Bloody reader Rob Smith tipped us off to a surprising story over on foreign horror site Aullidos where they break the news on a new vampire film from Fright Night director Tom Holland.
The site reports that Holland has teamed with Extinction writer Juan de Dios Garduño (“And Despite Everything”) on a new vampire pic, Bad Blood, which tells the story of a group of teenage vampires who kidnap a bus driver and his daughter to attend a concert.
He is working with both Holland and Fernando Martin Samper on the screenplay with the aim of creating something in the spirit of eighties-style Lost Boys and Fright Night.
The plot perfectly sets up an 80’s-esque horror drama, but I’m not sure about Holland as a director anymore. The last feature he got behind the camera for was nearly 20 years ago… the 1996 Thinner.
Warner Brothers Home Entertainment has announced the 3D Blu-ray Combo Pack (Blu-ray 3D/Blu-ray/DVD/Digital HD), Blu-ray Combo Pack (Blu-ray/DVD/Digital HD), and two-disc DVD releases of George Miller’s Mad Max: Fury Road, set for release on September 1st.
Available the same day will be the Mad Max 4-Film Blu-ray Anthology, which will include Mad Max (1979), The Road Warrior (1981), Mad Max Beyond Thunderdome (1985), and Mad Max: Fury Road on Blu-ray disc. The anthology also includes the documentary “Madness of Max” on DVD along with Mad Max Anthology trading cards.
“Haunted by his turbulent past, Mad Max believes the best way to survive is to wander alone. Nevertheless, he becomes swept up with a group fleeing across the Wasteland in a War Rig driven by an elite Imperator, Furiosa. They are escaping a Citadel tyrannized by the Immortan Joe, from whom something irreplaceable has been taken. Enraged, the Warlord marshals all his gangs and pursues the rebels ruthlessly in the high-octane Road War that follows.“
Both Blu-ray Combo Packs and the DVD are set to include:
Maximum Fury: Filming Fury Road
Mad Max: Fury on Four Wheels
The Road Warriors: Max and Furiosa
The Tools of the Wasteland
The Five Wives: So Shiny, So Chrome
Fury Road: Crash & Smash
Mel House of Upstart Filmworks has spent more than a decade working in the world of independent cinema. As such, he’s acquired quite a few amusing anecdotes about his time crafting motion pictures on limited budgets. Instead of keeping all of these experiences to himself, House has decided to craft a semi-autobiographical tale with the help of a few genre vets.
In addition to Lisa Wilcox (A Nightmare on Elm Street 4 and 5), Richard Riehle (Office Space, Hatchet), and Debbie Rochon, Mel House’s 30 to 45 stars Fishbone lead singer Fishbone. However, House recently added horror vet and Candyman star Tony Todd to the cast. If that doesn’t get your inner horror nerd squaredancing, then I have no idea what else to do.
30 to 45 also stars Omar Adam, Jill Brumer, Chelsea McCurdy, and Tye Blue. The flick still needs some financial assistance, so if you have some extra cash to spare, consider stopping by the flick’s Kickstarter campaign and helping out. The site also features a handy pitch video, which should give you an idea of what House and company hope to achieve with their project.
The post Dark Comedy 30 to 45 Adds Tony Todd, Launches Kickstarter Campaign appeared first on Dread Central.
Image/RJL Entertainment shares the following art and insanely boring imagery for Return to Sender, which features an all-star ensemble cast including Academy Award nominee Rosamund Pike (Gone Girl), Academy Award nominee Nick Nolte (Warrior, The Prince of Tides), Shiloh Fernandez (Evil Dead), Camryn Manheim (“The Practice”) and Rumer Willis (Sorority Row, “Dancing with the Stars”).
Return to Sender opens in limited theaters and on VOD August 14, 2015.
“In this intense psychological thriller, Rosamund Pike stars as Miranda, a small town nurse who gets attacked during a home invasion by a mysterious stranger (Shiloh Fernandez). Following his arrest, Miranda starts to regularly visit him in jail and build a relationship with her attacker. But everything may not be as it appears.”
Return to Sender was directed by Fouad Mikati and co-written by Patricia Beauchamp and Joe Gossett.
Summer heat is in full effect y’all, and I’m dying. Not literally, of course, but here in Austin we’ve just begun to enter 100 degree weather. It sucks. So sometimes I like to pop in a horror movie with a cold setting to torture myself even more. Below is a list of some cold-set horror films that I like to watch. What are some of yours?
Wild Eye Releasing, the distribution company responsible for unleashing films such as Blood Slaughter Massacre and Raiders of the Lost Shark onto the masses, have released the trailer and key art for the upcoming anthology The Horror Network. This first volume in what is a planned series of tales was created by Brian Dorton and Douglas Conner, featuring segments directed by Dorton, Conner, Joseph Graham, Manuel Marín, Lee Matthews and Ignacio Martín Lerma. A DVD with exclusive special features is scheduled for an October release.
Generally speaking, I’m usually a fan of anthologies and I’ve quite enjoyed some of Wild Eye’s releases in the past, so this is something I’m looking forward to. Whatever that creature-person-thing is from the poster that is also seen crawling and screaming in the trailer ranks pretty high on the creepy scale. This could be fun.
Serial killers, ghostly phone calls, inner demons, otherworld monsters and creepy stalkers collide in this frightening anthology. Five of horror’s most promising new directing talents join forces to pay homage to classic horror like Creepshow, Tales From the Crypt, V/H/S and The ABCs of Death, and weave an unforgettable, disturbing tapestry of terror.
Writer/director Bret Wood’s The Unwanted is the story of Carmilla (Christen Orr), a young drifter on the hunt to find out more information about her mother (Kylie Brown). Carmilla doesn’t have much to work with, but she does have an address that her mother supposedly lived at previously. The address leads her to a small mural town and the home of Laura (Hannah Fierman) and her father, Troy (William Katt). The address appears to be a dead end as Troy explains to Carmilla that no one else has lived at that home. Carmilla heads to the local diner to contemplate her next move.
At the diner Carmilla runs into Laura once more. Laura is a little tough to judge at first. At times she seems like she’s a bit emotionally unstable, but then it could be she’s just a small town girl looking to break out into the outside world. Whatever Laura’s deal is, she’s fascinated by Carmilla. The two begin to talk and Laura explains that while her father technically didn’t lie to her, he wasn’t completely honest. Turns out Carmilla’s mother stayed on a trailer located on Troy’s property for about 6 months.
From here on out we learn that everyone has some deep, dark secret they’ve been trying to keep hidden for years. As Carmilla begins to dig deeper to discover the truth about her mother, her and Laura begin to grow closer. This budding relationship greatly angers Troy, who believes he lost his wife to Carmilla’s mother years ago in a similar fashion and does not want to have the same thing happen with Laura.
If you’re familiar with Joseph Sheridan Le Fanu’s “Carmilla,” you kind of know where this story is going once you meet a character named Carmilla. At some point, it’s going to get to lesbian vampires. We eventually get that with Carmilla and Laura as they have a few blood-soaked intimate moments. Overall Wood takes a very loose approach to adapting Sheridan Le Fanu’s tale, giving it a more contemporary, Southern gothic feel. It just never all really comes together.
The story is a little slow, taking a bit before we actually get into it. Once we’re there, it doesn’t really make sense. Carmilla and Laura don’t have much chemistry. Laura certainly seems to have an interest in Carmilla, but none of it feels natural. And I suppose that’s part of the point, it shouldn’t feel natural, but there should be something that clicks.
The performances are iffy across the board. Fierman is far and away the highlight of the film. She seems to have a real knack for playing these adorable, but oddball characters that have a very sinister and dark side to them. With that said she tends to be a little uneven at times. I’m not sure if that blame falls on her or the script. Either way it would have been fun to see her take it up a notch. I’d love to see a director just let her loose for 80 minutes.
I have to talk about the music of The Unwanted. I don’t want to, but I can’t let it go. A few times throughout the movie a very generic rock music plays. I don’t know what it is. I don’t think it’s anything from an actual band, but rather something created by the film’s composer Paul Mercer. Whatever it is, it’s just not very good. The few times I was actually starting to get into the movie this music would play and totally take me out of it, so that was a bummer.
The Unwanted does manage to go out on a bang. The last 10 minutes or so are actually quite tense, despite that music rearing it’s ugly head once more. Part of it is even shockingly brutal. This is where Wood showcases his talents as a director and this is what I’d like to see more of. The overall idea presented here is pretty solid. Despite it having multiple adaptations, the story of “Carmilla” still lends itself well to the world of film. It’s possible with a bit more fine tuning, and much better music, Wood could deliver a piece of work that is more comparable to the likes of The Vampire Lovers or The Blood Splattered Bride. Unfortunately The Unwanted is not that movie.
The Unwanted is available now on Blu-ray from Kino Lorber with special features that include a making of documentary and a short film from director Wood.
I have a confession to make: I LOVE hearing about a horror fan’s favorite kills! People get so passionate talking about their favorite scenes and it’s so exciting to see them get fired up about them!
That’s why I’m excited to host Richy Nix‘s Top 5 Kills In Horror, which showcase some really unconventional choices, ones that normally don’t get chosen.
Nix opens up by saying:
Compiling a list of my favorite horror film kills is super tough. My thoughts start to race as I think of 100s…if not 1000s of scenes.
I had to really sit down and talk with a childhood friend who has watched a lot of the films with me. Some of my favorite kills are when the kills are ultra-gory or make me laugh my ass off!
Check out his list in the pages ahead!
You might have seen horrifically trippy images flooding your newsfeeds on social media over the last few weeks thanks to dreamdeeply.com tinkering with some mad science out of Google HQ.
Do computers dream? Of course they do. Have you ever wondered how that might look? Thanks to Google Deep Dream that just went open source, we can all now use our own photos and see for ourselves. Have fun!
With dreams involved naturally turned to the most sinister of sandmen, Freddy Krueger, to see if his slumber world distortions could be abstracted to cause even more nightmares. Grab a coffee and take a look at the results below.
After last week’s major character death, it shouldn’t come as a surprise that “Aftermath” slowed things down a bit and allowed the characters to actually deal with a good friend’s death. Scream has been criticized for having unlikable characters, and “Aftermath” was a step forward in making some previously unlikable characters (Brooke) somewhat relatable. Unfortunately, it didn’t work for all of the characters (Jake and Will, again), so the episode was sort of a mixed bag.
“Aftermath” marks the first episode of Scream where no one was killed off. This isn’t necessarily a bad thing, as it means that we do get to spend more time with these characters. The downside of this is that there wasn’t a lot of suspense to the episode. The teen soap opera feel was in full effect this week. It was an exposition-heavy episode that slowly built the mythology of the series and gave us some insight into the Brandon James story. It was nice to get an explanation on the masks design as well (it was used to protect Brandon’s face after his facial surgeries).
I want to take a moment to talk about Brooke. Based on the comments over the previous weeks, many people seem to loathe her. I can kind of understand this, as she has been portrayed as a selfish bitch. This episode is pushing her into “misunderstood and damaged” selfish bitch territory, which is kind of predictable, but if it gets more people on her side then I’m all for it. It was nice to see that Brooke wasn’t a robot and actually felt something over Riley’s death. Her breakdown was something we didn’t see when Nina died (though to be fair, no one really seemed to care when Nina died), and it was important to instill some humanity in her. You can see the series gears at work to make Brooke a likable character. I suspect it will be some time before we see her get killed off, especially since a blackmailing subplot with her dad just came up.
The less said about this subplot this better, as it is undoubtedly the weakest part of the episode. I have no doubt that will and Jake are behind the blackmailing, which makes it even less interesting. Why is Brooke’s dad even getting his own subplot? It seems counterproductive to take more screen time away from the central cast of characters, so we will just have to see how it pans out in future episodes, but my hopes are not high.
Faring slightly better is Piper, who gets a bit more to do this week, albeit not much. Her screen time is mostly devoted to her eavesdropping on other characters. She does get some interation with Emma (and shows some brains when she tells Emma that she can tell the police aren’t confident), but other than that nothing really happens with Ms. Shay. With only six episodes left this season, Scream would be smart to start giving her more to do.
The main focus on the episode was on Emma, Noah and Audrey, as they followed clues sent by the killer to a very creepy section of the hospital. After following a trail of blood to a room with a pig corpse (the same pig whose heart was sent to Maggie in the pilot) they stumble upon Nina’s laptop with a bunch of video files with people’s names on them. This is obviously an attempt to link the main Emma arc with the super boring Jake/Will blackmail subplot, so hopefully that works out into everyone’s favor. Poor Emma was caught in the crossfire as Noah and Audrey accidentally uploaded a video of her first time with Will to a Listserv comprised of all of her classmates. Way to go, guys!
“Aftermath” was a necessary, if unexciting, episode of Scream. More time was spent establishing these characters and we gained some more insight into the Brandon James mystery. This is all well and good, but let’s kill someone next week, shall we?
- So Brandon James is clearly still alive, yes? I’m assuming he just got a new face since there were so many mentions of the mask being for his face post-surgery.
- The killer uses a voice changer app. That’s so Scream 4.
- Um, the police didn’t “get Tyler.” His car crashed and they happened upon it. There’s a difference. There’s a difference.
- “Emma, maybe you should take your friend to see one of those grief counselors.” -Sheriff Hudson is a terrible sheriff.
- I’m not a girl, so I’m very intrigued: do girls stress out about picking funeral nail polish? Or is that just a Brooke thing?
- “My friends are dead and everyone hates me.” -I know I mentioned it above, but I really liked all of Brooke’s scenes tonight.
- “That’s sketchy logic.” – Audrey, when Emma explains why the killer might not kill her. Audrey is quickly becoming my favorite character on the show. Her and Noah are supposed to be the audience surrogates, but I find myself more in tune with Audrey. Noah’s monologues still feel a little forced to me.
- “Maybe we should split up.” “Hey that is not even remotely funny!” -Audrey, again. See what I mean?
- Maybe this is just me, but I really hate the “character waiting on something to download/upload before someone walks in the room” trope. It’s so overdone.
- “Too obvious.” -Audrey, when “Thunderbitch” doesn’t work as Nina’s password. Times like this make me wish Scream was on a premium channel so they could have just said “Thundercunt.”
Remember the incredible U.S. Map of Horror Movies?
Well, now we’re taking you to Europe with the “European Map of Horror Movies,” which comes courtesy of Horror On Screen.
Andrew Brick delivers the following graphic that displays about 200 horror movies for 44 countries of geographical Europe!
While I expected certain countries to carry more horror than others, I was surprised to learn that it’s pretty evenly spread about.
France has a killer collection – including High Tension, Martyrs, Inside and Frontier(s) – while England is brimming with classics such as An American Werewolf In London to Shaun of the Dead.
If you could only pick one batch of films to watch, which would you choose and why?
Starring Cassie Steele, Sloane Coe, Jason London, Becky Andrews, Laura Cayouette
Directed by Misty Talley
It’s become apparent to me from watching the premiere movies of Syfy’s “Sharknado Week” that I am all sharked out. Sharks in the water. Sharks on the land. Sharks in the sky. Sharks in swamps. Sharks in the snow. Sharks in the sand. Sharks that are mutants. Sharks that are prehistoric. Sharks that are gigantic. Sharks that are tiny. Sharks that are ghosts. Sharks that are aliens. Sharks that are robots. Sharks that fight robots. Hybrid sharks that fight other hybrid animals. Sharks with Twitter accounts.
The Bigfoot genre called. Even it said the shark genre has been run into the ground.
As the stakes keep getting raised to come up with increasingly outlandish new entries in the sharksploitation genre you almost have to wonder how it took this long to get around to making Zombie Shark. That concept is a no brainer – in more ways than one.
Of all the “Sharknado Week” movies Zombie Shark; was the one I found myself most curious about because it seemed to be a total mystery. No trailer. No poster art. One lone production still. Next to zero promotion. Almost felt like the network was trying to hide this one. I can kind of see why now. Though I feel like I should give it some credit for being so straightforward at a time when Syfy’s shark movies have become increasingly meta and think they’re being witty by being as purposefully stupid as possible. Not that the premise of shark zombies isn’t loopy enough as it is. An argument can be made that this one maybe should have tried be more willfully stupid.
The tiresomely formulaic set-up has a boyfriend inviting his girlfriend and her sister and their bikini babe BFF to join them on a weekend island getaway in the Gulf of Mexico. The island is near a supposedly closed down research facility that’s actually still operating and working on “Project Bruce”, a top secret human regeneration experiment involving shark DNA. Bruce gets loose; begins infecting other sharks that then become zombie sharks, and the zombie sharks begin infecting victims that also come back from the dead as zombies to infect even more. A private contractor mercenary-for-hire joins forces with the girls to stop the Carcharodon/homo sapien zombie plague before it spreads to the entire world. Everyone has a hard-luck backstory in a noble but failed attempt to make us care about the fate of any of these people.
Most puzzling are the pointless scenes involving the parents of the sisters sitting at home lamenting the fate of their children based on weather reports of an incoming tropical storm that either never happened or just wasn’t in the film’s budget. Did I miss something regarding this storm they kept speaking of but never materialized?
Syfy movies aren’t exactly known for their high quality special effects but Mega Shark vs. Kolossus now looks like a Michael Bay production by comparison. A rubber severed shark head puppet proves a more special effect than anything computer-generated. The digital sharks look unfinished, mostly 2D, and lazily inserted into the film. Fins frequently cut through the water without even leaving a wake. Worst of all, the sharks rarely even look zombie-like.
Zombie sharks are paler, possess whiter eyes, sometimes display physical damage, and can only be killed by being blown up, shredded to pieces, or stabbed in the brain (just like any other shark). I suspect if The Asylum had been behind this one the only way to kill a zombie shark would have been to shoot it through the dorsal fin. As moronic as that sounds, at least it would have been something. There’s hardly anything that makes these zombie sharks distinct from ordinary sharks, and with one mildly amusing exception, the means by which they kill their prey proves equally unimaginative. Even the notion that they can survive on land goes absolutely nowhere. When your whole movie is based on a crazy gimmick and you fail to make any creative use of that gimmick…
The zombie sharks can also infect humans turning them into boring old lumbering Romero-esque zombies. I get that if a human zombie bite only leaves a small wound; shouldn’t people being infected by shark bites have more devastating wounds? Would it not be more amusing if the human zombies were savagely maimed shark attack victims reanimated as dripping wet (water and blood) zombies? Why not have some fun rather than just tossing in generic zombies in an already too generic film? Even sharkified human zombies with shark teeth and fins coming out of their heads would, as dumb as that sounds, been some welcome lunacy to break up the monotony of low budget shark b-movie #530593705.
Zombie Shark ends up feeling stale and played out on two levels.
I spent two hours at the gym on the treadmill while watching Zombie Shark. When it was over I had burned thousands of calories and probably even more brain cells.
Starring Ameet Chana, Poppy Drayton, Marcus Griffiths, Thomas Law, Will Thorp
Directed by Russell England
Distributed by Kaleidoscope Home Entertainment
A group of students from posh London boarding schools are tasked with patrolling the grounds of the historic Dhoultham School on the last day of term. In conjunction with the British Army, the students – a selection of male and female individuals from two different institutions – take on the responsibility of spending the night on the grounds and keeping watch over its valuables.
But in a twisted turn of fate, it becomes apparent that said grounds were once the site of a group of horrific deaths, all the way back at the time of the bubonic plague’s ravaging of England – and it seems that the spirits of the deceased have far from moved on.
Adding insult to injury is the fact that a pair of thieves, led by ex-military man Shane, have chosen this night to break in and bag themselves some swag. The groups are, of course, destined to come to loggerheads – but even with a gang of ghosts in the mix, things aren’t exactly what they seem.
And that’s probably Unhallowed Ground‘s strongest element. While most of the tension and scare setups are very much par for the course – jump scares, creepy figures moving in backgrounds and foregrounds, and hallucinatory shocks – Paul Raschid’s script uppers up a selection of varied and convicted characters, and a couple of uncommon approaches to the material. Where one would expect the kids and robbers to take the usual route of forming a reluctant partnership amidst the supernatural goings-on, for example, Unhallowed Ground keeps them firmly at each other’s throats – quite unmercifully so, in fact.
The same kind of positive surprise is to be found in the big reveal – which, even if director Russell England and his cast have trouble pulling it off with total confidence – is a pleasantly different shift in direction from what you may think the generic setup has been leading to. It plays out with far too much of a pantomime feel to it, though, rendering it as regrettably awkward as it is surprising.
Casting across the board is solid, with each of the players seemingly enjoying their time as intelligent characters in a stock horror setting. These are smart kids, and the robbers aren’t stupid either, so there’s little in the way of eye-rolling when it comes to their actions. However, there’s something of a negative trade-off there, with the reliability of the ghost fodder lumbering Unhallowed Ground‘s second act with very little of standout interest. Sometimes a little hysterics are exactly what you need to break the monotony – something that Unhallowed Ground just doesn’t manage to do.
Rather, it’s predominantly a re-tread down familiar haunted grounds with characters who naturally assess their situation instead of immediately running screaming into the nearest dead end to await their deaths – and honestly, the approach proves almost morose given the lack of genuine unexpected frights or extreme violence. It just kind of trudges along, offering up the occasional smart idea with a big smile on its face and confidence in its heart. But once the meeting’s over, there’ll have been little to be gained from it.
Unhallowed Ground is a competent, but largely uninspired horror jaunt that, in whole, proves just about worthwhile on the strength of its cast and a smattering of good ideas (not to mention the seriously cool plague doctor design). But you certainly needn’t kick yourself too hard if you give it a miss.
Kaleidoscope Home Entertainment’s UK DVD release of Unhallowed Ground holds only a trailer up its sleeve in terms of special features.
Heading our way on Saturday night as part of Syfy’s “Sharknado Week” is Lavalantula from director Mike Mendez (Big Ass Spider!), and on tap right now we have two new teasers for the film.
Actually, you can only see one of them below (it’s for the Space channel in Canada); the other is on the Syfy website, which you can access by clicking here.
Lavalantula stars Steve Guttenberg (Police Academy), Leslie Easterbrook (Police Academy), Michael Winslow (“Police Academy: The Series”), Marion Ramsey (Police Academy), Nia Peeples (“Pretty Little Liars”), and Ralph Garman (KROQ DJ). It premieres at 9pm on Saturday, July 25th, on both Syfy and Space.
A volcano erupts in Los Angeles, spewing out lava-breathing tarantulas.
We told you during the San Diego Comic-Con that Guillermo del Toro’s sequel to Pacific Rim was to begin shooting in November, but now we have a couple of more minor details.
The Global News is reporting that the working title for the follow-up is Maelstrom. At this time we have no idea whether the title will stick, but for now it is what they’re calling it.
“[Pacific Rim 2 is] starting shooting in November,” said del Toro amidst the chaos of the SDCC. “We are deep into designing the robots, the kaijus… having fun planning the battles. We have an epic battle at the end of this that we started to design a couple of weeks ago. We’ve been up for about three or four months designing, and we start shooting in November.”
Legendary’s Pacific Rim 2 will be released in 3D.
The time has come, Sinners and Saints, to choose sides! In this latest introductory video for Alleluia! The Devil’s Carnival, Lucifer (Terrance Zdunich) is calling us all into battle.
After triumphant collaborations on 2008’s Repo! The Genetic Opera and 2012’s The Devil’s Carnival: Episode One, cult filmmakers Darren Lynn Bousman and Terrance Zdunich are back with the second installment to their fantasy-musical film franchise. In Alleluia! The Devil’s Carnival, Lucifer sets a plot in motion against Heaven, and all hell breaks loose.
The film, which stars Barry Bostwick, Ted Neeley, Adam Pascal, David Hasselhoff, Terrance Zdunich, Paul Sorvino, rapper Tech N9ne, Emilie Autumn, Briana Evigan, Marc Senter, and Dayton Callie plus musicians Chantal Claret, Jimmy Urine, Shawn “Clown” Crahan of Slipknot, and Kevin “Ogre” Ogilvie from Skinny Puppy, will kick off a traveling circus tour with its premiere in Los Angeles on August 11th before continuing in cities across the U.S. throughout the fall.
Zdunich wrote the script and co-wrote the musical numbers with Saar Hendelman. Producers are Chris M. Bonifay and Sean E. Demott. Brian Perera is executive producer.
Synchronicity is a concept we could all use a bit more of these days, and if you’ll be at the Fantasia International Film Festival tomorrow, you can check out the World Premiere of Jacob Gentry’s film of the same name. Curious as to what it’s all about? Then check out this pair of new clips!
Synchronicity screens on Wednesday, July 22nd, at 7:15 PM at the J.A. DeSève Cinema. Director/writer Jacob Gentry, producers Alexander A. Motlagh and Christopher Alender, and stars Chad McKnight, AJ Bowen, and Brianne Davis will be in attendance for a Q&A after the premiere.
Synchronicity follows the story of a daring physicist who folds time to travel into the past, trying to stop a mysterious woman from stealing his invention. But once there, he gets caught in a love triangle that will fracture his reality and endanger his entire future.
The film stars Chad McKnight (“The West Wing,” Last Goodbye), AJ Bowen (The Signal, A Horrible Way To Die, You’re Next), Brianne Davis (Jarhead, Prom Night), and Michael Ironside (Top Gun, Total Recall).
Synchronicity is produced by Alexander Motlagh, known for The Signal and MTV’s breakout series “Finding Carter,” and Christopher Alender, founder of Soapbox Films. Worldwide sales are being handled by Preferred Content.
From the creators of The Signal (Sundance 2007) comes SYNCHRONICITY, a mind-bending “sci-fi noir” in the tradition of Blade Runner, Gattaca, and Memento.
Daring physicist Jim Beale has invented a machine that can fold space-time, and ruthless corporate tycoon Klaus Meisner will stop at nothing to get it. When Jim uses the machine to tear open the fabric of the universe, a rare Dahlia appears from the future. But in order to keep the rights to his invention, he must prove that it works by finding the flower’s identical match in the present. Jim soon discovers that the Dahlia lies in the hands of the mysterious Abby, who seduces him into revealing his secrets. Convinced that she is in league with Klaus to take ownership of his life’s work, Jim travels back in time to stop the conspiracy before it can happen. But once in the past, Jim uncovers a surprising truth about Abby, the machine, and his own uncertain future.
The post Fantasia 2015: Watch these Synchronicity Clips and Achieve Inner Peace appeared first on Dread Central.
We feel like it’s been awhile since the last comic adaptation news broke, but then again, they all seem to blur together. Next up, though, is a real classic! THR is reporting that the rights to Action Lab Entertainment’s comic series Herald have been acquired by Romark Entertainment in partnership with Markerstone Pictures.
The deal will see newcomer Jared Battaglia adapt the comic for a TV series. Herald, created by writer John Reilly and artists Tom Rogers and Dexter Weeks, is an alternate universe story in which a time-traveling Nikola Tesla teams up with writer H.P. Lovecraft and other historical figures to save the world from various cosmic horrors. Historical characters appear throughout the storyline; the television series will largely stick to this premise.
“Herald” will be produced by Romark’s Rock Shaink and Markerstone’s Mark Lawyer with Joseph New overseeing for Romark.
More as it comes.
The post Herald: Lovecraft and Tesla Team Up on the Small Screen appeared first on Dread Central.
Back in June we told you about the latest Bigfoot flick to stomp our way, Kampout (previously known as Campout), and believe it or not, we have a trailer already. Filmmaking gets speedier every day, I tell ya!
The film stars Zach Galligan and the much beloved Clint Howard, who are the next two to tango with the mythical beast for writer/director Glenn Martin.
Also starring will be Dave Sherrill (The Rookie, The Wraith), Jamie Bozian (Con Air, The Wraith), Johnny Lechner (Fraternity House), Stephanie Grote (Fraternity House, The Grudge Match), and Chris Nash (Mischief, The Wraith).
Bigfoot, enraged by the murder of its offspring, rampages through the countryside of Southeast Ohio. A detective, a park ranger, and a Bigfoot researcher scramble to locate the legendary creature before it attacks a group of teenagers on a camping trip to an isolated place called Kampout.
In a brief new teaser for the spooky sci-fi indie Stasis, we get to watch its lead character, John, kill himself by ventilating his abdomen with a shard of glass, Seppuku style. I’ve spent enough time with early prototypes of the game to appreciate the value of such a feature, which injects some guilt into the all-too-familiar act of giving up.
Knowing I have this option for when I need it may motivate me to keep John alive, in spite of my morbid desire to see all of the death animations. I can, and do, blame games like Resident Evil 4 and Dead Space for making death an awesome thing to behold. When you’ve seen Leon take a chainsaw to the neck or watched as a helpless Isaac gets zombiefied by a creature that more or less resembles the creepy head spider form of The Thing, you begin to develop a taste for it.
I should probably be worried about the celebratory relationship that horror games have with death — and non-horror too, as explored by the likes of Dark Souls and Gears of War — or how frighteningly appealing that kind of thing is to me.
I’ll put a pin in that for now, because I’m too distracted by how cool it’d be if Dead Space let me reenact that glorious impalement death from Jason X, with a Marker in the place of a man-sized floor screw. That scene wasn’t as memorable as the one where Jason transformed two topless holograms into bludgeoning tools, but I can’t picture a situation in which a Necromorph could keep Isaac inside a sleeping bag long enough to do much with him.
Stasis releases later this year on PC. You can pre-order the game on its official website.