If ever there was a makeup style that screamed “horror!”, it would have to be the infamous “corpse paint” that is widely used throughout the black metal genre. Meant to recreate a demonic, possessed, or deceased look (sometimes all three), the paint is a way to give emphasis to the harsh, often evil overtones that the music creates.
For those of you who have wondered how such designs are created, New York City blackened death metal band Vomit Fist, which features 17-year old drummer Lurkrot, his father, guitarist Vürdoth, and 18-year old vocalist Skrag, have put together a video that shows how to put on the makeup and, if time is of the essence, do a quick and dirty job. Check out the video below!
You can order the band’s latest release Forgive But Avenge via Bandcamp.
Jan 11, 2015 at Saint Vitus: Meek is Murder, Vomit Fist, Skullshitter
The Axeman is getting ready to make his triumphant return to the screen, and right now we have the second official still from the production. Dig it!
From the Press Release:
#SinningWorks in association with Blood Red Films, the production companies behind AXEMAN 2: OVERKILL, the next installment in 80’s throwback slasher franchise, have released the 2nd official film still for the sequel that promises to deliver in a new chapter in the Axeman At Cutter’s Creek saga with the goal of making it darker, grittier and bloodier than the original.
The cast includes an all new actor (WWE’s Bryan Clark) in the iconic villain role of Bill “The Axeman” Talbert, as well as rising stars of film/tv including (“Teen Mom”) Farrah Abraham, (“Baywatch”) Angelica Bridges, (“Big Brother”) Rachel Reilly, (THE FOURTH KIND) Alisha Seaton, Monique Parent, Michael Foster and many more! The gory new installment is written and directed by Joston “El Rey” Theney.
About The Still
This still features WWE’s Bryan Clark as the titular character and Alisha Seaton as Maureen, the backwoods tour guide who begrudgingly finds herself in a town she knows all too well. Familar with the town’s legend and the secrets it’s trying to keep hidden, Maureen is not surprised by what she finds lurking in Cutter’s Creek. When asked why he’d release a still so soon that shows more of a character’s fate than he’s accustomed to, the film’s writer and director Joston “El Rey” Theney replied, “I assure you, Maureen is a bit more resourceful than she seems. You don’t survive the town of Cutter’s Creek and it’s secrets without being a part of them.” He further elaborated, “The Axeman is not some mindless beast, killing just for the fun of it. This town destroyed him and his life and he’s exacting a gleeful, gory revenge. Everything that’s happening – they deserve it. But he’s not the only bad guy in town.”
About The Film
The film is a collaboration between Christopher Otiko’s Blood Red Fims and Joston “El Rey” Theney’s #SinningWorks. Theney writes, directs and produces the film and Otiko executive produces. AXEMAN 2: OVERKILL will receive a theatrical release in 2015, release date and locations TBA.
The post Second Official Axeman 2: Overkill Still Puts You in a Stranglehold appeared first on Dread Central.
Directed by Kevin Greutert
Not since The Ring — or at least V/H/S/2 — have videotapes wrought so much misery and horror. Although Jessabelle (Sarah Snook) is a modern young lady living in our present day world, she communicates with her long-dead mother (Joelle Carter) through a series of clunky videotapes. You see, Jess doesn’t have many friends… not live ones, anyway.
After losing her fiancé and unborn baby in a killer car wreck, Jess is wheelchair-bound and forced to recuperate at the derelict, remote Louisiana homestead with her taciturn father, who is less than happy to have her back in the fold. This is where Jess unearths not only her superstitious mother’s visual letters to her, but also a secret that leads to the manifestation of a malevolent presence that is determined to destroy her.
There are quite a few elements crammed in here: a car crash, mysterious deaths, a deadly fire, lethal insanity, hallucinations, handicapped heroine, secrets in a swamp, voodoo spells, tarot card divinations of doom… and that’s just for starters! There’s also a ghost that’s all too corporeal – not only can the ghost physically lay hands on and harm people, it gasps with breath when startled and has a penchant for projectile vomiting in victims’ faces. (And at one point Jess says the ghost “doesn’t want to hurt us. She needs our help.” Hm. With friends like that…) It’s all just too much. Less is more!
Having said all that, I rather liked the film. It’s a great acquittal for director Kevin Greutert, whose other features were the penultimate and final installments in the diminishing-returns canon of Saw films. It’s always hard, if not impossible, to stand out as a director and filmmaker when square-pegged into the round hole of a franchise that’s so rigidly shaped and closely overseen by its producers. Jessabelle is completely original material (penned by the same screenwriter who did Hell Baby and wrote for “Reno! 9-1-1″), and for fans of mysterious stories steeped in old-fashioned gumbo and swamplands, there’s phantom fun-o-plenty.
While there is a touch of found footage (via videotape), mostly the cinematography is classic and quite lovely. DP Michael Fimognari (Oculus, “The Walking Dead”) does a great job of switch-backing between now and 1988 and blurring dream and reality (even underwater!).
The acting is aces across the board, but lead Snook is an especially good ingénue – she’s a lovely pale-skinned, red-haired, blue- and wide-eyed heroine slightly reminiscent of girls of horror yore a la Mia Farrow or Sissy Spacek.
In spite of the kitchen sink of clichés and a ghost that’s far too kick-ass, Jessabelle is a compelling, and fun, little horror-thriller with an absolutely perfect conclusion.
From the producers of American Pie, Cabin Fever and The Ring, Freestyle Releasing has set Zombeavers for release on VOD platforms and in limited theaters for March 20, 2015.
Jordan Rubin’s hotly anticipated horror comedy features Cortney Palm (Sushi Girl), Hutch Dano (Zeke and Luther), Peter Gilroy, Rachel Melvin (Dumb and Dumber To, Days Of Our Lives), Jake Weary, Lexi Atkins and Bill Burr.
Announced earlier this year at the Berlin Film Festival, it garnered over 2 million trailer views and became quite the social media and festival sensation. Zombeavers is the horror comedy with hysterical interludes, gross-out gore and old school animatronics. Patrick Cooper absolutely loved it.
“The film follows a group of college students headed out into the wilderness for spring break, unaware of the danger that lurks beneath the lake. Unbeknownst to the vacationers a chemical spill has irreversibly altered the wildlife and Zombeavers are on the prowl. As a weekend of sex, drugs and debauchery gets underway, the beavers close in on their prey and the bloodthirsty beasts really do take the term ‘killer weekend’ to the next level.“
Guillermo del Toro has joined the voice cast of Raul Garcia’s Extraordinary Tales, an arthouse animated omnibus feature based on Edgar Allan Poe’s novel, reports Variety.
The unusual voice cast is completed by the great Christopher Lee, Julian Sands and even B-movie director/producer Roger Corman.
Modestly budgeted at €2 million ($2.5 million), “Tales comprises five segments retelling a Poe story. Each part boast a different animation style that reflects Poe’s universe and is inspired by various artists.”
“The segment called ‘The Mask of the Red Death,’ for instance, is inspired by Egon Schiele’s paintings,” Roalants told Variety.
Del Toro is lending his voice to “The Pit and the Pendulum,” which mimics mid-19th century photography. The segment turns on a man who is being tortured during the reign of the Spanish Inquisition.
Gilles Sousa, Bac Film’s international sales head, said, “ ‘Tales’ targets young adults but remains nonetheless a traditional film accessible to younger audiences since it’s not a horror feature.”
From the producer of The Ring.
Haunting Melissa, which launched last Halloween, was the first of its kind. Being both an app and a feature film, it was the first real interactive movie experience on your phone or tablet.
To go along with the teaser, Bloody Disgusting has the exclusive art and stills for the sequel, Dark Hearts: The Secret of Haunting Melissa! As I stated in my previous piece, the scope and budget look even bigger this time around so it’ll be awesome to see this premiere on my mobile device.
Visit the official website regularly to stay connected, share fan art and chat with other fans about what’s coming next.
Pick up Haunting Melissa in the app store and catch up on what’s coming next.
FULL SPOILERS AHEAD
Holy shit, those were a tense final 10 minutes.
‘Pink Cupcakes’ is every horrifying thing that “AHS” has ever attempted, all rolled up into 46 minutes. This episode was all sorts of crazy both in story and narrative. I feel like Ryan Murphy has completely given up on any sort of logical narrative storytelling. This episode went from hyper-real flash forwards (fantasies? Delusions? Who knows? The show didn’t make it clear), to Jimmy crying and sexing, meanwhile Stanley’s working his con-man magic to convince Elsa, Dot, and Bette that he can make them all television stars, Desiree finds out she’s 100% female, Dell is 100% gay and super possessive over his month-long crush on hustler Andy (Matt Bomer), and Dandy gets sent to his room for killing the maid.
This week more than any other week felt so disjointed, although I think I say that in every review. Each individual storyline was really entertaining and unique, but there are simply too many of them. It’s too jumbled, too busy. Like a gaudy outfit.
Let’s start with Stanley and the subsequent, entirely confusing, flash forwards. The episode opens at the oddities museum from a few weeks back, Stanley and Maggie are there for the grand reveal of their contribution to the museum, a dead and pickled “seal boy” (i.e., handsome-faced Paul). So I’m like…well shit. That was a jump from last week. Then Emma Roberts’ voice breaks through bringing us to reality where she and Stanley are discussing his plans to murder and sell the freaks to the museum. Seal Boy is safe…for now. This same surreal narrative tactic is used in a much more detailed and unnerving way later in the episode with Dot and Bette (resulting in one hell of a disturbing image: Dot laying in bed still connected to a dead and rotting Bette). When I refer to the flash forwards as confusing, I’m not saying the content is confusing, but rather the way they are utilized. There is no reason to believe that these are fantasies or delusions of Stanley’s. They are all too real, which leads me to believe they are possible outcomes for these freak show members. Regardless of whatever those were, they provoked very real moments of anxiety.
On to The Jimmy-Desiree-Dell-Andy part of the episode. Jimmy and Desiree…what the hell, guys? It’s incredibly clear the creators needed a reason for Desiree to visit the doctor so they throw a distraught Jimmy at her and make us watch a totally out of the blue hook-up between the two. That is until his lobster hands cause some serious bleeding. Long story short, Desiree finds out she is actually 100% female and the bleeding was a miscarriage. And that “ding-a-ling”? Just a distended clitoris. (Wow, this got real, real fast). Anyway, she’s leaving Dell because it turns out he’s got the hots for a local hustler, among a myriad of other reasons. Does Dell want her to leave despite the fact he does not like women? Hell no. So, you know…that makes a ton of sense. Apparently strongmen just need to be angry and irrational all the time.
And now, for the real coup. Dandy. I’ve been saying it for weeks, you guys: Dandy is my favorite character. He’s complex and unapologetically insane. Yes he is whiney and insolent and we all hate him…but all those emotions we feel toward him are exactly what we should be feeling toward him. And this episode proves that more than any other one. After Dandy has a super-duper underwear workout Patrick Bateman moment in either a complete rip off or utter homage to “American Psycho” he heads out and picks up Andy for a night out in Twisty’s trailer. A night filled with absolute…complete…horror.
We were warned. We’ve been told for a few weeks now that Matt Bomer’s scene would be the most disturbing thing the show has ever done and they were not kidding. There’s this pure moment of psychosexual tension right before the murder of Bomer’s character that had my stomach in knots. But that was nothing compared to what would follow. In fact, the whole “unsuccessful murder attempt” itself wasn’t as disturbing as the aftermath: the slow-dying Andy, the one-armed pleading, and the unsophisticated sawing sounds. It was bonkers, for lack of a better word.
Elsa continues to be, well, Elsa. She’s delusional and will do anything for fame. Speaking of fame. The show stepped outside of its boundary of using anachronistic music for performances and used Bowie’s “Fame” in a montage of Elsa preparing herself for…fame. I know. I can’t handle the laziness either. Oh! Speaking of laziness, Elsa sang “Life on Mars” again. So there’s that. The only interesting thing she did this episode was turn the twins over to Dandy as playthings.
There was a lot to love in this episode. Dandy’s brutal quest to become the perfect killing machine and his mother’s priceless reactions to everything he does. Matt Bomer was amazing. He played his role to perfection—really an unforgettable couple of minutes in the bar with Dell. And although the flash forwards were narratively confusing and a bit frustrating once they were logistically unrealized, they were dark as hell and evoked a lot of emotions. But as usual, Murphy stuffed too much into the episode. Jimmy’s scenes were wholly disappointing, laughable at best. Maggie’s such a bore, and it felt as if certain storylines were dropped in favor of others. Something’s happening and then oh! shiny object. Let’s move on to something else. And I’m not going to lie, Gabourey Sidibe’s role felt like a desperate and random attempt at keeping her in the “AHS” family.
What did you think of ‘Pink Cupcakes’? Is anyone enjoying Dandy yet?
Just over a week ago we spent three days within the comforts of Sheffield’s Showroom Cinema for what turned out to be one of the most consistently solid weekends of any genre festival to hit the UK this year: Celluloid Screams.
Hosted by festival organiser Robert Nevitt and his team, Celluloid Screams dished out a weekend packed full of unmissable horror fare, punctuated with appearances by some very special guests including Astron-6’s Adam Brooks, Matthew Kennedy and Conor Sweeney, who were joined on stage by The Editor and The Human Centipede 2‘s Laurence R. Harvey for a few rollicking Q&A sessions.
Guest of honour Brian Yuzna proved an enthusiastic and energetic individual as he presented a 35mm screening of his classic film, Society, and kicked off the annual all-nighter with Bride of Re-Animator (which was followed by a perfect sequence of Maximum Overdrive, Night of the Creeps and Killer Klowns From Outer Space in a night themed on ’80s Sci-Fi/Horror). Hanging around to sign posters and chat with fans, Yuzna and the Astron-6 crew made sure that a spirit of camaraderie and appreciation was kept alive at all times. There’s no diva business or rushing off to green rooms at Celluloid Screams, horror fans!
Kings of the Q&A, though, were Spring directing duo Justin Benson and Aaron Moorhead, whose post-screening session evolved into a multi-act stand-up show which saw the duo take to the crowd, hopping back and forth from the stage and engaging in regularly hilarious interaction with the punters. A class act through and through, you’ll want to catch these guys wherever they pop up – and they’re no slouches when it comes to the filmmaking, either.
Other highlights included a surprise appearance via Skype by Twisted Twins Jen and Sylvia Soska following The ABCs of Death 2, as they drank Screwdrivers and engaged in lively, side-splitting conversation with Astron-6 and Harvey. Watching Laurence run, arms open, towards giant projected cleavage was like seeing someone’s wildest dreams come true. Highly entertaining stuff, and indicative of the feel-good atmosphere of the fest.
Special mention goes to the Celluloid Screams staff and assistants, who were constantly on-hand to deal with enquiries and keep audiences entertained in between films. The standout moment there was an impromptu Flash Gordon-themed poster giveaway (put your hand in the hole and see what come out… it might be shit, or it might be great!) while problems with the screen were resolved prior to the showing of Asmodexia (this year’s Secret Film). Bravo, guys.
The annual art gallery was also in full swing, with genre-themed art on show throughout the lobby areas and available for purchase. You can see some of the pieces in our Celluloid Screams 2014 photo gallery.
Moving on to the films, here’s a list of reviews for those which hit the main screen alongside Stuart Gordon’s fantastic Lovecraftian ditty Dagon, and Cool Guys: The Short Films of Astron-6:
- The Editor review here.
- Housebound review here.
- Creep review here.
- Strawberry Chocolate Vanilla review here.
- Starry Eyes review here.
- What We Do in the Shadows review here.
- Spring review here.
- Suburban Gothic review here.
- The ABCs of Death 2 review here.
- Asmodexia review here.
- Dead Snow 2 review here.
Pretty much all killer, no filler, then!
A range of short films were also screened before a number of the main features, and while we didn’t manage to catch them all, here’s the lowdown on what you should be keeping an eye out for:
Timothy – Directed by Marc Martínez Jordán | Spain | 2013 | 9.5 minutes
When Simon’s babysitter, Sonia, interrupts his enthusiastic viewing of his favourite TV show, ‘The Timothy Show’ the boy retires to his room – only to be visited by the giant, giggling rabbit-headed mascot. That turns out to be bad news for Sonia, as it seems that Timothy gets his kicks through rather brutal means.
Jordán’s short is quick, bloody and rather predictable in the end – but it’s filled with enough energy and enthusiasm, mixed with dread and discomfort, to make it worthwhile. It looks excellent, with a twisted sense of humour that bodes well for future features from him.
3.5 out of 5
The Gas Man Directed by Matt Palmer | United Kingdom | 2014 | 14 minutes
A woman living alone answers the door to a man claiming to be from the gas company and needing to check her boiler. Disturbed his odd, lingering behaviour, she soon confronts him and he leaves. But later that night, events force her to consider whether he actually left the house at all…
Palmer’s The Gas Man is a highly atmospheric piece of work, ably playing with the sense of isolation and defencelessness that surrounds a lone woman in a big house at night. The dread is palpable, and there’s a sting in the tail that proves fittingly chilling and uncomfortable. On the downside, his lead character is difficult to connect with, seeming somewhat stuck up and privileged and there’s occasional trouble striking the balance between pacing and tension – but overall, it’s a fine piece of work.
3.5 out of 5
Dead Hearts – Directed by Stephen W. Martin | Canada | 2014 | 17 minutes
Milton Mulberry is a young mortician – a very odd little fellow who spends much of his childhood at the mercy of bullies… until Lola Littleton steps in and kicks their asses. After his death in later life, he rises from the grave to discover that his heart is missing… and heads off to find that certain special someone who now has it.
Dead Hearts has a very Wes Anderson meets Tim Burton feel to it, with the proceedings driven by its saccharine-voiced narrator. Saccharine, too, is the overall feeling of the story, which tells of undying love and the search for that emotional connection that makes us whole. Generally, it’s superbly shot, but the martial arts sequences are clumsy in comparison to what surrounds them.
It appears to have been an audience favourite at Celluloid Screams, but I simply found it much too twee and self-satisfied. Then again, I’m a grumpy, cynical bastard, so make of that what you will.
2.5 out of 5
Mr Dentonn – Directed by Ivan Villamel | Spain | 2014 | 9 minutes
It’s bedtime, and Laura is reading her brother the story of Mr. Dentonn – an entity that makes its way into homes through the mirrors to steal the souls of children. Almost immediately after finishing her tale, Mr. Dentonn arrives to seek the young boy, and the battle to save him begins.
Villamel’s short suffers from jumping straight into the action – the brief overview of the titular entity that we get simply doesn’t feel like enough before he’s wreaking havoc in the home. On the other hand, the production design and atmosphere here is absolutely fantastic. Shrouded in shadows, Mr. Dentonn sweeps across the home’s mirrors and glides down hallways, almost always out of focus, like a cross between the eponymous antagonists of Mama and The Babadook.
When the ending comes around, it’s fittingly bleak, but Villamel’s film just can’t manage to get around the feeling of a greater mythology behind it all, and thus it feels unfairly truncated and lacking punch. It’s a big idea struggling to fit into a small space, but here’s hoping it does its job as a calling card – there’s more than enough evidence here that he has the chops for a feature.
2.5 out of 5
Ghost Train – Directed by Lee Cronin | Ireland/Finland | 2013 | 17 minutes
Two friends reunite on their annual trip to an abandoned rural fairground to commemorate the disappearance of one of their childhood buddies in Lee Cronin’s short, Ghost Train. This year, however, one of the friends reveals a secret behind what happened… and the revelation leads them straight down a road of horror when the ghost train spits out what it took.
Ghost Train is one of the most impressive shorts in quite a while. Using its time wisely to reveal and build on character relationships, it tells a gripping story in both the modern day and the past, using a cast without a single weak link. Production design is top notch, especially the giant ghost train ride of the title, which is a hugely impressive, and ominous, piece of work as it quite literally seems to come alive as the ride powers up.
Magnificent stuff, full of classical dread, sympathetic characters and a horrific payoff.
5 out of 5
The Jigsaw – Directed by Basil Al-Safar, Rashad Al-Safar | United Kingdom/Portugal | 2014 | 9 minutes
There’s a mix of Clive Barker and H.P. Lovecraft in Basil and Rashad Al-Safar’s The Jigsaw, in which an old man visits an antique store looking for a new puzzle. There, he discovers a jigsaw stored in an unmarked box and, refusing to heed the warnings of the shop’s owner, purchases it.
Taking it home on a dark and stormy night, he begins to put it together… soon revealing an image of sheer terror.
Directing duo Basil and Rashad have a strong handle on pacing and tension, here, though the initial build-up is marred somewhat by a too-theatrical performance by Daragh O’Malley as the store vendor. Moving on, though, The Jigsaw manages to effortlessly keep you gripped, desperate to see just what the puzzle will reveal.
When it does dish up the goods in the final moments, it’s a bone-chilling moment that does exactly what it needs to.
4 out of 5
Ink – Directed by Andy Stewart | United Kingdom | 2014 | 20 minutes
A particularly disturbed individual follows people on the street and relieves them of their body art, sewing the pieces onto himself in gruesome fashion to satisfy his apparent complete obsession with tattoos, but lack of money (one assumes, given the squalor in which he lives) to get his own.
Narratively, Ink is a rather weak effort – there isn’t much time given to character study or attempting to understand just why this individual is as twisted as he is – but what it lacks in that department it more than makes up for in sheer disgust.
The physical effects here are excellent, and utterly, horrendously stomach-churning. I don’t think I’ve seen anything as convincingly, painfully repulsive since Hisayasu Satō’s Naked Blood. Eyes will be diverted from the screen – you can believe that.
3.5 out of 5
Emptied – Directed by David Ferino | USA | 2014 | 6 minutes
Seeking to make amends for his infidelity, a man makes an after-hours appointment with his dentist ex-girlfriend. Unfortunately for him, she doesn’t want to hear any of it – and his flippant dismissal of his actions lead her to take a particularly heinous form of revenge while he’s subdued in her chair.
Based on a real-life occurrence, Emptied is a quick and simple short that hopes to ride high on the back of just what happens to the cock-sure fella at the centre of it. Regrettably, it’s all presented too clinically, failing to use its own craft to push buttons or really extend into the realm of truly toe-curling mouth-torture that Brian Yuzna’s The Dentist set the bar for (almost 20 years ago!)
It all boils down to very little in the end. Capably shot and well lit as it is, it unfortunately never manages to make much of an impact.
2 out of 5
Canis – Directed by Marc Riba, Anna Solanas | Spain | 2013 | 17 minutes
In what appears to be some kind of post-apocalyptic landscape, a young boy lives with his father and canine companion in a house constantly besieged by ravenous stray dogs. When an innocent mistake sees the family’s chickens fly the coop and the father brutally consumed by the dogs outside, the boy discovers a strange girl living amongst the animals, clad in the skins of dead dogs and walking on all fours – seemingly feral in nature.
Soon, he develops a relationship with the girl – one that will soon be marred by the ferocious world that surrounds them.
Directors Riba and Solanas forge a strange, hideous universe from what appears to be clay. In animating the characters, the clay must be kept wet to avoid it cracking and splitting, and thus almost everything appears covered in a weird, slimy sheen that brings a severely uncomfortable visual element to the story. Running without dialogue, they deftly manage to build a believable relationship between the boy and his dog and, in turn, the boy and the feral girl – leading to some anguished decisions and gray-area morality. It’s a striking piece of short work that centres on survival, instinct and necessity in a grim world with a style that is most assuredly all its own. A beacon of hope shines at the close, lest the relentless gloominess overwhelm.
4 out of 5
And so that’s it for another, highly impressive year at Celluloid Screams in Sheffield. We’ll hopefully be back next year (and you should go, too!) – but for now, take a look at our photo gallery and continue wishing that you could buy that fantastic Killer Klowns From Outer Space art piece.
Starring Glenn Maynard, Kyrie Capri, Aston Elliot, Louise Bremner
Directed by Stuart Simpson
Distributed by Monster Pictures UK
Warren Thompson (Maynard) is a human doormat. Mild-mannered and meek to a fault, he scrapes together a living as the proprietor of an ice cream van on the outskirts of a run-down Australian town. Initial impressions of Warren as he prepares for his workday are of an affable sort – a man filled with positivity and love for the world… but then he backs over his cat when setting off for the day.
Thus begins a series of events that gradually tease at the lid of Warren’s bubbling rage and frustration. So shy is he that every put-down, every rip-off and every encounter with characters such as the aggressive local pimp, whose corner spot Warren’s van sits opposite, steadily packs more and more dismay into his being – visualised in Warren’s habitual topping up of his dead cat’s food bowl, far beyond capacity. A guy with no outlet for his frustrations but internalised anger, we know that it’s only a matter of time before poor Warren blows his top… and so we’re on the slow road to see whether that’s going to happen within the confines of Chocolate Strawberry Vanilla‘s narrative scope.
Well, saying that Warren has no outlet is perhaps disingenuous. Keeping him going on a daily basis is an obsession with television starlet Katey George – star of the hilariously realised TV soap “Round the Block”. Warren watches the show every night, occasionally masturbating to Katey’s image and declaring his love for her on his video diaries. Things start to look up when Katey appears at Warren’s van looking to buy some ice cream. Turns out she’s shooting an episode nearby, and an elated Warren soon decides that the time is right to ask her out on a date and fulfil his dreams.
Director Stuart Simpson (who previously helmed Monstro!) paces his story very well, painting Warren’s total breakdown as a consistently upsetting inevitability. While he may be unhinged, and in many ways the definition of a truly pathetic human being, Warren quickly manages to work his way into your heart thanks to a wonderful performance by Glenn Maynard. He never feels like an actor playing a role – immersed so deeply into the character that every word in his video diaries feels genuinely heartfelt, like a message from a friend. He’s a simple, confused and lonely soul just trying to get by in a world that has no space for him.
And thus Simpson teases both you and his protagonist as the film progresses – you just know that it’s headed, a la Taxi Driver, towards an explosion of violence. You know it won’t be pretty when Warren’s long, long fuse eventually runs out. But you’re always hoping that he won’t come off too badly in the end.
The almost constant downer of seeing the pitiable Warren being tortured by every large and small occurrence makes for a rough ride, but Simpson injects Chocolate Strawberry Vanilla with plenty of deliciously dark humour and funny asides, such as a series of mirthsome TV ads that Warren comes across, and a few rather funny names credited in the opening sequence of “Round the Block”. The soap itself is also a spot-on parody of prolific Australian soaps “Neighbours” and “Home and Away”. Blackly hilarious too is Warren’s main nemesis, in the form of Aston Elliot as pimp/drug dealer Rocko – foul-mouthed and full of swagger, he’s the kind of overtly aggressive and confident person that feels like he could only ever ride roughshod over the spineless likes of Warren; all mouth and no trousers, yet he’s a dominating presence in Warren’s misery. Sequences such as Warren imagining himself winning the day as a Wild West gunslinger, and calling a granny-sex line only to end up spending hours enthusiastically talking to what is obviously a bloke on the other end about “Round the Block”, also do their part to add a gleeful spark to the proceedings.
Maynard’s performance here really can’t be understated, and when Warren’s eventual breakdown hits, he makes the very moment that the rope snaps completely visible, and utterly devastating. There’s no going back, and while some may find the ending somewhat of a damp squib, what actually happens there hearkens back to much of what Warren has described about his problem with bullies and anger control in the past through his video diaries. It’s a clever, well constructed choice by writer Addison Heath, even if it won’t wholly satisfy in revenge terms, nor for those looking for a more bloodthirsty and cathartic killing spree.
Monster Pictures UK serve up Chocolate Strawberry Vanilla to DVD sporting a selection of cast and crew interviews, running around 13 minutes and peppered with behind the scenes footage; 7 minutes of deleted scenes that appear to have been wisely trimmed or excised for pacing reasons; the complete sequences of “Round the Block” episodes that Warren is seen watching in the movie, broken up by the hilarious fake ads and news reports also glimpsed; the short film Baby Did a Bat Bat Thing, which is pretty rough in terms of the filmmaking, but kitschy and crazy enough to make it worth a look; a full feature commentary with actors Glenn Maynard and Aston Elliot, writer Addison Heath and director Stuart Simpson. It’s four Australian guys sitting in a room talking about their movie – so of course it’s fun! Finally, a couple of trailers for the main feature and a selection of other Monster Pictures releases brings it to a close.
- Feature Commentary with Stuart Simpson, Glenn Maynard, Aston Elliot and Addison Heath
- Cast and Crew Interviews
- Deleted Scenes
- Full Round the Block Episodes
- Baby Did a Bat Bat Thing Short Film
In 2012, Darren Lynn Bousman (Saw II, Repo! The Genetic Opera) sent viewers on a trip straight into Hell with The Devil’s Carnival, a macabre musical that featured Sean Patrick Flannery, Emilie Autumn, Paul Sorvino, and Bill Moseley. Now, in 2015, he plans on strapping you in and sending your ass straight into…Heaven?
That’s right, the trailer for The Devil’s Carnival: Alleluia has hit the web and looks just as insane, flashy, and catchy as the first! The film tells the tale of Lucifer and his intent to wage war on Heaven. Little does he know that God and the angels are aware of this plan and are ready to raise a little hell themselves.
Currently being shopped at AFM, the film will once again stars Paul Sorvino and this time includes Ted Neeley (Jesus Christ Superstar), Adam Pascal (Rent), and David Hasselhoff. Don’t ask me about that last one.
Securing financing, getting distribution, getting anything off the ground these days is a damn miracle. The Carnival is our answer to that. We found a way to circumvent the catch-22 by making this more than just a movie. The Devil’s Carnival is an experience that demands more of you than sitting there and just being passive.
Head below for the trailer [Courtesy of Hollywood Reporter].
Deadline just broke the best story of the day, reporting that Adam Wingard has agreed to direct the live action pilot of Robert Kirkman’s exorcist comic “Outcast.” While Almost Famous’ Patrick Fugit has been cast as the lead, Kyle Barnes. A man who’s been plagued by possessions his entire life. Kirkman’s take on the exorcism genre has been a refreshing breath of air into the genre that I consider long dead, thanks to countless lifeless approaches that boldly claim to do something new, and fail to show us anything we didn’t see in The Exorcist.
After Preacher at AMC, this is the most exciting TV news of the year.
Original Deadline report follows:
Patrick Fugit (Almost Famous, Gone Girl) has landed the lead inCinemax’s new exorcism drama Outcast, from The Walking Dead executive producerRobert Kirkman. The supernatural horror project is based on Kirkman and artist Paul Azaceta’s comic series of the same name which hit shelves this summer. Joining Fugit in the cast are British actor Philip Glenister (Life on Mars) and youngster Gabriel Bateman (Stalker, Annabelle), while rising features helmer Adam Wingard (The Guest, You’re Next) has been tapped to direct the pilot produced by Fox International Channels.
Fugit, in theaters now in David Fincher’s Oscar contender Gone Girl, will star as Kyle Barnes, a young man who’s been plagued by possession since he was a child. He sets out to seek answers, only to uncover something that could end all life on Earth as we know it. Glenister will play Reverend Anderson, a hard drinking, hard gambling West Virginian evangelical preacher who believes he’s a soldier in God’s holy war against evil. Bateman has been cast as 8-year-old Joshua Austin, a young boy who lives across town who appears to be possessed by a demon and has a mysterious connection to Kyle.
Wingard’s latest film, the psychological thriller The Guest, opened theatrically in September showcasing Downtown Abbey‘s Dan Stevens as an enigmatic stranger who brings menace into the lives of an unsuspecting family. Outcastmarks his first foray into television after directing horror features You’re Next, A Horrible Way To Die, and segments of omnibus films V/H/S, V/H/S 2, and The ABCs of Death.
Outcast was penned on spec by Kirkman for Fox International Channels, who developed it internally before Cinemax acquired the pilot script in November and greenlit the pilot this summer. Kirkman is exec producing with Chris Black, David Alpert of Circle of Confusion, Sharon Tal Yguado of FIC, and Sue Naegle.
Fugit is repped by The Gersh Agency and Levin/Brown Management. Glenister is repped by The Artists Partnership in the UK and Untitled Entertainment. Bateman is a client of Coast to Coast Talent Group and HG5 Entertainment. Wingard is with CAA and manager Jeremy Platt.
The Hollywood Reporter grabbed the scoop today, that Hollywood blacklist writer Will Simmons will be scripting Universal’s adaptation of BOOM!’s “Day Men.” Simmons wrote Murder City, a crime thriller that made the Black List in 2012. The project has Sylvain White attached to direct, Aldamisa financing, and Basil Iwanyk andBrooklyn Weaver producing. He is also wrapping up his scripting during on Defenders, Warners’ adaptation of an alien invasion book by Will McIntosh.
BOOM!’s editor-in-chief Matt Gagnon created the comic and co-wrote the comic with Michael Alan Nelson. Brian Stelfreeze draws the series. The series is a really awesome take on Vampire lore. It separates vampires into powerful families that work like the mafia. The day men are the people who keep the vampires safe during the day. They hold all the power, and of course one particular day man finds himself between the warring families.
Universal picked up the rights to Day Men in summer 2013 after releasing 2 Guns, the hit Mark Walhberg-Denzel Washington action movie also based on a Boom! book.
“Tooth and Claw” #1 is an intriguing, albeit somewhat enigmatic, introduction to the magical anthropomorphic fantasy world from the mind of bestselling writer Kurt Busiek (‘Marvels,’ ‘Astro City’). This 48-page comic (with no ads) is a behemoth of world building but quite sparse in plot development. Still, this exceptionally illustrated comic is a superb start to what is sure to be an ambitious high fantasy undertaking.
WRITTEN BY: Kurt Busiek
ART BY: Benjamin Dewey
PUBLISHER: Image Comics
RELEASE: November 5th, 2014
When magic begins to fail them, the wizards of the world gather in secrecy, using their combined powers bring forth he who unleashed magic in the beginning. The mysterious and legendary being has been long gone, and therefore the task of bringing him through space and time is a dangerous and difficult one—one with disastrous consequences. However, if their magic does indeed cease, as it appears to be doing, they will be left with literally nothing.
“Tooth and Claw” #1 felt a bit like a prologue of sorts. It needed to be done in order to give us necessary backstory on the world we’ve been hurled into, the different tribes and colonies of anthropomorphic beasts, the political structures, and the system of magic. But as I mentioned above, not much happened as far as moving the plot forward. In a lesser-detailed comic, it could have been achieved in a standard 22-page issue. I’m not complaining, the set up is gorgeous and leaves the reader feeling completely prepared for the coming series.
When I say that the comic is “somewhat enigmatic” I’m referring to the set up of the magic system. While it’s discussed at length, and the art does a phenomenal job of portraying it, the actual constructs and rules for the magic are simply unclear. I’m not sure if this was intentional or if the creators thought they were clearly explaining it—I don’t know, but regardless, one can only hope that the magical elements (the technicalities and especially the rules) will be given some clarity as the issues progress.
I cannot speak highly enough of the art. It, of course, relies heavily on the tropes of high fantasy but is made unique with its realistic landscape, picturesque backgrounds and incredible attention to detail. I’m not normally one for anthropomorphism, in fact, I typically strongly dislike comics that utilize it (there are definitely exceptions to this). So while it took me, personally, a moment to adjust, I was quickly sucked in and stopped analyzing the characters strictly as animals and started seeing their unique qualities and how being a certain type of animal might contribute to those specific qualities and/or possibly their brand of magic? We’ll see.
An impressive feat, this comic is. But it reads smoothly and quickly. While the magic needs to be made more clear, the paradigms of the world are all there and very easy to grasp, which is always tricky in high fantasy. If the creators can manage to smooth out some of the aforementioned wrinkles and not continue to keep the reader in a “LOST” universe of constant unexplainable happenings, this is sure to be a truly imaginary and impressive series.
We told you a couple of days ago that Cinemax would be adapting Robert Kirkman’s Outcast for the screen, and word has just broken that the project has landed its star.
Deadline is reporting that Patrick Fugit (pictured; Almost Famous, Gone Girl) has landed the lead in Cinemax’s new exorcism drama Outcast, from “The Walking Dead” executive producer Robert Kirkman.
The supernatural horror project is based on Kirkman and artist Paul Azaceta’s comic series of the same name which hit shelves this summer. Joining Fugit in the cast are British actor Philip Glenister (Life on Mars) and youngster Gabriel Bateman (Stalker, Annabelle), while rising features helmer Adam Wingard (The Guest, You’re Next) has been tapped to direct the pilot produced by Fox International Channels.
Outcast was penned on spec by Kirkman for Fox International Channels, who developed it internally before Cinemax acquired the pilot script in November and greenlit the pilot this summer. Kirkman is exec producing with Chris Black, David Alpert of Circle of Confusion, Sharon Tal Yguado of FIC, and Sue Naegle.
The post Patrick Fugit Lands Outcast Lead; Adam Wingard Directing Pilot appeared first on Dread Central.
Well, if this isn’t the tease of all teases. That’s right, kids! The gang is (mostly) back together for the new cover of Entertainment Weekly. Kind of makes you feel all funny in the pit of your stomach, right?
Director Paul Feig is officially going to be the man to bring Ghostbusters back to the big screen, in the form of an all-female reboot written by Katie Dippold (The Heat). It appears that his film will be taking place in a world where the events of the previous two films never happened, thereby ensuring that it’s not going to be any sort of sequel.
“I love origin stories,” said Feig, when asked about the general direction he was going with the story. “That’s my favorite thing. I love the first one so much I don’t want to do anything to ruin the memory of that. So it just felt like, let’s just restart it because then we can have new dynamics. I want the technology to be even cooler. I want it to be really scary, and I want it to happen in our world today that hasn’t gone through it so it’s like, oh my God, what’s going on?”
Then why even call it Ghostbusters? This whole direction seems odd to say the least. We shall see how it all pans out. In any event, yeah… here’s that cover we told you about.
Another film that’s haunting the halls of the American Film Market is Shut In from director Adam Schindler (Delivery: The Beast Within). Read on for details and more concerning this upcoming low-budget spooker from the producer of Paranormal Activity and Insidious.
Beth Riesgraf (“Leverage”), Rory Culkin (Scream 4), Martin Starr (Veronica Mars), and Jack Kesy (“The Strain”) star.
Steven Schneider is producing with Jeff Rice (Lone Survivor), Lati Grobman (The Iceman), and Erik Olsen (The Book of Eli). Executive producing are Christa Campbell, Matthew Lamothe, Tommy Vlahopoulos, Brian Netto, and Vicarious Entertainment.
Anna suffers from agoraphobia so crippling that when a trio of criminals break into her house, she cannot bring herself to flee. But what the intruders don’t realize is that agoraphobia is not her only psychosis.
The post AFM 2014: First Artwork For Shut In Armed to the Teeth appeared first on Dread Central.
There’s a “Garbage Pail Kids” documentary in the works, and the IndiGoGo campaign only has 9 days left.
While I’d love to see a doc about the infamous sticker cards, what I really want to see is a segment focusing on Rod Amateau 1987 cult classic movie adaptation. I wanna know all of the dirty little secrets behind the disaster of which I love oh so much. Without this, the documentary is incomplete (there’s no mention of it on the campaign page).
Either way, it’s happening, and it’s called “30 Years of Garbage: The Garbage Pail Kids Story.”
Our goal is to celebrate the 30th anniversary of Topps’ Garbage Pail Kids Cards with an awesome documentary that is jam-packed with interviews and stories from the original creators of the controversial and explosively-popular 80’s card series. Grown-up kids will share nostalgic memories of what it was like to be a part of an international phenomena. Superfans will give us a peek at what a 30-year amassment of Garbage Pail Kids memorabilia looks like. We will explore the rich cartoon art history that bred this culture icon and proclaim Garbage Pail Kids as a solid mark of the 20th Century!
They should have left her alone.
It was reported back in August that Beth Riesgraf would starring in the psychological horror thriller Shut In, which is being directed by Adam Schindler (Delivery: The Beast Within).
“Riesgraf is playing a woman who suffers from agoraphobia so crippling that when a trio of criminals break into her house, she cannot bring herself to flee. But what the intruders don’t realize is that agoraphobia is not her only psychosis.”
Bloody Disgusting landed the exclusive art premiere during the ongoing AFM in Santa Monica. The poster implies that the intruders are in for quite a surprise. I mean, look at all those weapons!
Rory Culkin (Scream 4), Martin Starr (Dead Snow 2) and Jack Kesy (“The Strain”) also are starring in the indie flick that filmed in Shreveport, La.
TJ Cimfel and David White penned the screenplay.
Steven Schneider (WER, Insidious, Paranormal Activity) is producing with Jeff Rice (Lone Survivor), Lati Grobman (The Iceman) and Erik Olsen (The Book of Eli).
Executive producing are Christa Campbell, Matthew Lamothe, Tommy Vlahopoulos, Brian Netto and Vicarious Entertainment.
Dubbed the latest masterpiece from director Sion Sono (Cold Fish), Why Don’t You Play in Hell? was recently acquired for release by Drafthouse Films and today they’ve put out a new red band trailer. Dig it!
Why Don’t You Play in Hell? arrives in US cinemas on November 7th. It stars Jun Kunimura, Fumi Nikaidô, and Shin’ichi Tsutsumi.
Two men, Muto (Kunimura) and Ikegami (Tsutsumi), hate each other. Muto desperately wants to help his daughter star in a movie. Meanwhile, Ikegami falls in love with her, knowing that she’s the daughter of his foe. Hirata, a filmmaker, and Koji, a young movie-lover, get dragged into this complicated situation that heads into an unexpected direction.
We’ve been following the career of Shane Abbess since his 2007 film Gabriel, in which he proved he had a true eye for the camera. Fast forward seven years, and Abbess is back with a new horror/sci-fi hybrid called Infini, which looks pretty damned good. Read on for details, artwork, and a trailer.
Daniel MacPherson, Grace Huang, Luke Hemsworth, Dwaine Stevenson, Harry Pavlidis, Kevin Copeland, Louisa Mignone, and Tess Haubrich star with Bren Foster and Luke Ford.
Set in the 23rd century, a search and rescue team are sent to an off-world colony to rescue the sole survivor of a biological outbreak.