwide, Bloody Disgusting learned.
Kate Beckinsale once again returns as Selene with Theo James (Divergent) back as Selene’s ally David, reprising the role he played in Underworld: Awakening. British actors Tobias Menzies (“Outlander”, “Rome”) and Lara Pulver (“Sherlock”) take on the respective roles of a formidable new Lycan leader and a fiercely ambitious Vampire, and Charles Dance (“Game of Thrones”) again plays Vampire elder Thomas.
Rounding out the film’s stellar international cast are: James Faulkner (“Game of Thrones”), Peter Andersson (The Girl with the Dragon Tattoo), newcomer Clementine Nicholson, Bradley James (A&E’s upcoming “Damien”) and Daisy Head (the upcoming Fallen).
Anna Foerster is the director of Underworld 5. Foerster, who previously directed episodes of the television series “Criminal Minds” and “Outlander,” is widely known for her work as cinematographer on epic blockbusters such as Independence Day, The Day After Tomorrow and White House Down.
The ten-week shoot will take place entirely in the Czech capital and areas surrounding. Screen Gems has slated it for release on October 21, 2016.
You don’t receive your horror badge of honor until you’ve seen George A. Romero’s seminal 1968 Night of the Living Dead, about a group of people who hide from bloodthirsty zombies in a farmhouse.
A few weeks back Romero attend the annual Monster Mania in Maryland where he revealed huge news to fans.
According to user ‘spawning blue’ on the Blu-ray.com forums, Romero allegedly has found a 16mm work print of Night of the Living Dead, which is said to include a roughly 9-minute long scene never before released on home media!
This was a scene that takes place at the jump cut in the basement, explains the user, including the largest zombie scene in the film!
This news is confirmed by users on the Monster Kid Classic Horror forums, who add that “Martin Scorsese is working on a new restoration from the original negatives.”
WOW. That’s all I can say at this moment. Talk about a Halloween treat to remember. And what a way to celebrate the film that started it all. Can you imagine seeing lost footage from 47 years ago? I’m so curious to learn why this scene was cut and what it means for the film’s original narrative. There’s seriously a lot to discover and learn here, and I anxiously await official news of its release.
I have a weird relationship with Guillermo del Toro’s movies.
From Blade 2 to Hellboy, Mimic, Pacific Rim, and even Crimson Peak, I haven’t liked any of them (sans Pan’s Labyrinth) on first viewing. Either he’s always ahead of his time or his films are better suited for home video.
Whatever the case, I’m not a gushing fan. Outside of wanting to see his interpretation of Disney’s Haunted Mansion (especially after the set and sound design, and effects work of Crimson Peak), I just can’t get excited about him anymore.
No matter, he’s active on Twitter, and shared with his followers his deep desire to take a stab at Stephen King’s “Pet Sematary,” originally adapted for the screen by Mary Lambert in 1989.
“Book of the Day: PET SEMATARY by Stephen King. Unrelentingly dark and emotional. Compulsive reading. Would kill to make it on film,” said del Toro.
Jeff Buhler (Insanitarium, The Midnight Meat Train) has been working on adapting a modern take for Paramount, which originally had Juan Carlos Fresnadillo attached to direct. It’s unclear where this stands, although Buhler recently talked about the process implying Paramount is still developing.
The Internet has a way of making things happen. So, could a public campaign by del Toro and his followers get Paramount’s attention? Or, will Crimson Peak‘s box office numbers scare everyone away?
As much as del Toro doesn’t excite me like he used to, I can see him delivering a wonderfully moody interpretation of King’s material.
What do you guys think?
Book of the Day: PET SEMATARY by Stephen King. Unrelentingly dark and emotional. Compulsive reading. Would kill to make it on film.
— Guillermo del Toro (@RealGDT) October 16, 2015
I went back and forth trying to decide if I should watch Crystal Lake Memories: The Complete History of Friday the 13th. When I initially heard about the documentary I was immediately interested, largely due to the fact that it is directed by Daniel Farrands, one half of the directing duo behind the wonderful Never Sleep Again: The Elm Legacy. My apprehension came from the subject material. For as popular as the Friday the 13th movies are, I’m just not that familiar with the franchise. Of the 12 movies I’ve only seen four – Friday the 13th, The Final Chapter, Freddy vs Jason and the 2009 “remake.”
So I had a decision to make. Do I watch the documentary now and encountered numerous spoilers? Or do I attempt to watch all 12 movies first and then give the documentary a go? After a great deal of eternal debate I decided to jump head first into Crystal Lake Memories. I mean what spoilers could this really offer? I already know Jason’s whole setup, even without seeing all the films I know when he got his mask and yada yada yada. We know he’s never really going to die and there’s always going to be a final girl. These are your typical slasher elements, no big deal.
I’m quite pleased with my decision.
When tackling a documentary like this I feel it’s best to treat it like a miniseries. Watch an hour or two here and an hour or two there because it is extremely long. It covers 12 films, dedicating 30-45 minutes to each one, so you can understand how the time adds up so quickly. Personally I think watching the whole thing at once is information overload because there’s just so much being discussed. I needed time to take it all in, so I spread it out of the course of a few days. Fortunately Crystal Lake Memories is put together perfectly as each chapter is dedicated to one specific film in the franchise. In doing this it makes it easy to stop and pick things up again later. The film gives you a defined stopping point. I watched 2-3 chapters at a time until I reached the end.
I have to give major kudos to Corey Feldman. I’m not entirely sure how people feel about Feldman these days, but he was definitely a huge part of my childhood with significant roles in some of my favorite movies. Out of the 4 Jason movies I’ve seen he plays in the one that is far and away my favorite. Here he serves as the narrator as well as one of the folks being interviewed. He does a great job as narrator. I mean, he’s no Ron Howard, but he’s very engaging and seems to enjoy the subject. During the segments when he’s being interviewed for his roles in parts 4 and 5 he might come across a little cocky, but I think he may have been trying to joke around and have a little fun with it. All in all, very solid job.
I’m not going to go into too many details because there’s just so much that is covered. What I will do is give you the sort of outsider perspective I had while watching. Because I’m not a diehard, mega-fan of the series a lot of what I was hearing, especially the little details, where completely new to me. Apparently the original idea was for Jason to be named Josh? I had no idea! Also that would have been a terrible choice. Josh Voorhees? That does not roll off the tongue!
My favorite segment was focused on A New Beginning. As an outsider this was supremely fascinating as I had no idea that so many die-hard fans of the series hated this entry. Over the years I’ve heard plenty of people write off Jason X, but outside of that I thought fans pretty much loved every entry. I was shocked to find out that the Friday the 13th franchise has it’s very own Halloween III. Hearing all the different opinions on this film and what the intent was and what direction they had hoped to take the franchise actually made me a lot more interested in the series as a whole. When I finally sit down to watch the series, and I will because the watching of this documentary was immediately followed by me going out and picking up the boxset, I’m going to have such a totally different perspective going into every entry, this one in particular. This was probably the one really major spoiler I encountered that I didn’t already know about. I hadn’t the slightest clue that there was a movie with Jason but it was really just “Jason.” The more you know.
Aside from getting quite the shock, the segment dedicated to A New Beginning also gives us the thoughts of one Danny Steinmann. Steinmann directed A New Beginning and in doing so he seemed to have one goal – get as many boobies on screen as possible. I don’t mean to disrespect Steinmann, who has since passed away, but he definitely came off as the typical sleazy Hollywood director just trying to get as many women naked as possible and up on the big screen. He was very much in favor or promoting and selling filth and trash and to that I say good for him! Listening to him talk was one of the most entertaining parts of Crystal Lake Memories even though I had no idea what the hell he was saying. God bless you, Danny Steinmann, god bless you.
Another thing I learned is that the Friday the 13th series is actually quite heavily edited. A bunch of stuff that was in the initial cuts had to be removed due to censors and from what I understand a lot of that has never been put back into the movies on any release. The cool thing is this doc does show you some of these extended scenes. It appears that most of what cut was kills that are in the movies, but just chopped down. It’s kind of a bummer that some of them never made into the final products, especially because some required a lot of work.
Speaking of work, the special makeup effects throughout the series is quite brilliant. Even with all the cuts the franchises contains some of the greatest achievements in the history of practical effects. Whether it be Tom Savini or Carl Fullerton or Allan A. Apone, everyone involved did some really great work. There are a few moments in part 4 that are absolutely genius.
I only really had one complaint about this film and that’s with a few of the folks it lacked. Maybe they couldn’t get them and perhaps they tried, but I really wanted to hear from Kevin Bacon and Crispin Glover. I understand that they’re probably the two biggest stars to ever appear in the series so they’re probably much harder to get, but them not being there really bummed me out. I suppose it’s probably not fair to hold that against the filmmakers, but it is what it is.
If you’re a horror fan there really is no good reason not to check out Crystal Lake Memories. If you’re a big Friday the 13th fan it’ll probably appeal to you a bit more, but if you go in like me, it’ll be both entertaining and educational. Even if you don’t like horror but just love movies you will likely find this documentary enjoyable. You get to hear about how a franchise was born. You get to hear about the highs and the lows and it all comes from virtually every person that worked on the series. It’s all incredibly fascinating.
Crystal Lake Memories is now available on Blu-ray from Image Entertainment.
Filming is official underway on Kong: Skull Island, which will reintroduce King Kong to audiences on March 10th, 2017.
The following Twitter account has a great view of many filming locations in Hawaii, having been on the forefront of many Jurassic World paparazzi shots. Now, they’re already sharing the sets being built for Kong, proving that the Jordan Vogt-Roberts-directed pic will live up to its name!
Max Borenstein’s screenplay is about a man (Tom Hiddleston) who travels to the mythical island and home of the king of the apes. A team of explorers ventures inside what they find to be a treacherous island.
John Ortiz, Shea Whigham, Brie Larson, Samuel L. Jackson, John Goodman, and Tom Hiddleston all star with Eugene Cordero.
The same account also shared the below cast photo, which makes me believe this is actually an on-set publicist for Universal.
Once Kong: Skull Island is completed, Warner Bros. moves onto both Godzilla 2 and Godzilla vs Kong.
They're not calling it Skull Island for nothing. pic.twitter.com/1Zmd0K82Te
— Reel Tours Hawaii (@reeltourshawaii) October 11, 2015
Dug up another "Kong: Skull Island" set pic. Filming starts Monday! pic.twitter.com/Lcmc2xMA2e
— Reel Tours Hawaii (@reeltourshawaii) October 16, 2015
— Reel Tours Hawaii (@reeltourshawaii) October 16, 2015
Paramount provided us with an official image gallery for Scouts Guide to the Zombie Apocalypse, in theaters October 30th.
Directed by Christopher Landon, “Three scouts and lifelong friends join forces with one badass cocktail waitress to become the world’s most unlikely team of heroes. When their peaceful town is ravaged by a zombie invasion, they’ll fight for the badge of a lifetime and put their scouting skills to the test to save mankind from the undead.”
Tye Sheridan, David Koechner, Cloris Leachman¸ Halston Sage, Logan Miller, Joey Morgan and Sarah Dumont all star.
Scouts Guide to the Zombie Apocalypse will open in limited theaters as part of a new distribution deal, will arrive on home video and VOD within 17 days of the film nearing its theatrical exit.
Miller Jovovich revealed that Korean singer-actor Lee Joon-gi – who stars in the vampire series, “Scholar Who Walks the Night” – has joined the cast of Paul W.S. Anderson’s now-filming Resident Evil: The Final Chapter as the Umbrella Corporation’s Commander Lee.
Ali Larter returns as Claire Redfield, while Milla Jovovich has always been attached as Alice. Iain Glen will return as Dr. Isaacs, with Shawn Roberts playing Albert Wesker once again. New additions also include Ruby Rose as Abigail, Eoin Macken (The Night Shift) as Doc, Cuban American actor William Levy as Christian, Fraser James (“Law & Order: UK”) as Michael, and Japanese model and TV personality, Rola, as Cobalt.
Picking up immediately after the events in ‘Resident Evil: Retribution’, humanity is on its last legs after Alice is betrayed by Wesker in Washington D.C. As the only survivor of what was meant to be humanity’s final stand against the undead hordes, Alice must return to where the nightmare began – Raccoon City, where the Umbrella Corporation is gathering its forces for a final strike against the only remaining survivors of the apocalypse.
In a race against time Alice will join forces with old friends, and an unlikely ally, in an action packed battle with undead hordes and new mutant monsters. Between losing her superhuman abilities and Umbrella’s impending attack, this will be Alice’s most difficult adventure as she fights to save humanity, which is on the brink of oblivion.
Sony Screen Gems has Resident Evil: The Final Chapter slated for release on January 27, 2017.
Working for the last few nights with the incredible 3rd Dan Tae Kwon Do master and actor Joon Gi @actor_jg has been insanely fun and so inspiring. Makes me want to go back to class and brush up on my martial arts skills!" class="wp-smiley" style="height: 1em; max-height: 1em;" /> #nightshoots #residentevilthefinalchapter #capetowndiary
A photo posted by Milla Jovovich (@millajovovich) on Oct 16, 2015 at 5:02pm PDT
A month and a half ago, we teamed up with Relapse Records, MetalSucks, and Grey Matter Art to give three lucky people the chance to win some incredible prizes by designing a poster for the band Windhand and their video for “Two Urns”. Now, we couldn’t show you the video but we were able to provide a brief description to set you all on the right path. And the winners ended up making some incredible designs!
Here was the description that we were able to offer:
It’s Halloween, 1987. Four best friends are out trick-or-treating on their BMXs. Four older bullies in a muscle car have an appetite for something more sinister than candy.
Well, now it’s time to bring you the actual video and it’s just as mysterious and dark as the description makes it out to be. Check it out below!
“Two Urns” comes from the band’s latest album Grief’s Infernal Flower. You can order your copy here.
***All dates with Danava and Monolord***
Oct 21 New York, NY Gramercy Theater
Oct 22 Buffalo, NY Waiting Room
Oct 23 Pittsburgh, PA Smiling Moose
Oct 24 Chicago, IL Empty Bottle
Oct 27 Seattle, WA Neumos
Oct 28 Vancouver, BC Biltmore Cabaret
Oct 29 Portland, OR Mississippi Studios
Oct 30 San Francisco, CA The Chapel
Oct 31 San Diego, CA Night of the Shred ^
Nov 01 Los Angeles, CA The Roxy Theater
Nov 02 Mesa, AZ Club Red
Nov 03 Albuquerque, NM Sister
Nov 04 Denver, CO Bluebird Theater
Nov 06 Dallas, TX Club Dada
Nov 07 Austin, TX Fun Fun Fun Fest Nites
Nov 08 Little Rock, AR White Water Tavern
Nov 11 Columbus, OH Ace of Cups
Nov 12 Ferndale, MI Loving Touch
Nov 13 Cleveland, OH Grog Shop
Nov 14 Baltimore, MD Metro Gallery
Nov 15 Philadelphia, PA Underground Arts
^ – w/ Monolord‘Grief’s Infernal Flower’ physical order link: www.relapse.com/windhand ‘Grief’s Infernal Flower’ digital order link: http://windhandva.bandcamp.com
One of my favorite holiday movies is Tim Burton’s 1993 The Nightmare Before Christmas, directed by Henry Selick.
Filled to the brim with horrific imagery, it’s equally wondrous on its take on Christmas.
And as often as I’ve revisited the film, featuring the voice talents of Chris Sarandon, I don’t think I’ve ever stopped to ponder which holiday it’s truly celebrating. Should I be watching Nightmare Before Christmas on Halloween or Christmas? Maybe both? While there’s no wrong answer, Slick had a definitive vision.
One of my favorite stories over this past weekend comes via Birth.Movies.Death, who was on hand at the Telluride Horror Show in Colorado where they hosted a special screening of The Nightmare Before Christmas, which was followed by a Q&A with Selick!
A little girl in the crowd raised her hand and asked “Is this a Christmas movie or a Halloween movie?”
After the question was asked Selick looked a little surprised, and he said, “Oh boy,” likely knowing that whatever answer he gave would be controversial.
“It’s a Halloween movie,” he said, definitively. He acknowledged that a lot of people liked the Christmas Town stuff waaaaay better than the Halloween Town (“They love Santa and say he’s all-powerful,” he said), but he had to tell the truth: this is a movie about Halloween, and the people of Halloween, and how they react to something like Christmas.
After 20 years we finally have a definitive answer to the question – yet, much like how Christmas is already infiltrating our Halloween at retailers, there’s no reason we can’t find joy in having our cake and eating it too.
Here’s a shocker. Andrew Lincoln has allegedly never seen an episode of “The Walking Dead,” for which is now in its sixth season.
How can Lincoln, who stars as Rick Grimes in the series, have never seen a single episode of the AMC series that defines his career? It’s pretty simple, actually, as many celebrities never watch their work. Still, it explains why he continues to allow himself to partake in one of the worst genre shows in recent memory, and why it’s never gotten any better.
Comicbook.com caught up with Ethan Embry, who starred as Carter on “The Walking Dead,” who had this to say about Lincoln:
“I don’t know if it’s common knowledge but Andy told me he hasn’t watched the show yet. He’s just doing it and he wants to just keep doing what he’s told and he’s gonna sit and digest it when it’s all over. I have a lot of respect for that, too.”
It’s definitely something to respect, in theory. Yet, it makes me wonder how one can better themselves if they can’t even see their own performance? Lincoln is putting his trust in the filmmakers, who don’t always know what’s best for an actor. It’s a collaborative process, and if Lincoln is just going through the motions, it explains why he’s such a flavorless character. From my own perspective, nobody has been as riveting as Jon Bernthal’s portrayal of Shane in Season One.
Again, many actors never watch their work, but the fact that Lincoln is the focal point of the entire series makes this alarming. In addition, more often than not, a franchise lead typically finds their way into a producing role by the end of its run. Six season in and Lincoln still isn’t wearing this hat, which tells me that he’s comfortable in his role as an actor being told what to do. It may be nothing just as easily as it could be everything…
They say time freezes during a traumatic moment, but the same can be said about a moment of disbelief.
Even though “Ash vs Evil Dead” doesn’t premiere on Starz until October 31st, I was lucky enough to check out the first two episodes of the new series that spins off of Sam Raimi’s legendary The Evil Dead franchise.
I have been waiting more than 20 years to see Bruce Campbell return as Ashley J. Williams. It’s been so long that my first viewing of the episode didn’t seem real. Technically, “Ash vs Evil Dead” is the extension of Raimi’s idea for Evil Dead 4, which meant that it lived in the same universe as the first two Evil Dead films and Army of Darkness. While there’s off-the-cuff references to the latter, Raimi takes a second of pause and give viewers a recap of the first two movies (through a projection on boxes in the back of Value Stop, Ash’s new place of employment).
Raimi directs the premiere episode, which focuses solely on an older and wiser(?) Ash. We learn that Ash exhumes the same air of confidence that he’s always had, so much so that he brings along Magnum condoms for his night in the bar bathroom. He’s still as witty as ever, with none of his jokes feeling schlocky or hammy. Even though he lives in a trailer and is a stock-boy, Ash’s chin is always up in quite an inspiring way. He’s still the anti-hero we’ve all grown to love.
And even though there’s a lot of character beats jammed into the first episode, Raimi is able to organically blend it into the action. He shows us why he’s one of the best genre directors ever, delivering more scares in a 30-minute episode of television than most directors can in an entire feature film. “Ash vs Evil Dead” carries an absolutely unrelenting pace that pauses only so Ash can get the last word.
What’s so interesting with “Ash vs Evil Dead” is that, since it lives in the universe of the first three films, it’s allowed to carry the same spirit. Unlike the Evil Dead remake of 2013, the scares are in the shot selection, as opposed to cheating with gross-out gags. There’s a lot of slapstick humor that reminds me of many of the scenes from Army of Darkness, and it’s incredibly unapologetic. “Ash vs Evil Dead” goes anywhere it wants and doesn’t give a shit who’s along for the ride. The proof is in how much CGI is actually used in these two episodes.
While I admittedly hate blood that’s so clearly digital, Raimi mixes it with an insane amount of practical effects work that it’s inconsequential. This is also where the tone of the series is important. The fact that “Ash vs Evil Dead” is playful in nature and insanely over the top allows for the excessive use of gore and digital effects work. One shot may spray digital blood across the screen, but it’s then cut with physical gore that allows our brains to accept it. I guess my point is, you don’t need to worry about it.
Joining Raimi in the director’s chair are Michael J. Bassett; Canadian filmmaker David Frazee who shot a few episodes of “Orphan Black”; New Zealander Michael Hurst of “Xena” and “Spartacus” fame; Aussie Tony Tilse who shot “Underbelly”; “Xena” and “Spartucus” vet Rick Jacobson is responsible for the season finale.
The names were a bit concerning, but I assumed that Raimi would be watching over everyone’s shoulder. I’m not so sure…
The debut episode of “Ash vs Evil Dead” was everything an Evil Dead fan could ask for – maybe even more, considering. Yet, I continually found myself frustrated with the camerawork in the second episode. Raimi found so many unique ways of delivering legitimate, jump-out-of-your-seat scares that the second episode was a face-plant next to it (This truly shines a spotlight on just how good Raimi is). When the credits hit, it all became obvious: MICHAEL J. BASSETT. Yes, the “director” behind such “classics” as Solomon Kane, Deathwatch and Silent Hill: Revelation 3D. Bassett’s episode of “Ash vs Evil Dead” borderlines incompetent and has me legitimately frightened for what comes next (for proof, enjoy the flaccid scare with Kelly’s (Dana Delorenzo) Deadite mother, Suzy Maxwel (Mimi Rogers)).
I’ve never been so high and so low at the same time. While Raimi’s episode of “Ash vs Evil Dead” is a celebration of the franchise and genre, its pitfalls are glaring when Ash’s adventures are shot through other filmmakers’ eyes.
There’s more than one Resident Evil film project in the works, and it’s going to be another animated flick. Much of it is still under wraps right now, but we do know it’s slated to release in 2017, after the live-action sequel Resident Evil: The Final Chapter.
This will be the third feature-length CGI film in the series — following Degeneration in 2008 and Damnation in 2012 — and the first to replace Japanese animation house Digital Frontier with the Sega-owned Marza Animation Planet, which has previously worked on a number of animated films based on the Sonic franchise.
The film is being written by Makoto Fukami (Psycho-Pass) with Takanori Tsujimoto (Bushido Man) in the director’s seat. Capcom’s Hiroyuki Kobayashi, who produced the first two CGI films, will return as an executive supervisor. He is joined by executive producer Takashi Shimizu (The Grudge).
Capcom has gifted us with another developer diary from the upcoming Resident Evil 0 HD remaster, in which producer Tsukasa Takenaka and director Koji Oda take us on a guided tour of the original game’s prototype so we can better appreciate how much work was required to update the game for current-gen consoles.
When Resident Evil 0 arrives on PC, PS3, PS4, Xbox 360 and Xbox One in January, it will be in the form of a digital release. If it’s a physical copy you want, you’ll need to get the Origins Collection, which also includes the recent remaster of the Resident Evil remake.
Lucasfilm announced today that the trailer for Star Wars: The Force Awakens will debut on ESPN’s “Monday Night Football” on Monday, October 19, during halftime of the National Football League (NFL) game between the New York Giants and the Philadelphia Eagles in Philadelphia. The game starts at 5:15 p.m. PDT/8:15 p.m. EDT. The Spanish language version of the trailer will air on ESPN Deportes simultaneously.
To commence the countdown for the trailer launch, today Lucasfilm released the Star Wars: The Force Awakens poster worldwide. Following the trailer launch, tickets to the highly anticipated cinematic event will be on sale everywhere movie tickets are sold.
In conjunction with the Star Wars: The Force Awakens trailer debut, the Walt Disney Company is providing unprecedented company-wide on-air and social support (#TheForceAwakens) as well as tying in events and special activities for the day of the trailer release.
Lucasfilm and visionary director J.J. Abrams join forces to take you back again to a galaxy far, far away as Star Wars returns to the big screen with Star Wars: The Force Awakens in U.S. theaters on December 18
The film stars Harrison Ford, Mark Hamill, Carrie Fisher, Adam Driver, Daisy Ridley, John Boyega, Oscar Isaac, Lupita Nyong’o, Andy Serkis, Domhnall Gleeson, Anthony Daniels, Peter Mayhew and Max Von Sydow. Kathleen Kennedy, J.J. Abrams and Bryan Burk are producing with Tommy Harper and Jason McGatlin serving as executive producers. The screenplay is by Lawrence Kasdan & J.J. Abrams and Michael Arndt.
Photo Source: Fort Myers Police Department
We are saddened to report that a shooting at this past weekend’s ZombiCon has left one man dead and five other people wounded.
CNN reports that chaos broke out Saturday night at a zombie-themed street festival in downtown Fort Myers, Florida, with the shooter still at large.
“It cleared out fast and cop cars and ambulances came,” said Savannah Holden, who watched the panic unfold from a hotel balcony.
One man died of a gunshot wound at the scene, police said, and five other people suffered non-life-threatening injuries. Four of them were taken to Lee Memorial Hospital for treatment.
The deadly shooting took place at ZombiCon, a festival that features bands and DJs performing on stage in the downtown area to people dressed in zombie costumes. It draws upward of 20,000 attendees, police said.
The organizers said they were “deeply saddened by the news of what happened within the footprint of our event.”
“We take the safety of our patrons very seriously and take precautions in hiring security and police officers for our annual event,” they said in a post on their Facebook page. “Our prayers go out to the family members and individuals involved in the incident.”
Authorities are asking for anyone with information on the shooting or who may have cell phone footage helpful to the investigation to call the Fort Myers police at 239-321-7700 or Crime Stoppers at 1-800-780-TIPS.
Leave it to a parents group with nothing better to do than find something to complain about to rag on FX’s fifth season of “American Horror Story.”
THR writes that the Parents Television Council, a conservative watchdog group, has blasted FX’s “American Horror Story: Hotel” and also taken issue with Fox’s “Scream Queens” — both produced by Ryan Murphy and Brad Falchuk.
The group, led by president Tim Winter, singled out the season premiere of “Hotel” for featuring what he called an “unbelievably explicit combination of sex and violence.”
Explains the site, the episode featured a bloody foursome involving Lady Gaga and Matt Bomer. The group-sex encounter, directed by Murphy, marked quite the acting debut for the pop star, who plays The Countess, the glamorous, bloodthirsty owner of the eponymous Hotel Cortez. Not to be outdone, the season opener also featured a graphic rape scene involving Max Greenfield in which his character was raped with a spiked sex toy.
“This is the most vile and shocking content I’ve ever seen on TV. Ever,” Winter wrote in an email to subscribers calling for an advertiser boycott the series. “Most Americans have no idea this is primetime fare on advertiser-supported basic cable. And everyone is paying for it as part of their program bundle.”
The group urged sponsors — singling out Subway (a company that sells unhealthy food to kids using healthy athletes) — to spend their ad dollars in a more responsible fashion.
The PTC also took issue with Murphy and Falchuk’s Fox horror comedy anthology “Scream Queens” — which it noted is rated appropriate for 14-year-olds and airs at 7 p.m. in the Central and Mountain time zones.
“In spite of this, the program features graphic decapitations and discussions of necrophilia in the family hour … all sponsored by McDonalds,” the group wrote.
Keep in mind that “American Horror Story: Hotel” is on a cable channel, and plays after 9pm. Let’s also remember that it’s not the content providers’ responsibility to babysit children. No matter, groups like the PTC known what’s best for you and your children, so, yeah, fuck them. Stuff like this only builds awareness and interest, which is exactly what “Scream Queens” needs in its lackluster first season. While these people think they’re changing the world, all they’re doing is helping those in which they are persecuting.
Corin Hardy’s The Hallow is a strange miracle of horror, a creature feature that is being lauded for its atmosphere, its story, and wonderful visuals. It’s rare that a film that falls into this subgenre gets this kind of praise (here’s our review), which makes it all the more important to recognize all the pieces that bring it together.
That’s why we’ve got an exclusive interview with composer James Gosling, who talks about the process of creating the soundtrack for this fantasy horror film. Ranging from talking about the instruments of Ireland to the idea of film music being an “unseen character” that drives the emotion, Gosling brings us closer to understanding the film from a perspective we don’t often see.
You can follow James on Twitter.
Coming from “Merlin” and “Atlantis”, what was it like to compose for ‘The Hallow’?
In some practical ways it was very similar – tight deadlines and lots of ground to cover in a short amount of time. In other ways the difference in genre meant a real contrast in musical style and language. The atmosphere required for The Hallow was of course much darker and aimed at a different audience than was the fantasy-adventure, family-entertainment of Merlin and Atlantis.
‘The Hallow’ takes place in Ireland, which has a rich history of amazing folk music and wonderful instruments. Did these stylings or instruments come into play with your compositions?
Yes, one of the first decisions in fact was to make use of the fiddle, or solo violin depending on your frame of reference. Not only because it has such a well-established relationship to the rural Irish setting, but also because it has a similarly well-established relationship to the world of horror film scoring. We were working with a very limited budget, so a handful of live solo instrumentalists were all that was affordable, and it very quickly became an obvious and easy decision. You can hear Yuri Zhislin, our violinist, dotted throughout the score, sometimes solo, sometimes blending with samples for a grander effect, but always adding a beautifully ethereal and unsettling tone to the sound world. Also the score for the main title sequence was an attempt to make use of a particularly idiomatic Irish fiddle sound to help set the place, though it’s not long until the horrors begin and the music morphs with it into tension, fear and terror.
On top of having a rich musical history, Ireland is also a stunningly beautiful and, at least for an American such as myself, mysterious country. Was there any influence of the scenery itself in how you formed your music?
I can’t say it was influential in a particularly conscious way to be honest, but that being said you could make an argument for this being true for the opening ‘arrival in Ireland’ scene where we are presented with large sweeping landscapes – this is where I used the Irish fiddle to help to set that tone. You could also say it was true for the beautifully dark and atmospheric woodland locations where much of the second half of the film is set. These locations and the way they were shot were extremely evocative and atmospheric. So in that sense you could say it was very influential to the overall tone that the music taps into, but other than that the score is more consciously designed to help add the necessary tension and emotional trajectory of any given scene and it is this which drives the score for the most part.
While it’s being touted as a “creature feature”, ‘The Hallow’ is receiving wide praise for being smart and genuinely scary. What was your reaction to the film as you were working on it?
My initial reaction was that it was something quite different from much of the usual horror genre, and was even at times, especially in the first half of the film, more like a thriller in fact. It also had a heart to it that is not often present in horror, which can often be gratuitous, voyeuristic and incessant from top to bottom, not that that is necessarily a bad thing of course, that can be fun too, but I think it’s fair to say that particular ground has been well trodden. So my answer is yes, this seemed different. The malevolent fantasy was tempered by a grounded realism that was at the heart of Corin Hardy’s (the director) vision for the film. And the ‘creatures’ weren’t so much supernatural, but instead an ancient and organic presence that have existed in the Irish woodlands for eons according to the film’s folklore. I know that the film was originally pitched as ‘Straw Dogs meets Pan’s Labyrinth’ and that sums up its intentions well for me. What at first could be a darkly sinister humanistic threat slowly revealed itself to be something quite different, but as I say not quite supernatural either. As for how scary it was while I was working on it, well without any finalized sound effects or score, and with much of the visual effects missing, and having watched each scene roughly 4 billion times, the shock and awe impact is much diminished of course. The real tension and horror is only properly born when these elements are all in place, and you’re sitting in a dark movie theatre and watching it for the first time with the sound turned up!
I’ve often seen the music of a horror film as being an unseen character one that we may not give full attention to in the moment but one that drives a scene like a hidden puppet master. If you had to try to describe your music for ‘The Hallow’ as some sort of physical manifestation, what would it look like?
I couldn’t agree more with this sentiment though I’d say this was true of any genre of film that uses composed underscore whether its horror or Harry Potter. And absolutely the puppet master is a great analogy for the film composer, as he or she is often entirely invisible, or maybe consciously-unnoticed is a more accurate way of putting it. If they drop the strings you suddenly realize just how much of the potency is due to this invisible entity. I found a good example of this recently on YouTube where someone had taken the final throne-room scene from the original Star Wars film and removed John William’s Elgarian heroics and replaced them with a few coughs and splutters coming from the assembled crowd together with a few Wookie noises. The effect is extraordinary. What is usually an erect and thrilling heroic epilogue is transformed into a pale and flaccid, even cringeful and laughable shadow of its former self. As for what would be the physical manifestation of The Hallow score, I think for large sections of it, it would have to be that shadowy Irish twilight woodscape that inspired it, and for other sections maybe one of Corin’s beautifully crafted Hallow prosthetics!
How do you see yourself having grown as a musician and composer now that ‘The Hallow’ is complete?
I feel enthused and like anything is possible now. I’ve completed my first feature film score under extremely challenging time and budget constraints, where I was at times questioning if it was really even possible to pull it off at all, and in the end not only did we make the finishing line with a 70 minute score in tow (though admittedly by the skin of teeth), but after seeing it in all its glory for only the second time at the Sitges Film Festival last week, I can objectively say I’m really proud of it too. So from now on very little will seem daunting by comparison. And of course each new experience is an opportunity to hone your skills and explore different musical avenues and sound worlds and to practice the craft. I feel like this experience has propelled me forward immeasurably in this regard and I now look forward to future opportunities to continue the journey.
Matt Reeves shared the first image from the set of the now filming War for the Planet of the Apes, the third film in the prequel trilogy that follows both Rise of the Planet of the Apes and Dawn of the Planet of the Apes.
The above shot appears to echo the shocking final scene in Franklin J. Schaffner’s 1968 Planet of the Apes in which George Taylor (Charlton Heston) learns that the “planet” of the apes is actually a future Earth that’s been destroyed. In 1968, this shit was revolutionary, with a plot twist so significant that it’s widely considered one of the most memorable in the history of cinema.
It appears that Reeves is taking viewers back to the beach to maybe bridge War and the original Apes when it releases in theaters July 14, 2017.
Steve Zahn recently joined Fox’s War of the Planet of the Apes as one of the new lead apes. Woody Harrelson was cast as “The Colonel”, a man described as the main villain of the film. Gabriel Chavarria stars.
The story will also continue the tale of Caesar, who has been the main character of the new generation of films.
Watch for more as it comes in.
After being disappointed with the recent crop of werewolf movies I’ve reviewed, I was admittedly reluctant to see Howl, the second film for effects designer turned director Paul Hyett. Hyett’s previous effects work included work on Neil Marshall’s The Descent and Doomsday. In fact, some reviewers have pegged Howl as the best werewolf film since Marshall’s Dog Soldiers. Hell, there’s even a cameo by Dog Soldiers’ Sean Pertwee in this film! Needless to say, approaching this film with an objective mindset wasn’t going to be easy. However, after seeing the film myself, I can see why reviewers have been singing its praises.
Overlooked and under-appreciated train guard Joe Griffin (Ed Speleers) is weary from his extra shift on the red-eye Alpha Track service to Eastborough, which was thrust upon him by his newly-promoted jerk supervisor. The passengers treat him like crap, and his only source of refuge is Ellen (Holly Weston), who is working the catering for the trip. Things go from bad to worse when during a sudden stop to deal with a deer caught in the wheels of one of the cars, the train is attacked by what they think is a bear. That is, until it starts howling.
Like some of the films by effects gurus turned directors, a big strength in Howl is its creatures. Hyett’s werewolves opt to go the bipedal route like Marshall’s lycanthropes, but are far more gruesome in appearance, trading in the sleek look for muscled brutality. The heads aren’t so much wolf-like, but instead look like the intermediary transformation makeup for The Howling’s Eddie Quist. Admittedly, I’m not the biggest fan of this look, but opinions aside, Hyett definitely pulled off a convincing set of creatures that thanks to the quick cuts, look and move with frightening speed and power. The creatures are only a part of the whole look of the film. The dingy, claustrophobic and often dark interiors of the train are absolutely perfect for generating tension and scares, which Hyett uses to great effect. Even when the passengers make their way out of the train, there’s still a sense of isolation and claustrophobia within the woods, which again is so wonderful to see and feel.
As much as I’m hesitant to use Dog Soldiers as another comparison point, one of the things that made that film so enjoyable was its cast and their acting. And really, the same goes for Howl, as almost everyone involved turns in some great performances. Speleers fits the overlooked yet immediately likeable ordinary joe in, uh, Joe (sorry) perfectly. You empathize with him as he’s being condescended towards and mocked by everyone around him, yet he manages to rise above and take the reigns when needed. Elliot Cowan is the resident ass and womanizer on the train as Adrian, a loathsome banker who attempts a mutiny and pays for it. Shauna Macdonald is also great as Kate, an aggressive businesswoman who is more than a match for Adrian. I absolutely love her “Are you sh*tting me?” expressions. Calvin Dean provides the comic relief as the football fan with indigestion, and while I didn’t care much for the character, Dean was able to work with it.
Not everything is great about Howl. Some of the characters, while starting off strong, tend to fall by the wayside and aren’t developed enough as the rest. Holly Weston’s Ellen is an example of this. While you warm up to her, when compared to Shauna Macdonald’s performance and character, Weston simply wasn’t given enough to work with as Ellen. Also, the film feels a bit more generic than Dog Soldiers, attempting to appeal to a wider range of filmgoers with its familiar cliches in story and character. That’s not necessarily a bad thing, and I can appreciate the decision to make it as such. Still, part of me wishes that there was a little more to set it apart. Lastly, while the creature and gore effects were top-notch, there was some blatantly obvious CGI in the form of animating the werewolves’ faces, particularly in the snarling. They’re quick shots, but it just looked so inorganic when compared to the rest of the effects. It’s like the animatronics weren’t included or something.
So, with all the comparisons by myself and other reviewers, is Howl the best werewolf film since Dog Soldiers? In many ways, yes. Both sport some great characters, great effects work and deliver on scares. However, Marshall put enough twists on his film to make it truly stand out, whereas Hyett plays it safer. Again, not a bad thing, since both casual horror fans and those looking for something more in their werewolf films can enjoy this one. Either way, it’s definitely worth a watch, if not for the creature effects, but for the motley crew of characters battling the werewolves. There’s enough here that will make it a worthwhile watch for many werewolf fans, and horror fans in general.