The whole post-apocalyptic thing seems to really be the craze this year! We had Mad Max: Fury Road and the newly released Turbo Kid and now it looks like The Chemical Brothers want to get in on the action with their new video for “Sometimes I Feel So Deserted”!
The video shows a cyborg hobbling through the desert while being pursued by three mysterious and menacing men, one of whom looks eerily like Peter Stormare. As the story progresses, we see that this cyborg is actually trying to catch up to yet another cyborg. Both are in a state of disrepair and make the decision to fuse themselves together into one ultimate creation, ensuring that no limb is damaged.
From there, this über-cyborg gets ready to face these three villainous henchmen head on. Unfortunately, that’s where the video ends and I find myself screaming, “I need another video STAT!”
Check it out below and enjoy your weekend!
An awesome new trailer for Sword Coast Legends, a fantasy RPG set in the Dungeons & Dragons Forgotten Realms setting, has been revealed at PAX Prime and can be viewed below.
The game will feature five playable races and a campaign created by team members from Dragon Age: Origins. Gameplay will be from an isometric perspective as you traverse the land of Faerûn with your companions.
We haven’t had many good D&D games for a while, but hopefully that will all change when Sword Coast Legends is released on September 29, 2015.
For more information visit the game’s website.
MPI Media has landed U.S. rights to Adrián García Bogliano’s hotly anticipated Scherzo Diabolico, which premiered at the Stanley Film Festival, as well as Tribeca. In fact, Patrick Cooper gave it a glowing review).
Said to be a delightfully twisted black comedy, “Armed with a fine-tuned chokehold and penchant for piano sonatas, a wearied accountant breaks his mild-mannered routine when he kidnaps a young woman. What starts as a carefully calculated plan soon crescendos into his worst nightmare.”
If Bogliano’s name rings a bell it’s because he’s the director behind Late Phases, Penumbra, Cold Sweat and even the awesome Here Comes the Devil.
Watch for a trailer and release news as it comes in.
Lionsgate has announced that they will be taking audiences to the world of Pandora (no, not the same Pandora in Avatar) for a video game-to-film adaptation of Borderlands. The film will be produced by father-son producing duo Avi and Ari Arad (Ghost Rider, Blade, Iron Man).
Lionsgate Motion Picture Group Co-Chairs Rob Friedman and Patrick Wachsberger tell Variety:
The ‘Borderlands’ games don’t pull any punches, and we’ll make the movie with the same in-your-face attitude that has made the series a blockbuster mega-franchise.
Meanwhile, Take-Two Interactive Chairman and CEO Strauss Zelnick adds:
Lionsgate has emerged as a major creative force in the global marketplace with an incredible portfolio of brands; our partners at Gearbox have pioneered and cultivated an iconic property; and Avi and Ari Arad are two of the most successful producers of action franchises. This alliance is ideally positioned to create a bold, provocative, no-holds-barred motion picture phenomenon that will delight ‘Borderlands” current legions of fans and captivate moviegoers around the world.
The Borderlands franchise has seen more than 26 million copies shipped as of this month, half of which came from the second game.
I remember my friends and I being obsessed with the first game upon its release. We played it for weeks on end and it was absolutely one of the most entertaining games I’d played in a long time.
It’ll be interesting to see how Lionsgate will tackle this as it needs to be pretty twisted yet darkly humorous to work. Plus, some of locations will require a TON of CGI and some massive set pieces. I’m skeptical but hopeful.
The indie horror game Dollhouse recently re-emerged and it brought with it a brand new trailer that does a great job of showing how wonderfully bizarre this game looks. Because I could never string together enough of the right words to explain what’s going on in this video, I’m going to leave that to developer Creazn Studio, which describes Dollhouse as a game where you “delve deep into your mind to unravel the truth. However, beware that your own conscience is hunting you down, with a twist that allows you to see through its eyes at a deadly cost.”
That makes it sound like Inception with a side of Siren. It’d take a mad genius to pull a combination like that off, so let’s hope Creazn has a few of those among its team.
Interested parties can head over here to sign up for the closed beta, which should go live soon as the game is slated to hit Steam later this year.
When you think of Hong Kong cinema, horror movies usually aren’t what comes to mind; you’d probably think of operatic storytelling and exaggerated action sequences with extraordinary visuals. With Joe Chien’s Zombie Fight Club, you actually get all this and more in one bloated mess of a film that’s as insane as its title.
Chien’s B-movie chimera is technically a confused sequel/spin-off to 2012’s Zombie 108, but the tone is very different. At first, the story follows an ensemble cast trapped in an apartment building during a zombie apocalypse. The zombies have apparently already taken a toll on the rest of the world, but have now reached the apartment due to an infected batch of drugs. Andy On and Jessica Cambensy star as the most prominent protagonists Andy and Jenny, while Jack Cao plays the tragic villain Wu Ming. The second half of the film then follows the apartment survivors enslaved in a dystopian future run by a now sadistic Wu Ming.
This two-part division is part of the reason why the film falls flat. When you finally get used to the apartment setting (even though it’s still a rehash of Zombie 108), you’re suddenly thrust into an entirely different movie, where everything has to be set up again. The transition is jarring and there is no preparation for the sudden shift in character. However, even without the unusual structure, the story was already all over the place within the apartment; plot threads about corrupt cops trying to confiscate illegal drug money and some random characters simply don’t amount to anything in the end. The movie abandons logical progression in favor of style and action, not to mention some unnecessary sex and even rape scenes.
This disregard for plot might have been intentional, however, with the action scenes by far surpassing the rest of the film in general quality. There were some impressive albeit ridiculous martial arts battles against zombies and more than enough gore to satisfy those with an insatiable bloodlust. The practical effects were great most of the time, though the digital blood splatters and explosions were sup-par. These scenes worked especially well when combined with some well-timed dark humor (one scene in particular stood out, featuring a mech-suit-wielding uncle), but they weren’t enough to compensate for the lack of a sensible story.
There are also some issues with what the film considers to be an ‘homage’. At times, it felt like I was watching a ‘best-of’ compilation of plot points from other zombie movies. Moments like a zombie baby eerily similar to the one in Zack Snyder’s Dawn of the Dead, or even Wu Ming’s Governor-like transition from a well-intentioned man to a sadistic leader with an uncomfortable relationship with his undead daughter were very troubling. It may be that some of these moments are coincidences, but in general, this film is lacking in the originality department.
Zombie Fight Club is by no means a good film, but at times it is entertaining if only for the sheer ridiculousness of the action and some memorable comedic moments. There are some strange decisions throughout, like some occasional lines being inexplicably spoken in English and certain unnecessary characters that drag the experience down. But if you’re looking for some foreign B-movie fun this is as good a choice as any. If you’re looking for an actual good film, however, you’d better stay clear of this one.
We only have a few months to cherish all those childhood memories of spending entire days in amusement parks before Funcom’s newly announced survival horror game The Park arrives with the goal of ruining them for everyone. The last thing I want to see in my cotton candy is my own blood, because that would suck on at least two levels. For starters, that’d mean I’m bleeding, and that’s not something I’m particularly fond of doing. Making it worse is I’d be sitting there, bleeding, in a puddle of blood sugar that was once a delicious treat, possibly while surrounded by hell clowns.
The Park is a first-person horror adventure that follows a mother who’s lost her son in a park at night. The game is scheduled to release exclusively for PC this October.
[Review] ‘Para Elisa’ is a Disturbing Recipe With the Right Ingredients That Doesn’t Quite Come Together in the Oven
I got so excited when I heard the premise to Juanra Fernandez’s Spanish horror film, Para Elisa. It had so many bonkers elements in it that just kept adding insanity peppers to the crazy brew, that it seemed like there was no way that this could be a disaster (just look at either of the film’s freaking posters!). To get straight to it, Ana (Ona Casamiquela), a recent grad student is looking for some easy cash and comes upon a nannying job that seems to be the easiest means to an end. Immediately Ana begins regretting her decision though as the gig seems to be coated in a few layers of crazy with a pretty unhealthy doll obsession tying the house together. Matters take an even larger turn for the worse when it turns out that the child that Ana is there to look after, Elisa (Ana Turpin) , isn’t a child at all but rather a fully-grown person with more than a few issues going on. Soon it becomes clear that Ana’s real purpose here is not as any sort of nanny, but rather to become the latest doll in Elisa’s collection, which has been rife with carnage and there seemingly always being a need for a new toy.
It’s a small-scale, simple sort of horror that actually reminded me of one of my all-time favorite Tales From the Crypt episodes, “The New Arrival.” Para Elisa wisely pays reference to a number of classics though, with it also feeling more than a little like House of the Devil and Misery, not to mention one of my recent favorite horror films, the underrated Livide by Julien Maury and Alexandre Bustillo. All of these perfectly synthesizing would be a little too good to be true, and while Para Elisa doesn’t take too much from these classics, it does end up feeling like the sum of its parts at times.
There’s a really amazing core to Para Elisa, but it kind of just sits in it. Even the posters and the promotional images of the broken Elisa are nearly just as effective as the film itself. Far too much time is spent bifurcating the narrative by showing Ana’s boyfriend, Alex (Jesús Caba), hunting for her (I mean, you could easily trim the several trips to the police station to a lean single appearance). It wrecks the suspense and tension that the film does an otherwise great job of establishing. Once Ana is trapped inside of the house there also needs to be more variety with what’s going on. The idea behind it all is so thoroughly twisted, but if it just plays out like a broken record then much of its impact is lost.
Interestingly enough, Para Elisa’s run time becomes one of the film’s most problematic issues. Clocking in at a mere 74 minutes, I was excited for an adrenaline shot of a movie that cuts to the point and holds you in terror’s icy grip for the bulk of the film. What ends up happening here is that the movie falls into an awkward place where it doesn’t feel too short, nor does it necessarily feel padded either, but the result still doesn’t exactly work for it. For example, it feels like with the content that’s presented here that Para Elisa would either work better as a short film (I’m actually surprised it’s not adapted from a shorter version of itself, to be honest), or a longer 90-minute movie with one more act added to it. Length isn’t the problem here, it’s the amount of material to cycle through.
There’s a lot of different angles that could have been expanded upon—watching Ana try to learn the Beethoven piece (with broken hands) in order to sate Elisa—would have been a great addition. It feels like the doll iconography could have been doubled down on a lot more. Even just starting out with Ana arriving at the home would have been an adequate start.
The performances here are really wonderful with the cast all doing exceptional jobs. Elisa and Diamantina (Luisa Gavasa) both feel genuinely messed up and are disturbing character studies. This is the sort of film that could completely fall apart if the performances didn’t work and here everyone rises to the challenge. If anything I wish we got to see a little more of Elisa’s mother, Diamantina, as well as getting more of a clear indication as to whether she was nuts and drove Elisa to this behavior, or if Elisa just was, with Diamantina quickly adapting and catering to her bizarre predilections. There’s an incredibly deep relationship there between the two of them where the surface is merely scratched. In a film that’s 74 minutes long, you inevitably keep thinking of 15 minutes scenes that could be added, and anything else with the mother and Elisa before Ana shows up would have done a lot with a little. Even just flashbacks to some of the other “doll” experiments, looking at how this has gone down in the past where each failed attempt has changed them some. At the same time, less is more as well, and knowing that there’s a horrifying, tragic backstory between the two of them can sometimes be enough.
As a first film though, Para Elisa is an absolute triumph and has me particularly curious about what Fernandez will do next. With a little more restraint and confidence as a filmmaker, his next effort will no doubt be even better. It feels like this all acted as a good training ground for him to break out of the house and try something a little bigger next time. With what he’s proven he’s capable of in Para Elisa, I have complete trust that he’s up to the task.
‘Para Elisa’ begins playing in select theaters and is available on VOD, September 1th.
Fresh off her breakthrough role in Gone Girl, Rosamund Pike returns in the rape-revenge tale Return to Sender. Well, not really “returns.” Fouad Mikati’s film was actually shot before Gone Girl and now that Pike has garnered well-deserved acclaim, this Lifetime-style cheapo has been yanked from its shallow grave. Coincidentally, Return to Sender vibes like an amateur-hour Gone Girl, in which Pike gets to see-saw with our compassion while deftly playing a role with more layers than a French pastry. Her performance makes this film digestible, but also makes us yearn for her to receive better roles in the future.
Here she plays Miranda, a full-time nurse and part-time domestic deity. When she’s not performing a tracheotomy in the local podunk diner, she’s baking intricate cakes for her colleagues while dressed in vintage ’50s dresses. She’s like a two-legged time capsule of domesticity. When they question where she finds the time, Miranda replies, “It’s just something I do.” These quirks – the dresses, the cakes, her obsession with high-quality pens – would be fine if they felt organic to the story. They don’t.
The thing is, Miranda doesn’t need these quirky traits to feel like a complete character. Her relationship with her surly father (Nick Nolte) does the trick just fine. Their scenes together flirt with revealing the horrible things that happened to Miranda when she was younger – what happened to her mother, for example – so all these blanket quirks attributed to her are wildly arbitrary.
Begrudgingly, Miranda agrees to shed her monastic lifestyle for a blind date set up by her co-workers. Her presumed date, William (Shiloh Fernandez), rolls up early and proceeds to assault her, leaving her ruined on the kitchen floor for when her actual date shows up – the film’s gravest twist.
What drama ensues throws us for a nice loop. Miranda begins visiting her attacker in jail as if she actually misses him. Once he’s released (because, y’know, in America rapists have shorter sentences than dope dealers), Miranda encourages him to come around and help her build a porch. It’s disturbing material, but it’s the scenes in between these visits that drag Return to Sender down into laughable territory. Miranda proceeds to fumble at the game of Operation, act bizarre around her father – again, Nick Nolte, who consistently sounds like he’s drowning in molasses – and perform tasks that underline the point: Maybe she was already crazy. Would that blow your mind?!?!
The writing is shoddy, but Pike plays it all wonderfully – exhibiting the genius she showed the world in Gone Girl. She’s an actress who understands the less-is-more approach. She could act out the phonebook and make it seem like Tennessee Williams. In many scenes, without delivering an ounce of dialogue, Pike drips off the screen, leaving a puddle of expression at our feet. She deserves better than a film that inspires us to distrust her – like both Gone Girl andReturn to Sender.
There are a couple of fun twists along the way, but the only reason to view this tolerable-at-best little thriller is Pike’s performance.
Music often goes underappreciated in many video games, despite its remarkable ability to turn a good game into a great one. Imagine how different Dead Space would’ve felt without Jason Graves’ haunting work, or the wonderfully atmospheric Silent Hill series without the iconic contributions of Akira Yamaoka’s uniquely unsettling scores. When it’s done right, music can elevate a game just as easily as clever game design or stunning visuals.
Handling the music for Frictional Games’ upcoming survival horror game SOMA is Finnish composer Mikko Tarmia. This is the same mind behind the memorable soundtracks for the Penumbra series and Amnesia: The Dark Descent, so I have faith he’ll gift us with something truly special when the game releases next month.
A 30-minute special has been ordered by AMC as a means of introducing a new character in season two of their spinoff series “Fear The Walking Dead“.
The special will show an outbreak on a plane in flight before the fall of society, according to THR. A character who survives this hellish flight will then join the 15-episode second season.
The series will air as a web special and will then be broken up into chapters that will air during commercial breaks for “The Walking Dead“.
There is no confirmed date on when this will be released or who will be writing it.
Anyone else feeling a bit of deja vú with this and Quarantine 2?
It seems that Amazon has decided to start producing vinyl under their own brand, announcing five exclusive titles that will each be coming out on October 9th. These titles are Dirty Dancing, Rocky IV, Top Gun, Footloose, and a 30th anniversary edition of The Goonies.
It’s not yet certain if the release for The Goonies is for the score by Dave Grusin or the soundtrack, which features music by Cyndi Lauper, Luther Vandross, REO Speedwagon, The Bangles, and more.
The album can be pre-ordered here.
Twas a dark and stormy night when the scrawny grey men came rap, rapping at my door. Their heads were big, their bodies like twigs, with eyes as black as pitch. When they came inside, I tried to hide, but I couldn’t fit under the bed and now I’m super dead. Now imagine what that literary masterpiece might look like as a video game and you’ll have an idea of what The Hum: Abductions is all about.
The Hum: Abductions doesn’t have a release date yet, but when it does invade our world, you’ll be able to find it on PC and PS4.
We’ve teamed up with London band Opensight to exclusively stream their upcoming EP, Ulterior Motives, which comes out one week from today!
Ulterior Motives is the soundtrack to a fake movie and uses a blend of progressive rock and metal fused with cinematic stylings influenced by composers such as John Barry and Ennio Morricone to create a fascinating and hypnotic style of music that is right up the alley of any 70’s and 80’s horror fan!
Look, I love me some prog rock and metal. From the blistering technical showstoppers to the artistic “paintings turned into songs”, I’m into it. Opensight have set themselves apart by using their alt-metal basis and fusing it with dashes of funk, classy elegance, and exhilarating cinematic sweeps, resulting in something unique and absolutely delightful.
The band has been releasing teasers of their songs via YouTube in the style of giallo horror films, so be sure to head to their channel to check those out! And definitely make sure to pre-order your copy of Ulterior Motives via Bandcamp.
Frontman Ivan David tells Bloody-Disgusting:
The songs on this record came out almost exactly as we wanted them. We feel great about being able to throw things we love into the music: Spy themes, surf rock guitars, 8-bit sounds, Giallo-esque touches and so on. Having that freedom turns the whole thing into something fun. Doing the artwork as a ‘Murder Mystery’ film style and creating teaser videos that emulate opening credits of vintage crime films or old thrillers. Putting all the work in is worth it.
We like to play music and feel that we are creating links with things outside of the Metal spectrum by drawing inspiration from different genres, and even reach beyond the musical landscape by gravitating towards films, games, narrative concepts and other visuals. With “Ulterior Motives” we feel we’ve achieved that.
4th Sept – The Black Heart, Camden, London [w/ Tacoma Narrows Bridge Disaster & Sumer]
26th Sept – The Unicorn, Camden, London [w/ Jackknife Seizure, Wychhound & Bearfist]
Behold, for I am about to gift-eth thee with a cornucopia — that’s two, if you don’t speak fancy — of Doom videos in which some folks from id Software explore a few of the reasons we have to look forward to the upcoming reboot. In the first video, we get to learn more about the concept of “push-forward combat,” which is the name they’ve given to the nifty way the game combines ranged and melee combat, because it seems the mere act of unleashing demon murder wasn’t satisfying enough already.
This next video shows us how the team at id Software is working to strike a balance with the reboot so it brings something new to the series without sacrificing the old school spirit of a Doom game.
Doom is slated to release on PC, PS4 and Xbox One in spring 2016.
Image Source Tommie Hansen
There have been a handful of films (i.e. As Above/So Below, Catacombs) that head deep into the legendary Catacombs of Paris, France.
Built for religious practice (with the bones of human beings), these tombs are also the place of mass desecration – millions of bodies were exhumed from Paris cemeteries and dumped deep into The Catacombs.
While homeless find shelter in The Catacombs, visitors need a tour guide to avoid getting lost in the seven levels of the 200-mile network of “old caves, tunnels and quarries”.
The criminally underrated As Above/So Below took horror fans deep into The Catacombs in a fresh take on the found-footage subgenre. And while many of these found-footage horror films claim to be inspired by true stories, As Above/So Below does not, which is weird considering there is a true story just as terrifying.
Years ago, ABC Family aired a special on The Catacombs (below), which focused on a camcorder discovered deep within.
Allegedly, in the early 90’s, a man decided he’d explore The Catacombs on his own. He never resurfaced, although his camcorder and cassette were found.
What’s on it will give you chills.
In the video, you’ll see the man (at 288 feet below street level) catch a glimpse of “something”, panic, and begin to run. He eventually drops the camcorder, which continues to film the nothingness of The Catacombs – you know, straight out of a found-footage horror movie.
The ABC documentary alleges that the location of this event is what’s truly terrifying – the entrance to the “Gates of Hell.”
Stephen King has created tons of villains and monsters over the past few decades. We decided to take a look back at some of the scariest ones! For the sake of clarity, I have specified if I am referring to the written or filmed incarnation of the mentioned monsters.
A new trailer for the upcoming adventure horror/comedy Goosebumps has been released and it shows just how widespread the chaos will be! You can watch it below.
“Upset about moving from a big city to a small town, teenager Zach Cooper (Dylan Minnette) finds a silver lining when he meets the beautiful girl, Hannah (Odeya Rush), living right next door. But every silver lining has a cloud, and Zach’s comes when he learns that Hannah has a mysterious dad who is revealed to be R. L. Stine (Jack Black), the author of the bestselling Goosebumps series. It turns out that there is a reason why Stine is so strange… he is a prisoner of his own imagination – the monsters that his books made famous are real, and Stine protects his readers by keeping them locked up in their books. When Zach unintentionally unleashes the monsters from their manuscripts and they begin to terrorize the town, it’s suddenly up to Stine, Zach, and Hannah to get all of them back in the books where they belong.“
Goosebumps is directed by Rob Letterman and stars Jack Black, Dylan Minnette, Odeya Rush, Amy Ryan, Jillian Bell, Ryan Lee and Ken Marino and will be based upon R.L. Stine’s book series of the same name. The music is composed by Danny Elfman. It will be released on October 16th, 2015.
Reddit user Krlmhl has posted a rather terrifying yet hilarious image of a dog wearing a muzzle that makes it look like some sort of vicious werewolf.
The product itself can be purchased via Zveryatam, although I suggest brushing up on your Russian if you want to place an order.
I’m in the process right now of requesting a puppy, so I’m definitely considering getting something like this. That being said, I’m not a fan of muzzles, so I’d have to save it for a really annoying child or someone that’s just really irritating me in public. That’s legal…right?
Scream Addicts Podcast #4 – Four-Color Frights: Walking Dead, Wytches, and the Wide World of Horror Comics
With this week gasping its last breath, the Scream Addicts have kicked back, invited a couple of fiends over, and decided to chat at length about a favorite pastime – reading horror comics.
Comic book gurus Seth Dixon and Lucas Harbolt sit down with your horror hosts to chat about their first exposure to comic book horrors, their experiences as comic shop clerks, and what scarybooks you absolutely must seek out at your nearest paper peddler. If it has panels, staples, and bloodshed – there’s a good chance it’ll get mentioned in this episode.
So get ready to welcome the weekend with the bloodiest, nerdiest possible talk you’re likely to find outside a comic shop under siege by a horde of flesh-eating zombies. Enjoy our newest episode – Four-Color Frights: Walking Dead, Wytches, and the Wide World of Horror Comics.
CLICK HERE for the podcast.
And if you missed our previous episodes, start catching up here.
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And be sure to scream away in the comments section below to tell us what you thought! Liked it? Hated it? Let us know!