Ahead of its theatrical UK release on October 16th, followed by its home video release on October 26th, we bring you two more posters for the werewolf flick Howl. They do a pretty awesome job of conveying the whole ‘werewolf on train” thing, don’t you think?
Directed by Peter Hyett, who bought us the horror flick The Seasoning House, Howl stars Ed Speelers (remember Eragon?), Sean Pertwee, and Holly Weston. It will make its US debut at the Popcorn Frights Film Festival in Miami in October.
A late-night train journey out of London turns into a hellish nightmare when the young guard and his band of commuters are forced into a fight for survival against a pack of malevolent and terrifying creatures.
Joe, a young mild-mannered train guard, is bullied by his overbearing boss into working one more shift on the last train leaving London. It’s a dark and stormy night, and the passengers are a meager bunch. His only consolation is that he’ll be riding alongside beautiful trolley girl Ellen.
After traveling a while, the train brakes violently and comes to a sudden halt deep in the middle of a forest. They seem to have hit something on the line, but when the driver ventures out to investigate, he never returns. The passengers start to panic, and domineering Adrian quickly takes charge and convinces everyone to leave the broken-down train and walk the remaining few miles to the next station.
They begin to walk up the track when to Joe’s horror he stumbles upon the driver’s mutilated body. Realizing that there’s something dangerous lurking in the forest, he screams at everyone to run back to the carriage, but soon the deadly creature is stalking the besieged train and smashing through their defenses, picking the passengers off one-by-one.
Joe rejects Adrian’s selfish “survival of the fittest’” plan and rallies his “pack” of passengers to fight back. During a vicious battle they manage to kill the creature, which is revealed as a hideous mutated fusion of human and wild animal – a werewolf. However, celebrations are cut short when they hear more howls coming from the forest…
Before he hit it big with Hellraiser, Clive Barker focused his efforts on his writing. He also had time to dabble a bit in directing some experimental shorts with a couple of short films with his college buddies, including the man who would eventually hit it big with Clive, Doug Bradley. Those early films, Salome and The Forbidden, shot in 1973 and 1978 respectively, have been gathered together and put on DVD as Clive Barker’s Origins, courtesy of MVD Visual.
Based on the tragedy by renowned playwright Oscar Wilde, Salome tells the Biblical story of Salome, stepdaughter of King Herod. As a reward for dancing the dance of the seven veils, and after the urging of her mother, Salome requests the head of John The Baptist on a silver platter. With The Forbidden, the film is based on the German legend of Faust (Peter Atkins), a successful but unhappy scholar who makes a wager with Mephistopheles (Clive Barker) to satisfy his thirst for knowledge, power, and enjoyment of life.
With both films, the first thing you’ll notice is that these films have no dialogue. Apart from the ambient music added in post, there’s no sound. It’s all visuals, which demands the full attention of the viewer to know what’s going on. Both films have their unique quirks in terms of visuals. For Salome, the film plays a lot with shadows and contrast, as well as a multitude of closeups. It’s quite striking, and the accentuated expressions and movements by the actors just up the surrealness. With The Forbidden, the shadowplay and contrast are traded in for what essentially can be described as viewing the film as a negative. One of the interesting things is that Barker tried to paint parts of the actors in such a way that they would appear to be the positive of the negative (if that makes sense), again giving the visuals a different sort of surrealness. The ending, which has Faust flayed by angels, definitely showcases this the strongest, creating a strange beauty in the image.
Admittedly, the biggest strength of these films is also their weakness. These are definitely not films that are accessible for the casual moviegoer. Both films require patience and attention to not only enjoy them, but also to know just what’s going on. It’s also necessary to know what each film is about. If you’re not familiar with either story, you’ll be lost. Even with the knowledge of the stories and a general appreciation for what Barker was attempting to do here, there were times when both films felt overwrought. I don’t believe that they were pretentious, but they definitely cater to a more select group of film connoisseurs. Also, be forewarned that in The Forbidden, Barker has a segment when he dances and spins erratically in the nude, and is a little more than “happy” to be doing so.
The big question is not so much are these films worth it, but who are they for? Obviously, diehard fans of Barker will be delighted to see that his two student films have made their way to DVD. Those film students looking to learn about different techniques in presentation may glean a bit from seeing these films. The rest of us probably will see these as a curiosity and nothing more, although it’s interesting to see just what Barker was up to prior to unleashing what he’s known for onto the horror scene.
Both films are presented in 1.33:1 fullscreen. Apparently shot in 8mm and 16mm, these films aren’t what you’d call preserved. Loads of scratches, nicks, heavy grain, shaky frames, and other blemishes you’d probably get from a home movie. Still, it has a certain charm to it all, and just adds to the surreal atmosphere Barker has crafted with these two films. It’s presentable, but definitely not reference quality.
Audio-wise, both films sport a Dolby Digital 5.1 track. Seeing as both films are of the silent type, the only sound to be heard is the quiet ambient music being played for the duration of both films. Again, it’s very “arty”, and is your typically clich&eactue;d college film student work. But like the video, it has a certain charm and does the job, with no distortion or any real bombastic rumblings, explosions, etc.
The sole extra on the disc is a collection of undated vintage interviews with Clive Barker, Peter Atkins and Doug Bradley. The interviews focus on Barker’s initial exposure to the underground film scene in Liverpool, which led him to create these two shorts, and the makings-of these films. Interesting tidbits include how Salome was filmed in a flower shop after hours, the makeup creation for Atkins being flayed in The Forbidden, as well as the interesting techniques used in filming both films. Short but sweet, these interviews are a nice little compliment to a couple of little films.
Four days of indie horror lunacy sound good to you? If you’re in or around the Los Angeles area and that sounds like your cup of tea, you’re gonna want to dig up some friends and head to Shriekfest L.A.!
From the Press Release:
SHRIEKFEST INTERNATIONAL HORROR/SCI-FI FILM FESTIVAL is thrilled to announce the full, expanded schedule for the FIFTEENTH annual horror film festival, returning to Raleigh Studios Chaplin Theatres, October 1-4, 2015. Festival Director Denise Gossett says, “We are so honored to once again be at the same location we’ve been at for all 15 years! That says a lot about a location’s quality and a festival’s continuity; filmmakers walk out of their screening saying their film has never looked so good!”
Festival-goers will once again enjoy the finest in independent cinema from around the globe, selected from submissions that came in everywhere from the United Kingdom to New York, from Texas to France. From our opening night screening of Chatter starring Richard Hatch (“Battlestar Galactica”) to the shorts from Australia, Canada, and the United Kingdom and finally to the WORLD PREMIERE of 6:15, the first feature shot in first-person POV and in one continuous take! The 15th Annual Shriekfest Horror/Sci-Fi Film Festival has worked hard to present a festival as diverse as the fans of the Los Angeles city itself.
American independent films are also well represented this year, THE ANSWER is playing on Friday, October 2nd, as well as INTERIOR, which is screening on Saturday, October 3rd. We can’t leave out CLINGER starring Vincent Martella (“The Walking Dead”), THE DIVINE TRAGEDIES (Ken Foree and Barbara Crampton), HUNTING, LANDMINE GOES CLICK, GRANNY OF THE DEAD, and ALL I NEED.
Not to mention our fabulous selection of short films. Movies like THE WRONG PROFILE, THE PERIPHERAL starring Lynn Lowry, SWEET HOLLOW, THE ART OF HUMAN SALVAGE starring Edward James Olmos, 20 HZ, CHATEAU SAUVIGNON: TERROIR, and the clever BAD GUY #2 challenge the viewers with provocative, well-crafted original stories.
Once again SHRIEKFEST Film Festival exceeds at challenging the idea of what a horror film festival should screen, with eclectic selections (THE HERD) to science fiction (THE STOWAWAY), comedy (ATLANTA ZOMBIE APOCALYPSE), and even the disturbing (THE SMILING MAN).
Entrance to SHRIEKFEST Film Festival 2015 is $10.00 per block, and an All-Fest Pass, good for all four days of the festival, is now available for just $140.00. This pass includes the opening night party and guaranteed entrance to all films/Q&A’s.
All films are unrated, and unless specifically noted, no one under 17 will be admitted without a parent or guardian’s accompaniment or permission.
Anyone who played Sony’s Siren on PS2 can tell you that it is, without a doubt, one of the creepiest games out there. But what’s even more creepy is that the game was actually inspired by a real abandoned town in Japan.
The town in the game was called Hanuda and is based on Chichibu in the Saitama Prefecture of Japan, which is actually one of many abandoned places in the country.
Like in the game, a camera crew went to examine it, and the results speak for themselves. Reality really can be more scary than fiction sometimes.
The Siren series has been pretty much MIA since the release of Blood Curse in 2008, but hopefully Sony will breathe new life into the series at some point, especially if they need something exclusive to rival the Fatal Frame series, which now belongs to Nintendo.
The post Watch a Creepy as Hell Video About the Abandoned Town that Inspired the Siren Games appeared first on Dread Central.
Attention New York readers! We’re giving 10 of you the chance to win a pair of tickets to see a fan screening of The Green Inferno on September 21st in New York City at a special location. This event will also be hosted by Eli Roth himself!
Heading deep into The Green Inferno on September 25th with Lorenza Izzo are Ariel Levy, Daryl Sabara and Kirby Bliss Blanton, who star in the pic that “follows a group of student activists who from New York City travel to the Amazon to protect a dying tribe, but crash in the jungle and are taken hostage by the very natives they saved.
Dark and primitive customs still rule the Amazon jungle: cannibalism and other mind, body and soul-destroying rituals. Trapped in the village, these high-tech modern-world students experience the ultimate in primal barbaric terror, suffering unspeakable acts of violence in an intense and chilling rituals reserved only for the most threatening intruders.”
Mike Pereira reviewed The Green Inferno out of the World Premiere at the Toronto International Film Festival in Sep. 2013, stating that it “resurrects the cannibal subgenre in all its depraved glory!”
For all information on how to enter, head on down!TO ENTER:
Send an email with the subject line “NYC Fan Screening” to email@example.com with your name and phone number.RULES:
1) You only have until 11:59pm PST on September 17th to send in your entry.
2) You MUST be 21 years or older!
3) All travel and lodging are 100% your responsibility.
4) No purchase necessary.
A short teaser for the upcoming supernatural drama Lace Crater, which will be premiering at the Toronto International Film Festival, has been released and can be seen below. As the headlines suggests, it explains how a young woman is experiencing frightening changes after having sex with a ghost.
The synopsis for Lace Crater reads:
An awkward twentysomething begins to undergo some strange physical changes after a weekend tryst — with a ghost — in this charmingly lo-fi, supernaturally-tinged comedy-drama.
Directed by Harrison Atkins, the film stars Lindsay Burdge, Jennifer Kim, Joe Swanberg, and Keith Poulson.
[Review] ‘The Mind’s Eye’ is the Bastard Child of ‘Scanners’ and ‘The Fury’ You’ve Been Waiting For!
It’s been about a year since I last wrote a review for B-D. Within that time, the manner in which I judge a film’s merits has altered to some extent. I have my 7-year old boy to thank for that. For children, it’s all about the experience of being taken away, being immersed into the world in which the filmmaker has created. Being in the moment, so to speak. I’m certain that’s how Writer/Producer/DP/Director Joe Begos would want you to go into his sophomore feature The Mind’s Eye, a highly entertaining ode to the telekinetic subgenre.
The film follows drifter Zach Conners (Graham Skipper) who happens to possess telekinetic abilities. He’s lured into an institution run by the seemingly sympathetic Dr. Michael Slovak (John Speredakos), a clinic occupied by others with similar powers. Zach soon plans their escape when he discovers Dr. Slovak’s true intentions. Begos’ directorial debut Almost Human (2013) was not without its charms yet overall felt undercooked. This is not the case with The Mind’s Eye. He’s still working on a smaller scale than most yet Begos takes a step forward on every level. Begos cinematography is visually accomplished, capturing the look of the era successfully. Where Almost Human felt too restrained, The Mind’s Eye gets certifiably batshit crazy. Fans of the trashier side of 80’s genre cinema will love it for that quality. This is the bastard child of David Cronenberg’s Scanners and Brian De Palma’s The Fury I’ve been waiting for.
The Mind’s Eye keeps the narrative simple and moving along at a brisk pace for its 87-minute duration. We get just enough character development where we can invest into its protagonists. There’s nothing new here but that doesn’t deter in the enjoyment of the film. Big props must be given to the cast who play the material spot-on. Begos’ muse Skipper delivers another committed performance as our chief protagonist Zach Connors. He brings an honest everyman quality I responded to. As for our other telekinetic hero Rachel Meadows, Lauren Ashley Carter (The Woman) is equally strong. Stealing the show, as well as chewing up ample scenery is Speredakos’ uber-villainous Dr. Michael Slovak. The trajectory of his performance is an absolute blast to behold. To name a few others, the leads are very well supported by the likes of Jeremy Gardner (The Battery) , Noah Segan (Deadgirl), Michael A. LoCicero (Almost Human) and the always memorable Larry Fessenden (We Are Still Here).
The Mind’s Eye is stubbornly old-fashioned in the FX department. Refreshingly there is no CG in sight. Practical effects reign supreme. Blood, guts and exploding heads gloriously splat onto the canvas. Much like he did on Almost Human, Begos preserves the attributes of late 70’s-80’s genre cinema that we know and love. I would go as far as saying that Begos takes his cue from underappreciated Italian genre greats such as Luigi Cozzi (Contamination) and Umberto Lenzi (Nightmare City, Cannibal Ferox) who specialized in making imaginative knock-offs of more popular titles. Another one of the film’s strengths is Steve Moore’s pulsating score. He is one half of the amazing electronic rock band Zombi and composer of Adam Wingard’s The Guest and Jonas Govaerts’ Cub. This is his finest soundtrack to date. In particular, Moore kills it during the sequences in which telekinesis is on display.
Make no mistake, The Mind’s Eye is a B picture through and through and unashamedly so. It grows perpetually sillier as it progresses along. The third act erupts in a full-on display of hilariously gargantuan acting and buckets of bloody fireworks that satisfies in spades. Begos successfully captures the unpretentious absurdity that the genre’s less respected but much-loved (by hardcore fans) gems possessed. He does this lovingly without ever reducing the material to a parody of his inspirations. This film really brought me back to my adolescence, to the time where I discovered and fell in love with the trashy outsiders that filled up the racks of my local video store. At best, The Mind’s Eye comes across as one of those dust-filled, long-lost VHS treasures from the peak of the home video age (cue The Dude’s Design box art), just waiting to be played and worn out like so many of our favorites.
This year’s Toronto International Film Festival has seen some amazing films but apparently not a lot of interest from distributors. That’s now changing as apparently a bidding war has sprung for Ilya Naishuller’s Hardcore (review), which is billing itself as the first feature length film shot in a POV style.
According to Deadline, Paramount, Lionsgate and Dimension are all in a bidding war for exclusive global rights to the film, which is now reaching a seven-figure minimum and a 800-1,000 theater screen release. The deal should be made either tonight or tomorrow.
The synopsis for Hardcore reads:
Resurrected with no recollection of his past, a cyborg named Henry (the audience’s POV) and his ally, Jimmy (Sharlto Copley, ‘District 9′) must fight through the streets of Moscow in pursuit of Henry’s kidnapped wife in the world’s first action-adventure film to be entirely shot from the first person perspective.
If there’s something the internet loves, it’s cats. And if there’s something us horror fans love, it’s zombies. And since we’re a website, it’s only fair to assume that some of us zombie loving fiends are also fans of felines, yes?*
Well, I’m here to bring you a video that is the marriage of these two internet sensations and it’s absolutely worth your while for both cat lovers and zombie fiends. You want two cats taking on a horde of zombies to save an adorable kitten? You’ve got it. You want gore and explosions? Check. Seriously, I’m just wondering why this video hasn’t crashed the internet yet.
*This is why I failed every logic course I’ve ever taken.
Jamie Lee Curtis took to Instagram to make an incredibly cool announcement! For one of the episodes of the upcoming horror comedy series “Scream Queens“, Curtis reenacted one of the most famous scenes of her mother’s career. The scene I’m referring to is of course Janet Leigh in Alfred Hitchcock’s Psycho where she is murdered in the shower.
“Just recreated, with help from the amazing crew, a shot by shot of my mother’s famous shower scene from Hitchcock’s PSYCHO for @screamqueensfox #screamqueens Ryan Murphy and co. wrote it into a special episode and it felt right! Honoring the Royal legend that is/was/will always be, Janet Leigh. Thought all fans of the genre would love it! #honorthymother @joaquin_sedillo show debuts in a week on FOX 8pm 2hour premiere!!!!”
Below is the image that was posted along with the explanation.
The acclaimed Van Helsing video game trilogy will be reissued as The Incredible Adventures of Van Helsing: Final Cut, developer and publisher NeocoreGames has announced. It will feature all three games combined, in addition to new content. This includes brand new cut scenes, character classes, and tower-defense mini-games.
In the games players can explore the land of Borgovia, undertaking quests and participating in events, as well as leveling-up their many skills, finding rare items, encountering randomly generated terrains, and of course, slaying monsters. When you’re not too busy exploring the land, you can relax at your Hunter’s Lair, which can be customized how you see fit.
The compilation will consist of easily over 50 hours of gameplay, and as if that wasn’t enough, there’s also a multiplayer mode where you can either fight or assist other players.
The Incredible Adventures of Van Helsing: Final Cut will be released for $44.99 on Steam on September 23, 2015. A Mac release will follow.
The post The Incredible Adventures of Van Helsing: Final Cut Coming Soon to Steam appeared first on Dread Central.
At the Tokyo Game Show, Capcom unveiled Umbrella Corps, a new third-person online shooter that forms part of the Resident Evil series.
Gameplay will feature fast matches across familiar locations from the previous games. Modes will include One Life Match, in which you have to defeat other players without respawning, which will be made all the more difficult by the fact that in addition to other players, there’ll also be NPC enemies such as zombies and other fan favorite monsters from the series.
Weapons will include the usual lineup of guns and grenades in addition to more bizarre additions including an axe known as the Brainer, book spikes, and the Zombie Jammer.
Umbrella Corps will be released for PS4 and PC for $29.99 early next year.
The post Resident Evil Online Shooter Umbrella Corps Announced appeared first on Dread Central.
Starring Michael Shannon, Samantha Morton, Natasha Calis, Charlie Tahan
Directed by John McNaughton
Distributed by Scream Factory
Nearly thirty years ago director John McNaughton delivered what still stands as one of the most visceral, impactful horror films ever made – Henry: Portrait of a Serial Killer (1986). The raw, unvarnished 16mm aesthetic lent the film an aura of reality few horror pictures are able to achieve. But McNaughton’s stay in the realm of horror would be brief, with only one other film in the genre – 1991’s The Borrower (which is really sci-fi/horror) – and an episode of Showtime’s “Masters of Horror” (2005-2007) to his credit. Now, after a career largely directing television episodes, McNaughton has made a semi-return with his latest thriller, The Harvest (2013). While it is certainly nice to see the director back in his old stomping grounds, this latest picture feels like it would work better in McNaughton’s other frequent medium: television.
After losing both of her parents, young Maryann (Natasha Calis) moves in with her grandparents (Peter Fonda and Leslie Lyles) and begins to search around town for a friend. She comes across the window of Andy (Charlie Tahan), a young boy who is essentially housebound due to an undisclosed sickness. Andy’s mother, Katherine (Samantha Morton), is a stern doctor who absolutely refuses to allow Andy to play with Maryann. His father, Richard (Michael Shannon), is a bit more understanding, allowing the two kids to play video games while Katherine is out of the house. But eventually Katherine figures out what’s going on, leading her to cut Maryann out entirely. Maryann refuses to accept Katherine’s wishes and continues to visit Andy. One afternoon, after she has assisted Andy in leaving the house so they can play baseball, Andy’s mother calls to say she’s coming home early. Maryann and Andy race inside, but Maryann can’t leave before Katherine walks in the door, so she hides behind a door, which leads down into the basement, where she finds Andy’s parents have a secret hidden below.
The reason why this film would have worked better as a television episode than a film is because there are two twists to be found here, and once the first is uncovered the second can be guessed by anyone familiar with cinematic storytelling in a matter of minutes, maybe even seconds. Yet the picture continues on almost as though it’s assuming viewers won’t be keen enough to figure things out. If you can’t, maybe the revelations in the last act will be somewhat shocking; however, I would be willing to bet very few viewers are so naïve. Very little tension is built throughout the first two acts because Andy’s ailments are presented so nebulously that it seems he’s just a sick kid with two whacked-out parents. The scariest thing about the film’s first hour is imaging yourself caught in a torturous marriage like Shannon’s character. And again, once viewers can telegraph the film’s final moments after a marginally shocking reveal there’s really not much left to thrill.
What bolsters the material are some strong performances, especially Samantha Morton as Andy’s hellish mother who is overprotecting to a serious fault. Morton initially seems to be nothing more than a profoundly dedicated mother who happens to be a doctor, and she’s beginning to crack under the pressure of finding a cure for what ails the kid. As the film progresses, her mental state deteriorates to a point where it’s clear she is entirely malevolent in her actions toward Andy, prompting Richard to step in when he would normally remain quiet. As Andy’s father, Michael Shannon portrays a detached, stoic man who yields to his wife’s requests and rarely speaks up to defend himself. And like every good man who is constantly stepped on and put down, he eventually reaches a breaking point and suddenly becomes essential to the story’s conclusion.
There are some strong moments in The Harvest, but they aren’t enough to offset the relative lack of tension and they definitely don’t help after the mystery has been blown wide open. The story would be better served in a shorter medium so that the twists can be revealed in quicker succession; as a film there’s a sense of deflation once key points are made clear. The tight cast of characters doesn’t have a weak link among it, with everyone involved digging deep into the material and giving it a real shot of life. Commendable performances make this one at the least worth a watch, but it has little replay value.
The film’s 1.85:1 1080p picture is nicely detailed; featuring strong color saturation, very fine film grain and excellent definition throughout. Nearly all of the film takes place during the day or in well-lit rooms, so there isn’t much chance to show off true black levels. The picture itself exhibits a nice sense of depth. It may not be visually striking, but this is a solid transfer that looks sharp in HD.
The audio might be overcompensating a bit, with the English DTS-HD MA 7.1 surround sound track seeming like overkill considering the picture utilizes such a minimalist sound design. To be fair, sounds are discreetly placed, allowing for the track to sound full and immersive. Rears come into play sparingly but effectively. The score repeats simple motifs throughout, never really hitting any of the typical horror stings viewers might expect. Subtitles are available in English SDH and Spanish.
Director John McNaughton and producer Steven A. Jones deliver a fairly thoughtful audio commentary. The opening scene, which has no real bearing on the film, was intended to be a non-sequitur to throw off the audience. I thought the scene came across as superfluous if anything. The two also discuss choosing the house and what they wanted out of the score.
The film’s theatrical trailer is also included.
- Audio Commentary with director John McNaughton and producer Steven A. Jones
- Theatrical Trailer
Damnationland is a showcase of terrifying new Maine-made short films that redefine the classic thriller and horror categories, highlighting the dark arts of independent filmmaking from New England’s haunted figurehead state. With the 2015 event set to kick off soon, we have for you today an exclusive look at the event’s poster art.
Now in its sixth year, the Damnationland 2015 program will feature world premieres of ten short films produced in Maine by Mainers especially for the Halloween season. These are dark, surreal, and fantastic pieces; and they offer film fans an excellent sampling of the talent producing independent film in Maine today.
Damnationland 2015 kicks off on October 16 at the State Theatre in Portland, Maine, followed by dozens of screenings around the world after that. Keep your eyes on Damnationland.com for full details. In the meantime connect with them on Facebook and Twitter.
The post Damnationland 2015: Exclusive Artwork Premiere and Early Details appeared first on Dread Central.
Joe Begos’ new film, The Mind’s Eye, is set to premiere TONIGHT (September 15th) in the Midnight Madness section of the Toronto International Film Festival; and in honor of the occasion, we have a new still and a trio of one-sheets to share! Dig ’em!
The screening begins at 11:59 pm ET in the Ryerson Theatres, 43 Gerrard Street E. in Toronto. In attendance will be writer/director Joe Begos and lead actors Graham Skipper and John Speredakos.
Can’t make it tonight? You’ll have two more chances during this year’s TIFF:
Thursday, September 17th – 3:30 PM ET – The Bloor Hot Docs Cinema
Saturday, September 19th – 7:00 PM ET – Scotiabank Theatre Scotiabank 10
The Mind’s Eye is described as a violent telekinetic revenge thriller set in snowy 1990 New England. It stars Graham Skipper (Almost Human), Lauren Ashley Carter (Pod), John Speredakos, and Noah Segan (Looper).
Related Story: TIFF 2015: New Clip Enters The Mind’s Eye
THE MIND’S EYE blends horror, science fiction, and thriller elements in a retro-style film recalling the concept-driven genre films of the 70s and 80s and particularly the early work of David Cronenberg. Following years remaining off the grid, Zack (Skipper) captures the attention of the mysterious Dr. Slovak (Speredakos), a telekinesis expert with ambiguous intentions. After uncovering Slovak’s nefarious plot to empower himself using a telekinesis-enabling serum harvested from the blood of his “patients,” Zack must stop Slovak and rescue his fellow telekinetic Rachel (Carter) before it’s too late.
The climactic, mind-bending showdown between Zack and Slovak treats audiences to an array of mind-blowing special effects, engrossing narrative twists, and vivid cinematography.
Some new casting news has arrived as THR is reporting that Frances O’Connor has joined Vera Farmiga and Patrick Wilson to co-star in The Conjuring 2, New Line’s sequel to its massive 2013 horror hit.
The new movie is reuniting many of the creative elements of the original movie. James Wan, coming off of Furious 7, returns as director and producer along with Peter Safran and Rob Cowan.
Farmiga and Wilson are reprising their roles of real-life paranormal investigating couple Lorraine and Ed Warren. O’Connor (A.I. Artificial Intelligence, “The Missing”) will play the mother of a girl who is experiencing a haunting and desperate for help.
The Conjuring 2 is due to begin production later in September. Wan wrote the screenplay with Chad and Carey Hayes, with revisions by David Leslie Johnson.
At some point between now and tomorrow at 10AM PST, I’d like you to find Amnesia on the Steam Store and add it to your library. There is no better way to prepare your mind, body, soul and sphincter — assuming yours is separate from your body — for the imminent arrival of one of the most anticipated horror games of the year.
Be afraid… be very afraid. Syfy’s 8th annual “31 Days of Halloween” spook-a-thon will unleash more than 600 hours of blood-curdling programming from October 1-31, including ghoulish “Ghost Hunters” and “Paranormal Witness” holiday-themed episodes and four spooky new original movies.
Read on for the highlights!
SYFY’S 31 DAYS OF HALLOWEEN 2015 (ALL TIMES ET/PT)
- Night of the Wild (New original movie, Saturday, October 3, at 9PM) — When a large meteor crashes into a quiet town, pet dogs become mysteriously aggressive, attacking and killing the residents. Night of the Wild stars Rob Morrow (“Northern Exposure”), Kelly Rutherford (“Gossip Girl”), and Tristin Mays (“The Vampire Diaries”).
- Ominous (New original movie, Saturday, October 10, at 9PM) — Michael and Rachel are devastated when their six-year-old son dies in a tragic accident. When a stranger offers to bring the boy back to life, they take the offer. However, the child who returns is not the child they once knew. Ominous stars Barry Watson (“Masters of Sex,” “7th Heaven”) and Esme Bianco (“Game of Thrones,” “The Magicians”).
- They Found Hell (New original movie, Saturday, October 17, at 9PM) — When a group of gifted college students run a secret teleportation experiment, they accidentally open a portal to another dimension, trapping them in Hell. One by one they are hunted, tortured, and killed by the denizens of Hell who are bent on stealing their souls. They Found Hell stars Chris Schellenger (Hacker’s Game), Katy Reece (When the Pile Is Crooked), and Austin Scott (Prep School).
- The Hollow (New original movie, Saturday, October 24, at 9PM) — On Halloween three troubled sisters attempt to find tranquility by moving in with their aunt, but instead face a mysterious creature that threatens to kill everyone on their secluded island town. The Hollow stars Stephanie Hunt (“Californication”), Alisha Newton (Percy Jackson: Sea of Monsters), and Sarah Dugdale (Sorority Murders).
- “Ghost Hunters” Halloween Episode (Wednesday, October 28, at 9PM) — In this special Halloween episode, “Darker Learning,” Jason Hawes and the TAPS (The Atlantic Paranormal Society) team go on location to investigate the legend of a mysterious love triangle that could be at the root of frightening paranormal activity at Southern Vermont College in Bennington, VT.
- “Paranormal Witness” Halloween Episode (Wednesday, October 28, at 10PM) — The true story of a Rhode Island family’s terrifying battle with the spirit of a murderous witch in their home will be explored in this special episode of the series. Titled “The Real Conjuring,” the episode details the frightening basis for the hit 2013 movie The Conjuring, which will also air on Syfy Saturday, October 31, at 9PM.
31 DAYS OF HALLOWEEN will also summon a coven of Syfy theatrical premieres ranging from I Am Legend and Orphan to Insidious: Chapter 2, as well as all-new episodes of chilling scripted series such as “Z Nation,” “Haven,” and “Dominion” (Season 2 finale airs October 1).
The scarefest will also include encores of spooky treats such as Blade II; Underworld; The Fog; Texas Chainsaw Massacre: The Beginning; The Cabin in the Woods; The Omen (2006); The Last Exorcism; Fright Night (2011); Hostel; and Silent Hill: Revelation.
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Joe Begos is using telekinesis to force me to post about his latest genre offering, The Mind’s Eye, which premieres tonight at the ongoing Toronto International Film Festival.
Earlier this afternoon the hype meter went to ten with the premiere of this clip that will make you explode everywhere.
Now, Bloody Disgusting is excited to debut this freaky ass image of star Graham Skipper, who clearly has a pounding headache. Even better are a series of three exclusive art posters that look like something I’d rock on a t-shirt (Begos, send me one).
“Following years remaining off the grid, Zack (Graham Skipper) captures the attention of the mysterious Dr. Slovak (John Speredakos), a telekinesis expert with ambiguous intentions. After uncovering Slovak’s nefarious plot to empower himself using a telekinesis-enabling serum harvested from the blood of his “patients”, Zack must stop Slovak and rescue his fellow telekinetic Rachel (Lauren Ashley Carter) before it’s too late.
The Mind’s Eye stars Graham Skipper (from Begos’ feature directorial debut Almost Human), Lauren Ashley Carter (Pod), John Speredakos, Noah Segan (Looper), Matt Mercer, Larry Fessenden, and Jeremy Gardner.
Satan’s presence is strong at the Toronto International Film Festival, but only one film has left me worshipping him.
While the chilling performances of “American Horror Story’s” Emma Roberts and “Mad Men’s” Kiernan Shipka catapult the film into masterpiece status (yes, I went there), it’s Perkins’ writing and directing that stands out.
February is a brooding horror film that requires a viewer with extreme patience, not that Perkins’ film isn’t brimming with suspenseful sequences. Kat (Shipka) has nightmares/visions of her parents’ death, waking up in a cold sweat. She’s marking down the days to her prep school’s winter break, only her parents fail to show to pick her up. Same for Rose (Lucy Boynton), who tricked her parents into coming later to deal with the fact that she’s become pregnant. All the while, a side story develops with Joan (Roberts), who is being driven to an undisclosed location by “Dexter’s” James Remar and his wife, who are off to visit the grave of their daughter.
It’s pretty clear from the start these stories are going to collide, but it’s insignificant to the experience. February is a master-craft in building tension and suspense through rich characters and stunning frightening imagery.
But what I truly loved about February is that the Devil – so to speak – is presented on such a basic and instinctual level. There’s no real reference to him; there’s no characters acting as devices to explain it all, nor is there a nefarious antagonist laughing maniacally when he/she gets the upper hand. What you get is a raw interpretation of what it could be like to become possessed by evil and the feeling of extreme isolation. It all ties together, has deep meaning, and is significant in its ability to connect on an emotional level to so many of us.
February isn’t a game-changer, nor is it going to cause horror fans to erupt in applause (probably why it’s not part of TIFF’s Midnight Madness program), but that doesn’t change the fact that it’s one of the best possession films ever. Fans of slow-burn horror are rewarded for their patience as what thaws out is going to shock the living Hell out of them.