[Exclusive] Preview 'Monster & Madman' #1

bloody disgusting - Sun, 03/09/2014 - 17:12

While we still eagerly await “Frankenstein Alive, Alive” #3 from Steve Niles and Bernie Wrightson, Niles has a new book kicking off this week from IDW that also features Mary Shelley’s Daemon. “Monster & Madman” tells what can only be a bizarre story as fiction and history collide when Frankenstein’s Monster has a run in with the notorious serial killer, Jack the Ripper. Damien Worm provides gorgeous interior and cover art for the three-issue series and we’ve got your exclusive look at “Monster & Madman” #1.

Steve Niles (w) • Damien Worm (a & c)
Contrary to popular belief, the story of the Frankenstein Monster did not end at the end of Mary Shelley’s famous novel. Now, Steve Niles and Damien Worm have uncovered the shocking fact of the time the Monster met… Jack the Ripper. Read if you dare!
FC • 32 pages • $3.99

Categories: Horror News

'Reaper Of Souls' Track Takes Us To The Blood Marsh

bloody disgusting - Sun, 03/09/2014 - 17:00

In this haunting track released by Blizzard after a recent Q&A, we get an aural taste of one of Diablo III’s new environments that will be introduced in its upcoming Reaper of Souls expansion, dubbed the Blood Marsh. It’s equal parts creepy and beautiful, and it’s very much something I’d like to add to my video game music playlist, alongside everything Akira Yamaoka.

Blizzard music director Derek Duke chatted about the Blood Marsh theme during a Q&A on Battle.net, where he discussed the process and different instruments used in making the track.

“On one tangent, we recorded a bunch of really crunchy, long electric guitar tones, trying to get at that swamp vibe,” Duke said. “Didn’t work. Banjo … nope. I could never boil it down to any single simple idea.

“In the end, what worked was actually scoring to the Blood Marsh’s theme of a lost history, and the emotion and drama of events that take place there. I don’t want to spoil any of that epic experience for players, so I’ll refrain from sharing too many details. The preview track does a great job of capturing the over feel of the zone, however.”

Listen to the final product below.

Reaper of Souls releases on March 25.

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Categories: Horror News

Go On A Vision Quest With 'Year Walk' Now On Steam

bloody disgusting - Sun, 03/09/2014 - 16:34

Developer Simogo’s creepy indie game Year Walk is available now on Steam. This new version brings with it exclusive content, including new locations, puzzles, a map, in-game encyclopedia, Steam achievements, and updated art assets. The game is inspired by the ancient Swedish phenomena of “year walking,” in which people would go on a year-long vision quest to catch a glimpse of their future.

I do something similar, only my vision quest involves gorging myself on video games and day-old Chinese food — the best kind of Chinese food — until the monosodium glutamate causes me to hallucinate. What I see during that five hour-long MSG-fueled trip I interpret as my future.

Year Walk is available now on Steam for $5.99.

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Categories: Horror News

[Interview] Alison Sampson and Nathan Edmonson talk Creation, Collaboration, and Creativity in "Genesis."

bloody disgusting - Sun, 03/09/2014 - 16:15

‘Genesis’ is a new paperback graphic novella from Image Comics. Drawn by Alison Sampson, written by Nathan Edmondson, with colors by Jason Wordie, in shops on 16 April. The book is 64 pages centered on the act of infinite creation. The protagonist wanders through life willing anything he thinks of into existence. What follows is an existential look at surrealist creation that will have you questioning your own beliefs and give you a deeper insight into the loss that often comes with creating something.

I was lucky enough to have an advanced look at this insane and beautiful book. ‘Genesis’ is sure you make you feel a cavalcade of emotions. So after this stunning read I sat down with Alison Sampson and Nathan Edmondson to talk about the process of creating a book about creation.

Bloody-Disgusting: What must someone sacrifice to create? Is creation also destruction?

Nathan Edmondson: As far as this story is concerned creation requires only some control over oneself and one’s will. I’ve never subscribed to the Nietzschean notion that creation necessitates destruction; in my view that idea contradicts the meaning of creation as an original act (as a Genesis?)

Alison Sampson: Time and effort. You don’t have to sacrifice principles to work with other people, just a bit of ego. In creating, you are always revealing a little bit of the inside of yourself, so you give away a little bit of privacy, exposing yourself by putting your work out there, so that’s a sacrifice. It’s so much harder to design a utopia than a dystopia, with the former, you have to put so much more of yourself on the page. And in terms of there being destruction, well, one thing always displaces another, even if that thing destroyed is a white page- and the world is already full of stuff, so yes. Creation is change and flux, and something going from one state to another.

BD: The book has a very somber and emotional tone, how did this affect the art?

AS: The script Nathan gave me was pretty concise. I think it could have been interpreted in a number of ways, but there are certain events, which set the tone. It seems all my art is sombre and emotional. I was listening to things like the Gravediggers Song, by John Lanegan. I wanted the comic to be as beautiful as possible, and gentle. The Hiroshi Yoshida idea for a palette came out of that- he uses quite strange (but often soft) colours in an emotional way, on landscapes. Jason applied that palette in probably a sunnier way than I expected, and he put a lot of work into what went where. So the three of us brought our different approaches and they tied up together to form what you see.

BD: The approach of the book seems seeded in spiritualism, but is really about creativity. Why call the book genesis?

NE: Simply because of the relationship to the idea of a creative beginning; Genesis also offers the broad blanket to cover a number of things the reader might take away from the story (not that I have any idea what those things are, really, but Genesis will hopefully cover them!)

BD: Why is Adam so disappointed in his own monumental achievements?

NE: Not sure. Perhaps he’s something of a perfectionist, like a painter who hopes his first works will live up to the great pieces of art he studied before painting himself. He realizes, perhaps, that his power is nearly limitless, but not self-directing.

AS: It’s probably reasonable. The learning process in art usually means you look at your older work and think “I could do so much better/ so much more than that”. You know where all the mistakes lie, where all the compromises were made. The execution is never as pure as the idea, and is complex and compromised and has more things to pick at. And you are older and wiser, and have the benefit of hindsight.

BD: What made you want to tell this story?

NE: That’s not something I’m ever sure I can answer about a book; sometimes you just get hooked by an idea. I had this one bouncing in my head for sometime before I found a collaborator to take it forward.

AS: I love making things- its a way of leaving your mark on the world- and Nathan pitched his idea really well. And I liked the idea of taking on something almost mythic- those tales stand the test of time. And it sounded like tremendous fun to draw (which it was).

BD: The art has a towering and almost overwhelming style showing monumental creation, how did you decide on the look?

AS: I had the script and in designing on the paper, I don’t do a lot of thinking, so it was looking at where the marks on the paper went, and trying to see how I could get the composition right and get it to make sense. I like detail, and since this is not a monthly book, I didn’t want it to look like one. You can do an awful lot with the design of space, to make your point. There is a lot of original design work in this book, even of things like crowds and landscapes.

BD: How did you design the warped and unfamiliar structures that populate the book?

AS: I drew thumbnails, layouts at print size, got things in the right place, scaled them up onto Bristol board, pencilled all the figures onto the pages in detail, then designed the architecture round them, following the basic lines on the rough. Usually I try not to do too detailed roughs, because otherwise you end up designing it again. Often the pencils aren’t too detailed either, because not everything has to be worked up to the same level. Its much harder to design something than to copy a photo. Design takes time, and even longer if you want it to be perspective perfect.

BD: What was your favorite part of creating the book?

NE: As with any comic, it’s seeing the world and story come to life in the art. Until the art is rendered, the story is just an idea, just an intention. With GENESIS as you can see, the art came to life and evolved quickly into something far beyond a writer’s ability to describe and imagine and plan for, which makes for a truly enjoyable collaboration and relies, of course, on an artist with the prowess and skill that Alison brought to the story.

AS: Designing the pages, and also inking them, to bring the design to life. I also really enjoy some of the inconsequential parts, like putting together the crowd in the market, with all the facial expressions. It isn’t material to the story, but it makes a better book. I also enjoyed getting the script in. It could be anything…

BD: Alsion, how did your past in architecture factor into creating this book?

AS: That is hard to answer as I don’t have the benefit of being able to compare it to any other past. But I’m sure the answer is “a lot”, from the way the art is drawn, to the page layouts and the way one space on the page relates to another. I’d have had less conventional page layouts if there had been more breathing space in the script, as well.

BD: How did you create the staggering look of the architectural figures? Was there any collaboration on the visual look of the book?

AS: : I designed the architecture, the pages and the book and drew the art in black and white, recruited Jason Wordie and worked closely with him, and John Babcock, the letterer; chose the non-story content, and invited the guest artists- Robert Ball, Travel Foreman, Artyom Trakhanov, Chris Visions, Matthew Tayor, Ian McQue (who did our variant cover), Joseph Bergin III (who did our cover colours and inside back cover) and Tommy Lee Edwards. Nathan didn’t get involved with the reference, art, files, or production. Genesis is also full of easter eggs, where I refer to the work of my friends, or have taken a small suggestion from them- Ale Aragon’s panda, Jock’s studio, Matt Southworth’s lighthouse, all sorts of things are there. I dig into memories of places I’ve been and architecture I like.

BD: Creating something outside of ourselves means confronting aspects of our own personality, what parts of you are in “Genesis?”

NE: Writing is, if anything, I think, an exercise in trying to keep yourself out of what you’re working on. Hopefully I’m not identifiable in any direct way in my work, especially because I wouldn’t want a reader trying to decide what they think of identifying with me—but only trying to enjoy the work itself.

AS: I think the same goes for the art in this instance. We are trying to tell a story, not tell about ourselves. This said, there is a period of my life in there and a learning experience and a lot of hard work. Two people very close to me passed away, when I was making this. My good friend Shayla passed away when I was drawing page 30 and I put her name on the street sign. My mum passed away about three weeks before I knew Image would publish, and her name is on the inside front cover (actually, as is Shayla’s).

BD: What’s next for the two of you? What are you currently excited to be working on?

NE: In addition to continuing with The Punisher and Black Widow (and some more Marvel stuffs) I have some creator owned work coming up quickly while I wrap current books—and some more film and television fun.

AS: I’m just putting the last couple of pages, from the guest artists, into the Genesis, then this book is complete for Image. I’m drawing a horror story with a US-based writer, and developing some other creator owned work. And I’ve also got a story in In The Dark, from IDW, which is out a week after Genesis.

“Genesis is available for pre-order now, with Diamond code FEB140504, for comic shops.

The cutoff for pre-orders from comic shops is 24 March, so order from your retailer by then to be sure of getting a copy.

The ISBN for bookshops is ISBN 978-60706-995-9

Retail price is $6.99, 64 pages + cover, full colour, paperback.

Categories: Horror News

Watch Us Play: 'Resident Evil 4 Ultimate Edition' Episode 4

bloody disgusting - Sun, 03/09/2014 - 16:09

After a short break, we’re back with more Resident Evil 4 Ultimate HD Edition! In this episode, we discover that Leon has alien protozoans inside him and that sleeping on the cold hard floor is basically asking for Osteoporosis. Also, this episode may or may not be sponsored by Jolly Ranchers, the sweet treat you can take with you on the go.

Today’s question is: how many cats do you think Hunnigan owns? Let us know!

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Categories: Horror News

'Inside' Directors' 'Among the Living' Trailer Blasts Insanity!!

bloody disgusting - Sun, 03/09/2014 - 14:44

Our favorite tipster, Fabien M., has shared with us the first ever footage from the hotly anticipated Among the Living, the latest French horror entry from Inside and Livide‘s Julien Maury and Alexandre Bustillo.

Looking like a mix of Stand By Me, Texas Chainsaw Massacre and It, the French trailer is jam-packed with bizarre imagery, violence and gore. The best part is that you don’t even need to speak French to enjoy the insanity! I also enjoy the 80′s feel, and the fact that it looks about as bloody as their first two films.

Hopefully we get to see this soon, and not have wait an eternity like we are for the underrated Livide.

World Premiering at the ongoing SXSW Film Festival, “Youngsters, Victor, Dan and Tom skip school to wander around an abandoned movie set. They stumble upon a horrific vision : a woman in chains is dragged through the field by a man wearing a clown mask. The masked man catches a glimpse of the boys, who scramble to run away. But, before they can escape, they see something which has been hidden for years, something they were not meant to see. Terrified of having been seen by the masked man, the boys try to alert the police. Unfortunately, their past record of unruly behavior discredits them and the police do not follow up on their tipoff. That night someone breaks into their homes, seeking to eliminate them…one after another… They are going to meet Klarence…

Chloe Coulloud, Lannick Gautry, Francis Renaud, and Beatrice Dalle (Inside) all star.

Categories: Horror News

Serial Killer Hunts 'Apocalypse Kiss' Red Band Trailer

bloody disgusting - Sun, 03/09/2014 - 14:30

We now have the red-band trailer for the April 8 DVD release of director Christian Grillo’s Apocalypse Kiss, featuring a who’s who of the horror and science-fiction world including Tom Atkins (My Bloody Valentine 3D, Halloween III), Michael Berryman (The Hills Have Eyes) and D.C Douglas (CHUD).

The film meshes a unique and stylish film noir template – parallel to Robert Rodriguez’s Sin City and the upcoming Sin City: A Dame to Kill For – with explosive action.

In the pic, “Adrian, a serial killer with O.C.D. fights for his place in the media while two nomadic lesbians are getting the credit for his murders. Meanwhile, the world as they know it is about to come to an end.


Categories: Horror News

[SXSW '14 Interview] Mark Duplass And Patrick Brice On Mixing Comedy And Terror In 'Creep'!

bloody disgusting - Sun, 03/09/2014 - 13:23

Last night Patrick Brice and Mark Duplass (who directed Cyrus and Jeff, Who Lives At Home with his brother Jay) unveiled their new film, Creep, to a packed house at the SXSW film festival in Austin. It’s not 100% a horror film, but it works remarkably well as one regardless (there is some truly disturbing and frightening stuff here). It also happens to be laugh-out-loud funny while possessing some legitimate insight into the truly troubled minds of its lead characters. I’ll have a full review up later – but this is definitely one to watch for if you like stretching your wings outside of the box a bit.

In the film produced by Jason Blum of Insidious and Sinister fame, “Looking for work, Aaron (Patrick Brice) comes across a cryptic online ad: ‘$1,000 for the day. Filming service. Discretion is appreciated.’

Low on cash and full of naiveté he drives to a cabin in a remote mountain town where he meets Josef (Mark Duplass), his cinematic subject for the day. Josef is sincere and the project seems heartfelt, so Aaron begins to film. But as the day goes on, it becomes clear that Josef may not be who he says.

Brice makes his directorial debut with the film in which he co-stars with his scripting partner Duplass. Check out our quick chat below!

When you’re approaching something that straddles the line between comedy and horror like this, do you just kind of make the character piece and let the end result dictate how you label it?

Duplass: That’s a great question. We set out to make something that was inspired and interesting and loose. We had very little endgame in mind, just the core interaction between these two people. So we put together an outline and shot for about a week. We came home and put some stuff together and looked at what we had. Then we went through this process of shooting a bit more, editing a bit more then showing it again. At some point – we noticed people were getting really fucking scared in there.

It’s this thing that’s similar to Misery, where you’re watching this nice, lovely person but something’s off. So at that point we thought it was time to go into the madness, and that’s when the movie started to take shape.

How is it playing someone like this? Someone who can very rarely have an honest moment.

Duplass: We were interested in the psychological profile of this very, very strange person. We were very interested in how you meet people and don’t quite understand what’s up, but you start to get signs. For us that was intense eye contact, lack of personal space, oversharing, maybe a little bit too much love here and there. But, for me, there’s something wrong with both of these guys. Deeply. This concept of, “who is the creep in this scenario?”

Patrick, you can’t say no to this guy.

Duplass: There’s such a thing as enabling.

Brice: There’s a bit of a compulsion going on for sure. And I’d never seen a movie that dealt with that type of human interaction, at the level we deal with it – the ability to almost discover the dynamic in real time.

Duplass: Patrick and I, in our daily lives [in the film industry] almost invite that kind of energy. We’re guilty of that. That’s where it all started. Some people find it really funny, others find it terrifying. It’s okay to experience one moment in completely different ways. We saw that in the theater last night where there were couples where one person would be screaming and her husband would be laughing and they would argue about it after the show. “How could you possibly laugh at that?” That’s great, that makes the film a success for us.

Patrick, you see a lot of found footage movies where it’s pretty clear the characters aren’t operating the camera. Here you are. How does that work as an extension of your performance?

Brice: We’re both wearing a lot of hats, You have to rely completely on your intuition. I was very aware of the genre and the fact that there has to be a justification for the camera being on at every moment.

Being a bit burned out on found footage, when the movie started I was worried. But it works.

Brice: Luckily I think Jason Blum was burned out too.

Duplass: Yeah. I’m friends with him and he had heard I was doing this thing and he was like, “I gotta look at it but I have to say I don’t want another found footage movie.” And then he called after watching it and said, “We have to do this. It’s the only one where it makes sense!” It was fun to partner up with him and see what we could do that was an in depth character piece that also obeyed he rules of the horror genre to some extent.

At this point do you feel that horror needs a bit less adherence to strict genre beats?

Duplass: Well that’s all we have to offer, that’s all we know. I think somewhere out there there is a true genre gorehound that can understand the state of the industry and find a way to make it new. But where we’re coming from is sort of stumbling into it ass backwards because our movie happened to have a more terrifying element. In many ways it’s fresh because of our ignorance.

Brice: We’re just happy to play in the sandbox.

Categories: Horror News

[TV Review] "From Dusk Till Dawn: The Series" Pilot Is Impotent and Lazy

bloody disgusting - Sat, 03/08/2014 - 22:01

What’s the point of remaking something if you can’t do it better than the original?

18 years after From Dusk Till Dawn hit theaters, Robert Rodriguez will see his television adaptation of the same name debut on the new El Rey Network. I was able to catch the pilot episode, which premiered this weekend at the SXSW Film Festival in Austin, Texas. While the first episode is a nearly shot-for-shot and line-for-line remake of a feature film, it does open up the door for interesting possibilities…

The hardest part about reviewing the first episode of “From Dusk Till Dawn: The Series” is that it’s equally good as it is bad. Here’s what I mean by that – for those of you who have seen the 1996 film, it’s a god-awful rehash with cheaper sets and a lesser-than acting prowess. If you’ve never heard of nor seen From Dusk Till Dawn, well, it’s clever, cute, fast-paced and possibly engaging.

Going with the assumption that everyone on Bloody Disgusting has seen Rodriguez and Quentin Tarantino’s film, I don’t understand the direction of the series. The pilot is trivial and over and above idiotic. Why the hell would anyone want to watch the exact same opening scene, extended into a 40-minute episode, with cheaper sets and even cheaper actors? It just makes zero sense. Even more disconcerting, D.J. Cotrona’s rendition of Seth Gecko is enraging. I don’t know if I should blame Rodriguez or Cotrona, but it doesn’t make any sense to have Cotrona do a crappy impersonation of the great George Clooney – why couldn’t he create his own interpretation of Seth Gecko much like Zane Holtz did with Richie Gecko (originally played by Tarantino)?

A brief spoiler(?) as the pilot ends with the convenience store shoot out, which makes me believe the entire first season is going to be a crappy rehash of the events of From Dusk Till Dawn. To me that’s impotent filmmaking, lazy storytelling, and a spit in the face to the fans that El Rey’s catering to using the title “From Dusk Till Dawn” (assuming that’s who they’re selling it to).

With that said, I am interested in seeing where the series goes when it’s not riffing on the original material. I’m hoping Rodriguez and company can get through the motions quickly and take us into new territory this season – but I doubt that’s going to happen based on what I’ve seen. And even if that does happens, can Rodriguez engage viewers with his own witty dialogue? Without Tarantino to the rescue, I see a dark future ahead for El Rey’s debut original series.

If anything, at least new viewers will enjoy the expanded chaos of From Dusk Till Dawn that’s jam-packed with wit, gore and surprises.

Categories: Horror News

Get a Closer Look at The Machine - New Stills, Art, and Trailer

Dread Central - Sat, 03/08/2014 - 21:15

More goodies are here for Caradog James' The Machine. Hot on the heels of the release of the film's first five minutes come new stills, a redesigned poster, and a brand spanking new trailer. Dig 'em all!

Toby Stephens (Die Another Day), Caity Lotz (The Pact, "Mad Men"), and Denis Lawson (Star Wars, Local Hero) star. Look for more on this one soon!

Britain is in a Cold War with a new enemy, and the Ministry of Defense is on the brink of developing a game-changing weapon. Lead scientist Vincent McCarthy (Toby Stephens) provides the answer with his creation, ‘The Machine’ - an android with unrivaled physical and processing skills. When a programming glitch causes an early prototype to destroy his lab, McCarthy enlists artificial intelligence expert Ava (Caity Lotz) to help him harness the full potential of a truly conscious fighting machine.

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Categories: Horror News

New International Deliver Us from Evil Trailer Follows the Steps

Dread Central - Sat, 03/08/2014 - 21:06

The official trailer for Scott Derrickson's super spooky looking film Deliver Us From Evil premiered yesterday, and now, just like that, we have a look at the international eye candy for ya! Say your prayers and dig it!

Joel McHale, Sean Harris, Edgar Ramirez, and Olivia Munn star alongside Eric Bana. The film is a paranormal thriller produced by Jerry Bruckheimer Films. Derrickson directs a script he and Paul Boardman (The Exorcism of Emily Rose) wrote.

Screen Gems is hoping this will blossom into a franchise. Look for it in theaters July 2, 2014.

New York police officer Ralph Sarchie (Bana), struggling with his own personal issues, begins investigating a series of disturbing and inexplicable crimes. He joins forces with an unconventional priest (Ramirez), schooled in the rituals of exorcism, to combat the frightening and demonic possessions that are terrorizing their city. Based upon the book, which details Sarchie’s bone-chilling real-life cases.

For more info "like" Deliver Us from Evil on Facebook.

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Keep demons in check in the comments section below.

Categories: Horror News

More Images Arrive to Get Under the Skin

Dread Central - Sat, 03/08/2014 - 20:58

Several new images are here for Under the Skin, the sci-fi thriller that stars Scarlett Johansson as an alien seductress. It's written by Walter Campbell and directed by Jonathan Glazer.

In the film Johansson's character scours remote highways and back roads in Scotland for human prey.

Under the Skin arrives March 14th in the UK, April 4th in New York and Los Angeles, and April 11th everywhere else.

From visionary director Jonathan Glazer (Sexy Beast, Birth) comes a stunning career transformation, a masterpiece of existential science fiction that journeys to the heart of what it means to be human, extraterrestrial — or something in between. A voluptuous woman of unknown origin (Scarlett Johansson) combs the highways in search of isolated or forsaken men, luring this succession of lost souls into an otherworldly lair. They are seduced, stripped of their humanity, and never heard from again.

Based on the novel by Michel Faber (The Crimson Petal and the White), UNDER THE SKIN examines human experience from the perspective of an unforgettable heroine who grows too comfortable in her borrowed skin, until she is abducted into humanity with devastating results.

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Get probed in the comments section below!

Categories: Horror News

Fox Takes a Wrong Turn for the Sixth Time; Now Filming!

Dread Central - Sat, 03/08/2014 - 20:51

Yesterday we got an e-mail stating that House of Bad's Sadie Katz was cast in Wrong Turn 6, which is currently filming in Bulgaria. We sat on it because we were told a more fleshed out official release was on the way. In the interim Bloody Disgusting did some digging and found out a whole lot more.

Fox has gone in a new direction, tapping Re-Kill‘s Valeri Milev to direct the fifth sequel to the outback slasher franchise.

In addition, the entire cast has been revealed: Killjoy Goes to Hell‘s Aqueela Zoll leads the roster alongside Anthony Ilott, Chris Jarvis, Rollo Skinner, Billy Ashworth, Joe Gaminara, Harry Belcher, Raymond Steers, Luke Cousins, Tabitha Luke Eardley and Roxanne Pallett.

Wrong Turn 6 was penned by Frank H.Woodward. Look for more soon!

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Categories: Horror News

Today Marks The 20th Anniversary Of Nine Inch Nails' 'The Downward Spiral'

bloody disgusting - Sat, 03/08/2014 - 17:56

As the headline so eloquently puts it, today marks the 20th anniversary of Nine Inch Nails‘ classic album The Downward Spiral. This album is widely considered the group’s finest release, with such incredible tracks as “Closer”, “Hurt”, and “March Of The Pigs”.

It also featured some notable personnel, including Chris Vrenna (Tweaker, composer of American McGee’s Alice), Adrian Belew (King Crimson), Charlie Clouser (composer of Saw), Danny Lohner (Renholdër), and more.

Upon release the album was a critical success, reaching number two on the US Billboard 200 and going on to achieve multiple platinum status. I personally own the deluxe 2xLP vinyl and it’s a joy to put on.

Let’s celebrate this album by you telling me your favorite Nine Inch Nails song (from any album) in the comments below!

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Categories: Horror News

[SXSW '14 Review] One Central Miscalculation Hurts 'Honeymoon'

bloody disgusting - Sat, 03/08/2014 - 17:00

Writer/director Leigh Janiak’s Honeymoon is the rare example of a film that actually does quite a bit right but is critically hobbled by one miscalibrated piece of machinery. It’s not that the machinery in question is in and of itself faulty – it just doesn’t belong in this particular engine. When that happens, you’re left with an engine that is easy to admire but won’t actually get you anywhere.

In its opening moments the film is able to somewhat mitigate the cliche of its two leads delivering testimonials to the camera, on the day of their wedding, by adding a palpable authentic warmth to their chemistry that is all too rare in horror films. Unfortunately, it’s here, swinging for the fences to distinguish and elevate its characters, that Honeymoon makes its gravest miscalculation – it goes too big. The husband character of Paul (played by Harry Treadaway) is a cloyingly earnest presence who becomes pathologically needy by the end of the film’s first act and begins exuding an unwaveringly jealous rapey vibe by the midway point.

The problem is, Paul’s not a villain. He’s the audience’s access point into the entire thing. After his wife Bea (Rose Leslie) goes missing for a few hours during their up-to-that-point idyllic honeymoon, it becomes increasingly clear that she’s not well. She’s not necessarily being unkind towards him, but there’s a wounded sensitivity there that causes her to pull away from Paul. His response to her withdrawing a bit? To whine and needle and attempt to guilt her into sex at every turn. “I’m your husband,” he proclaims after being spurned (to be clear, they have had plenty of sex up until this point – maybe the lady just wants a day off). He equates physical validation with love at every turn and certainly puts a higher premium on it than trying to help her through whatever she’s going through.

Of course, the reason Bea is behaving differently is that she is different. Some kind of Alien presence is inhabiting her body Almost Human style and is trying to ape her behavior (to what purpose, I’m not sure – though there is some admittedly gooey practical body horror that goes along with this that I quite enjoyed). We should be feeling bad for Paul. This is some tragic sh*t, after all. But when he gets angry that she doesn’t enjoy a lame pantomime involving a frog he’s planning on cooking for dinner – it’s hard not to want to punch him.

In fact, midway through Honeymoon I began wondering if this Alien abduction business wasn’t some ingenious plan Rose concocted to distance herself from a husband she clearly made a mistake marrying. There are so many great real life honeymoon horror stories that I truly feel like this would have been fresh and relatable angle.

During the Q&A Janiak, who is clearly both an intelligent film consumer and talented director to watch despite my feelings about this film, said the inspiration for Honeymoon comes from those very moments – the horror of looking at someone you’ve decided to spend your life with and wondering “who is this person?” Unfortunately Honeymoon asks that question from the entirely wrong perspective. Which is a shame, because if this movie had been barking up the right tree it could have made a truly unique impression.

Categories: Horror News

[Interview] Ryan K Lindsay Talks John Carpenter Inspired 'Headspace'

bloody disgusting - Sat, 03/08/2014 - 15:51

MonkeyBrain comics has been paving the way for independent digital comics, releasing quality, affordable titles from passionate creators. Ryan K Lindsay, no stranger to indie comics, just released the first issue of his ambitious new crime/horror/sci-fi series “Headspace” through MonkeyBrain on Wednesday, and it falls right in line with the rest of MonkeyBrain’s books. The high-concept series follows Shane, the sheriff of Carpenter Cove, who discovers that his strange town is actually a construct in the mind of a killer. It only gets crazier from there.

I sat down with Lindsay to chat about the crazy idea behind “Headspace”, his love for horror and sci-fi, and getting into the mind of a serial killer.

BD: How did Headspace come to be? How do you pitch such a crazy story?

Ryan K Lindsay: The initial kernel was a thought I had of a prison created inside the mind of a man by the government because of overpopulated prisons and real estate issues. It sat, an idea, not a story, and then Eric Zawadzki sent me a DM on twitter about collaborating and we ended up putting this idea to work for us, albeit in a now much different way.

From there, Eric and I spent months massaging the story, getting the characters and the moments just right, and this was all at the end of 2012 so by the time ECCC rolled around, and I flew over, Eric and I pitched it around. Pitching the book was fun but felt a little difficult. It’s a heady concept (excuse the pun) and one I don’t like dropping in just one sentence because it leaves out layers that I feel are important. I had the story paired down to a soundbite chunk – a concept I feel I’m still doing now as we hit the press and the public – and we were lucky enough to land at Monkeybrain, a literal dream publisher of mine from their very first day.

BD: I know you love The Thing, so I gotta ask, is the name of the fictional city in Headspace, Carpenter Cove, inspired by John Carpenter?

RKL: Ha, man, you know it. Carpenter Cove is such a pivotal setting in the book, it really is another character as it goes through these changes, that I knew I wanted a killer name, yet not something so involved it would isolate or deflect people. I can’t remember exactly how I landed on it but once it was there it never budged an inch. John Carpenter is a man who fuelled the imagination of my childhood and so to nod to him in this way means a lot to me.

BD: The book takes place in a world that is far from normal. How do you go about creating such a bizarre world, yet one that we can understand from the get-go?

RKL: We put in a lot of work defining the parameters and rules of the Cove. Everything had to have a reason and everything had to make sense. We open with Shane, the sheriff of Carpenter Cove, performing his duties even though he doesn’t really know why. He doesn’t know how he got to this place, where he was before, what he should really be doing or thinking so he just goes about this role somehow laid out in front of him. He keeps the peace in the Cove. And all of this will be explained moving forward, there is a reason these people were clouded in their mind, and there is a reason they were given jobs, and even why they were there in the first place. We thought everything through – or, lord, I hope everything, I’m sure someone will pick a major plothole for us in good enough time, ha.

As for making the Cove bizarre and yet understandable, really that’s all Eric Zawadzki. The way he builds locations and moves his players through it is masterful. Through the colours he creates the tone of this town and I felt it was my job to match his lead with the words I dropped. I had to complement his presentation of the Cove. I hope, in the end, we’ve created a memorable landscape but one we can also play in because we’re only just getting started in showing you what the Cove can do and what it has in store for Shane.

BD: You also waste no time showing that violence and murder are a big part of this world.

RKL: The story takes place in the mind of a killer, and the killer’s mind is invading this safehaven. Things are not going to be pretty. His thoughts, fears, memories, everything are just pulsating over Carpenter Cove in waves we can’t even comprehend with modern science. The Cove is not going to be a nice place and putting Shane, a man who states in the opening sequence that he doesn’t believe in killing, against this murder and mayhem is truly going to test him and his stance.

Then we have Max, the killer, in the real world and Chris Peterson and Marissa Louise drop bombs with their art collaboration. Max is a slick and efficient killer, who does what he must, and then he retreats into himself. An introspective man with a hidden world inside him is going to be a man torn apart.

BD: In the first issue Shane starts to realize that there is something very wrong in Carpenter Cove, and also starts to see glimpses of his past life. Can we expect those worlds to collide more in future issues? How does the world start to change around him?

RKL: Yes, Shane’s memories of the real world come back to him and this sparks his quest, he has to get out of Carpenter Cove and back to the real world and his real life. His returned knowledge of his life is obviously a major motivator for him but things also slowly tighten closer as things from the real world really do collide with this headspace. We will learn more about Shane, and then more about Max, and we’ll see that just leaving the Cove isn’t the only complication to be solved.

BD: The concept of literally going into the mind of a killer is intriguing and quite disturbing, yet the world you present is almost quirky. Why did you go in that direction as opposed to making it completely dark and horrific?

RKL: There are two reasons. One, we open on Carpenter Cove and it’s this messed up government facility. My favourite character in the world, Gil the dogheaded cyborg bartender, is a perfect example of how the government were running this place. The Cove was the safehaven, it was this weird little place, and so we play with it quirky because it’s what leaks into it now that is the black tar of the mind. I’m also not overly interested in just writing the bleakest stuff imaginable, I wanted this book to feel a little gonzo.

As for the second reason, well, I think you’ll find that out in issue #5

BD: You’re a huge science fiction fan, yeah?

RKL: Oh, man, so much. I grew up devouring horror and science fiction as a kid because my eldest brother is a decade more mature than I. I saw things no 6 year old should see, and I loved it. I always thought I’d be a horror writer, Stephen King and Clive Barker being the muses, but I’ve found I like playing with the sci fi genre a lot more. I think it’s because it can be more free, more open. Look at Headspace, we make up this entire science idea that we’ll never have to explain because it’s complete fiction. I know how it works, on a layman’s level, and we discuss it in the book as much as the narrative needs it, but otherwise I get to wholly make this up. That’s why I love sci fi. If I can then blend some genuine horror into the sci fi then my job is done.

BD: As a fellow Philip K. Dick enthusiast, it’s clear that he’s a big influence on Headspace. First, how did you first come into contact with Dick’s work?

RKL: I was twelve or thirteen and at a local carpark market sale. My hometown had them every weekend and I’d ride my bike down and touch all the secondhand books. I was filling my King/Barker collection and branching into other places and one weekend I picked up this book and it was 50c. I dug the cover so I took a gamble. The book was A Maze of Death by PKD and while it’s nowhere near his finest it’ll always hold a strong place in my heart. I read this book and it blew the doors off my mind. I really dug it so I started tracking down more PKD, but strangely enough, I don’t know how it is in North America but, in Australia PKD paperbacks are super hard to find. Most secondhand book stores don’t have any, or the ones the have are prices out of their asshole. This has meant that my collection, which is currently at 37 paperbacks in length, has been a bloody hard slog to accumulate.

But it’s worth it because each masterpiece I read reminds me how damn good PKD is.

BD: What about Dick’s specific brand of sci-fi appeals to you? How do you pay homage, but make it your own at the same time?

RKL: I’ve long been floored by PKD’s ability to tell strange stories in other worlds with wide casts of characters that always end up commenting on our society. His brand of social commentary is without peer because you don’t even see it coming. You read things like Clans of the Alphane Moon or The Days of Perky Pat and you can see PKD is just on a whole other level. Parallel to this, I also love how PKD plays with layers of reality, like in Time Out of Joint and The Three Stigmata of Palmer Eldritch (which I wish wish wish Christopher Nolan would adapt to the screen), and it’s this aspect I think that informs Headspace more than anything else. That idea of not knowing what is real, but having the surreal and non-real be just as dangerous to you anyway is a fantastic conceit to work with.

In the end, I am happy to be informed and inspired by PKD but I don’t want to be PKD Lite. And I don’t think anyone will look at this book and think it’s anything close to PKD (make your jokes about quality level now, people) because I’m really working my ass off to make this feel more like a Ryan K Lindsay written book than anything else. It’s got those blends of horror, and family, that set it out as uniquely being our story. Plus, I’ve also got the secret weapons of Zawadzki, Peterson, and Louise who PKD certainly never had, though his paperback covers were always so damn gorgeous…but Eric is killing it on our covers so I think I can take a run at the champ and feel good about our book.

BD: There are also elements of cosmic horror. How does this tie into everything else going on?

RKL: This is poor Max’s mind showing its true colours. All the things he keeps close to his chest, all the repressed emotional ink he bottles up, is spewing onto the streets of Carpenter Cove and the nasty we see here is some of the worst Max has within himself – though there is worse to come, we promise.

I figured, we’re dealing with an imaginative landscape so why go small? Everything should be big, bombastic, insane, gonzo because, well, basically we can. Plus, Max is a messed up dude so you never know what you’ll find inside him. But just getting to bring to life the fears and terrible shadowy corners of a killer’s mind was too much fun of an opportunity to pass up. Especially when Eric’s doing the heavy visual lifting because flying dragons and a town gone wild look amazing through his mind’s eye.

BD: You’ve worked in creator-owned quite a lot, especially with some of the more independent publishers. Why do you think there’s been such a shift toward creator owned material in recent years?

RKL: I think it’s the freedom offered. I recently said that if you give amazing talent the ability to steer their own ship then they’ll always expand horizons and maps. Right now, we are seeing this. The brightest names and minds in the game are at a place where they can fiscally dive into the CO pool and make a living from it, which is nigh on impossible to do at the start of your career. It’s no secret or surprise that a whole slew of the best books running right now are coming from industry titans, and old school names, doing their CO work. Playing in a sandbox is fun, and oft yields great work, but being the master of your domain, and being allowed to set the rules to your kingdom is just always going to offer up richer narratives with deeper intent. Most creators have done their best work on their own properties, I think most will agree with this in the majority of the statement.

And this has always been the way but the shift now is the readers are truly understanding it and instead of choosing the houses of Marvel or DC like this is some sort of Game of Thrones battle with your money and spare reading time so many readers are branching out, and following names, and trying new things because of online hype and general curiosity and desire to feed upon something new. The readers want it, thus support it, so creators feel supported, and create more of it, so the readers have more and want more. It’s a good spiral for the industry to be in right now. And I’m happy to do my bit because I love CO projects.

BD: What else do you have in the works?

RKL: The good ship Headspace will charge on through all of 2014 and I think people will dig how deep we go with this sucker. Issue #2 really solidifies this world and Shane’s terrible place in it, #3 ends on such a whopping page of glorious artwork from Eric that it’s criminal for him to be this great at delivering the good moments, and then #4-5 lift the game even further until you won’t believe what happens at the end of #6. From there, well…you’ll see.

Later in the year, I have Chum, a beach noir tale that’s my shot at a Gold Medal paperback style killer tale. It’s got Sami Kivela on art with Marissa Louise on colours and Nic J Shaw on letters.

I’m also working two new DIY one-shots: one is this weird crime tale like Polanski made it but it’s got an anthropomorphic lead and it’s also got Sami on art, and the other is a lady kung fu revenge tale from local legend Louie Joyce. Both of these are insanely tight and beautiful books.

BD: Anything else you want readers to know about Headspace?

RKL: I want them to know we have a plan. I want them to know, from the very first page, everything means something. If you pay attention, and stick with us, you’ll be rewarded with a dense story that’ll absolutely shatter your mind and your heart. Plus, y’know, it’s 99c an issue, try the first one with 22 pages and some back matter because that’s a steal and I guarantee you’ll be hooked.

Categories: Horror News

[Random Cool] 'Godzilla' 2014 Trailer Using 1954 'Gojira' Footage!!

bloody disgusting - Sat, 03/08/2014 - 14:34

Making his first appearance in the 1954 Gojira, Godzilla is a giant monster that lives in the sea that comes from the ocean to feed on mankind.

Last night we revealed a connection between the 1954 film and the 2014 Godzilla remake – but imagine if the newest trailer had used footage from the original film!

Below you can watch a mash-up trailer that takes the 60 year old footage and combines it with the audio from Warner Bros. and Legendary Pictures’ remake!

Gareth Edwards (Monsters) directs an all-star cast that includes Elizabeth Olsen, Bryan Cranston, Aaron Johnson, Juliette Binoche, David Strathairn, Ken Watanabe, Richard T. Jones, Sally Hawkins, Akira Takarada, Victor Rasuk, Yuki Morita, C.J. Adams, and Gary Chalk.

In theaters May 16, 2014, an epic rebirth to Toho’s iconic Godzilla, this spectacular adventure pits the world’s most famous monster against malevolent creatures who, bolstered by humanity’s scientific arrogance, threaten our very existence.

Categories: Horror News

[SXSW '14 Interview] 'Honeymoon' Director Leigh Janiak On Relationship Terror And Body Horror

bloody disgusting - Sat, 03/08/2014 - 13:56

Leigh Janiak’s Honeymoon premiered to two full houses on the first night of SXSW last night in Austin, clearly a victory for a first time filmmaker with a unique vision. I sat down with her this morning at the Driskill hotel to talk about the relationship inspiration behind the film, scoring “Game Of Thrones” star Rose Leslie and her love of Rosemary’s Baby and Cronenberg-ian body horror.

In the film, “Young newlyweds Paul (Harry Treadaway) and Bea (Rose Leslie) travel to remote lake country for their honeymoon where the promise of private romance awaits them. Shortly after arriving, Paul finds Bea wandering and disoriented in the middle of the night. As she becomes more distant and her behavior increasingly peculiar, Paul begins to suspect something more sinister than sleepwalking took place in the woods.

Check it out below!

Last night during the Q&A you said the film comes from a place a lot of people get to, where they look at the person they’re with and ask, “who is this person?” Is there a specific instance of this that inspired it?

There wasn’t a specific moment before we wrote the script but part of the thing is, and this is going to get weird now, my boyfriend is a twin. We used to all live together, the three of us. And there was a moment when we were all in Vancouver while my boyfriend was shooting his first movie where I woke up and saw my boyfriend standing next to his computer. I didn’t have my glasses on yet and I walked over and touched his back a little bit and he turned around and it was his brother. That moment was so terrible! We were like, “ugh!” To touch someone in this familiar way and have it be completely different… those moments hit home for me.

Even small moments though can drive a wedge between people. “I don’t like this movie.” “What are you talking about? Of course you like this movie.”

You can tell they’re trying really hard to make the honeymoon work. There’s a pressure there to not disappoint the other person.

That’s interesting, I think that’s one of the reasons we went to a honeymoon. It’s this protected space where it’s just you guys away from the world, whether you’re at a resort or a cabin. You’ve made the decision for this little amount of time the blackberries are going away and there’s the pressure of, “we have to make this good.” I’m not sure what it’s like, I’m not married, but it also seems like there’s just a lot of cultural stress.

Where in the “Game Of Thrones” trajectory did Rose Leslie come onboard? That’s quite a get.

I love Rose, she was my first choice. We shot in the spring of last year, after season 2 of “Game Of Thrones.” But her character wasn’t in that season that much. The big John Snow cave scene, that aired while we were shooting. And part of it, I said last night, I had read the “Game Of Thrones” books and Ygritte was my favorite character. I knew her trajectory, I knew where she was going. When Rose started playing her I thought she was amazing and was really nailing that energy. I just thought she was a star. I felt really really lucky to have her.

You mentioned a preference for Cronenberg body horror as well as Polanksi’s Rosemary’s Baby. There’s a scene in the film where both of those elements collide – I don’t want to spoil it for anyone – but what was the process of that like? It’s fairly nightmarish.

There’s an invasive quality there that’s something I probably wasn’t quite as cognizant of as I should have been. There are a couple of scenes that are… invasive, for lack of a better word. We put it later in the shoot a bit so they had time to settle into their characters and it was difficult. She’s very vulnerable in both of those scenes and understood so much of what this transformation was that she was able to feel comfortable doing it. The crew was able to make her feel comfortable as well. The makeup artist was really good about making her feel protected. As an actor you’re always in a vulnerable position, but this was particularly hard.

Categories: Horror News

[SXSW '14] Lionsgate To Prove Bigfoot 'Exists'!

bloody disgusting - Sat, 03/08/2014 - 13:43

Bloody Disgusting just received word out of the SXSW Film Festival that Lionsgate has acquired North American distribution rights to Exists, a new horror film from The Blair Witch Project and V/H/S/2 co-director Eduardo Sánchez.

In Bigfoot’s bold return to the big screen, “five friends on a camping weekend in the remote woods of East Texas struggle to survive against a legendary predator that is stronger, smarter, and more terrifying than anything they would have ever believed exists.

The film stars Chris Osborn, Dora Madison Burge, Roger Edwards, Samuel Davis, Denise Williamson and Brian Steele and is produced by Jane Fleming, Mark Ordesky, Robin Cowie and J. Andrew Jenkins.

Exists is executive produced by George Waud, D. Todd Shepherd, Gregg Hale and Reed Frerichs, and the Sasquatch creature was designed by Spectral Motion.

Categories: Horror News

SXSW 2014: Lionsgate Acquires Eduardo Sanchez's Exists for North American Distro

Dread Central - Sat, 03/08/2014 - 13:42

Good ol' Lionsgate came through today for Sasquatchploitation fans as they just snapped up the North American distro rights for Ed Sanchez's (The Blair Witch Project) new Bigfoot film, Exists, following its SXSW Midnighters screening last night.

From the Press Release:
Lionsgate (NYSE: LGF) has acquired North American distribution rights to EXISTS, a new horror film from THE BLAIR WITCH PROJECT director Eduardo Sánchez. The film played last night to a sold-out midnight screening at SXSW in Austin, TX.

In Bigfoot’s bold return to the big screen, five friends on a camping weekend in the remote woods of East Texas struggle to survive against a legendary predator that is stronger, smarter, and more terrifying than anything they would have ever believed exists.

The film stars Chris Osborn, Dora Madison Burge, Roger Edwards, Samuel Davis, Denise Williamson, and Brian Steele and is produced by Jane Fleming, Mark Ordesky, Robin Cowie, and J. Andrew Jenkins. EXISTS, written by Jamie Nash, is executive produced by George Waud, D. Todd Shepherd, Gregg Hale, and Reed Frerichs, and the Sasquatch creature was designed by Spectral Motion.

Related Story: Four New Stills Exist for Exists

“I’m really excited about working with the talented team at Lionsgate. We’ve had great history together, and they really understand EXISTS and see the tremendous opportunity to reboot Bigfoot for a new generation,” said director Sanchez.

Fleming and Ordesky, who developed and produced the film with Haxan Films through their production company Court Five, said, “It is especially gratifying to sell the film at SXSW in Austin so close to Bastrop, Texas, where we shot EXISTS with an amazing Texas-based cast and crew. We look forward to working with Lionsgate to bring Ed’s vision to the masses.”

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Categories: Horror News