How do you make a 15-inch tall homicidal doll containing the soul of a serial killer even more terrifying? Make it talk!
The star of five Child’s Play films, Mezco’s ‘Chucky’ (design based on Ronny Yu’s Bride of Chucky) stands 15″ tall and features real cloth Good Guys clothing, 11 points of articulation and his trademark orange hair. He also talks. With seven spine-chilling phrases pulled directly from the films, this Chucky is guaranteed to thrill.
Chucky features realistic glass-like eyes, and a (plastic) knife that he is sure to use for no good. Each Chucky comes packaged in his own collector friendly, film-inspired window box. Look for Chucky in stores and listen for him in the darkness starting in September 2015.
Remember, he’s your friend to the end!
The original Spawn, Al Simmons, is set to return in next week’s “Spawn Resurrection.” In a story by new series writer Paul Jenkins, and longtime Spawn artist Jonboy Meyers, Al Simmons retakes the mantle of Spawn after killing himself several years ago. The reintroduction of the original hero has been the subject of much excitement from Image Comics for most of the past year.
Most of us haven’t really been wondering where Al got off to, but to he him return is a very interesting direction for the series. I know myself being a kid who grew up on the mature titles of Spawn, that I can’t wait to see why the character is back. Originally Brian Wood was sent to make the character’s return but due to creative differences he left the book before we saw anything of his on the page. Something tells me that Spawn creator, Todd McFarlane is still way to invested to let go…
New series writer and Eisner Award-winner Paul Jenkins (Revelations, Batman: The Dark Knight) teams up with artist Jonboy Meyers (The Savage She-Hulks, Marvel Adventures Spider-Man) to shed light on Al Simmons’ tragic past in the collectible issue, SPAWN: RESURRECTION #1. Al Simmons’ highly-anticipated return to the series will then pick up with SPAWN #251.
Five years ago, Al Simmons removed himself to a state of limbo by means of suicide. But what tragic revelation could persuade him to finally return to the city, and how is this connected to the very creation of humanity? Featuring a special guest character: God. Trust us: you’ve never read a SPAWN comic like this before.
SPAWN: RESURRECTION #1 hits stores on March 11th and can be pre-ordered using Diamond Code DEC140602. Cover B by McFarlane can be pre-ordered using Diamond Code DEC140603.
What do you guys think of this tease? Are you looking forward to seeing the original Spawn return?
We love Todd Lincoln here on Bloody Disgusting, which is why we enlisted him to create the bizarre bonus V/H/S: Viral segment, “Gorgeous Vortex”, which is hidden on the newly released home video here in the States.
Collider caught up with Lincoln to talk about the stylistic short, but also got him to chat a bit about The Fly remake he was once attached to writer and direct.
There’s a ton of interesting bits in here…
“My work on the reimagining of The Fly was so long ago. I had fun developing it at Fox Searchlight. The execs there were really cool. I’m a huge fan of all five ‘Fly’ films. Especially the original ‘The Fly’ (1958) and the lesser-known third film, ‘Curse Of The Fly’ (1965).
My version was way outside the box conceptually and visually. Not at all what people would be expecting. It was a strange mix of influences such as Val Lewton, Neal Stephenson, Alan Pakula, Todd Haynes, Chris Cunningham, Michael Crichton, various Horror Manga and a touch of something you might find in ‘The Animatrix’.
I also brought on top bioengineers and entomologists as consultants. We took it deadly seriously and got so into it that we were damn close to turning someone into a fly ourselves.
The film would have been done almost entirely with practical effects.
My story had very little in common with Kurt Neumann’s original ‘The Fly’ or David Cronenberg’s remake. Both of those are classics so there’s no point in touching them. You have to go a completely new direction while still making it feel like a ‘Fly’ story at its core and respecting the history of the franchise. Who becomes a fly… how they become a fly…. and what happens… was all completely different in my take.
Ultimately, I don’t think it was the right time for it to be made. The script was not all the way there and audiences were not ready for where we were headed. I would approach it differently now. And while I’d certainly be open to revisiting ‘The Fly’ someday, I’d also love to see Fox let Cronenberg make the sequel that he scripted. If you love movies, why would you not green light that?
His list of inspirations is fascinating, and it’s really cool to see that he planned to hire bioengineers and entomologists. After seeing what he did with “Vortex”, you can only wonder what kind of weird modern version of The Fly would have transformed on screen? It’s really a bummer this never came into fruition, especially considering his respect for the previous films and his original pitch: “We’ve never seen The Fly actually fly!” So true…
The full 15-minute long short film “Killer Kart” is now online.
It premiered at Screamfest Horror Film Festival in October 2012.
In the two years of film festivals since then, the film went on the receive 37 awards with an additional 23 nominations and screen at 79 film festivals, including being awarded Best Horror-Comedy Short at Screamfest.
“The shopping cart. Four wheels, one basket, and tonight, for the closing crew of a small-town grocery store, a blood-splattered aluminum nightmare!“
TentSquare, Inc. has announced the first ever Crowd Powered Entertainment, original short film “While You Were In a Coma”, will be streamed live on the site for members and fans before beginning its film festival run this month.
The online screening will take place via tentsquare.com on March 10th at 8PM EST, with an encore at 11PM EST. The ten-minute film will be followed immediately by a live video Q&A with the cast and crew.
“A comedic sci-fi tale, it follows the story of Otis Reeves, a man who wakes from a coma 30 years after his prom night to find the world in shambles and the girl of his dreams still out there waiting for him.“
“While You Were In a Coma”, the first Crowd Powered Entertainment ever, was voted on by TentSquare members every step of the way, from the title to plot points, to the director and lead actor.
“This film is a collaboration of over 5,000 members of the TentSquare Community,” said Andrew van den Houten, seasoned film producer and TentSquare Inc. Founder & CEO. “The goal was to prove we could democratize the filmmaking process and create a high quality, entertaining film that engages our audience from development to release.”
Screenplay development was lead by writers Matthew and Kevin McManus, whose first feature film, Funeral Kings, was an Official Selection of SXSW 2012. They asked the community to vote on elements used to build the script: genre, types of characters, and plot twists.
Once the script was completed, TentSquare held competitions opened to select the film’s Director, Cinematographer, Lead Actor, and Featured Song.
“TentSquare projects are unique because members get to be part of the whole journey- they are involved in conception, development, and execution,” said James St. Vincent, who was selected by the TentSquare community to play the lead role of Otis.
Swedish melancholic melodic metal band Katatonia are preparing for the March 31st release of Sanctitude, their new live DVD/Blu-Ray. The concert was filmed and recorded in the stunning, candle-lit setting of London’s Union Chapel during their May 2014 ‘Unplugged & Reworked’ tour. The event saw the band play tracks from their Dethroned & Uncrowned album as well as stripped down acoustic version of songs from much of the discography. The concert also saw guest vocals and guitars from The Pineapple Thief mainman Bruce Soord as well as a guest appearance from The Gathering‘s Silje Wergeland.
In anticipation of this release, the band has premiered a video for their new take on their classic track “Day”, which originally appeared on Brave Murder Day.
Guitarist Anders Nystrom comments:
Day… something you wake up to, or at least have to pull through, over and over. Most of them you forget about, but a couple you maybe look back upon and wish to relive again.
Unfortunately in reality, I’m afraid that’s not possible, at least not until Apple buys NASA and releases a new version of their Time Capsule backup machine and send people into the cloud and back into history to fetch an older version of their lives, but luckily for us, there’s a current control of our music that doesn’t need time travel.
We have always felt that if there’s a need, we’re entitled to the freedom to give our old songs a makeover in the now rather than the never. So, in the making of ‘Sanctitude’ there was one song in particular that meant a great deal to us. In fact, it was our first song ever to feature entirely clean vocals accompanied by clean guitars and it was written and released right in the peak of our death metal years.
The song stood out, but isolated itself into oblivion in the climate of heavier music. Therefore we wanted this song to get a second chance, to be re-discovered. Even 20 years later when performing it live for the first time, it appears the parks are still grey and look the same…”
You can watch the video below.
Sanctitude will be released in four formats:
1) Blu-ray DVD in 5.1 surround sound plus ‘Beyond The Chapel’ documentary including brand new interviews with Anders Nystrom & Jonas Renkse.
2) CD/DVD package – audio / visual set including ‘Beyond the Chapel’ documentary.
3) Double LP (incl. download code)
4) Digital download (audio)
Ghoul, a supernatural thriller/horror film from Czech actor and filmmaker Petr Jákl, broke box office records this past weekend, raking in the highest opening for a horror film ever in the Czech Republic and its U.S. premiere is just weeks away.
In the Czech Republic, Ghoul has already surpassed ticket sales for previously released horror films like Paranormal Activity: The Marked Ones (2014), Insidious: Chapter 2 (2013), Maniac (2012), The Exorcism of Emily Rose (2005) and Texas Chainsaw Massacre: The Beginning (2006).
Shot on location in Ukraine, Ghoul is a blend of fact and fiction.
Ghoul follows a group of broke fictional American documentary filmmakers traveling to Ukraine to report on the real-life Andrei Romanovich Chikatilo, known as the Rostov Ripper. Chikatilo terrorized more than 50 young victims in the late 70s and 80s and then ate parts of their bodies. He was executed in 1994.
Weaving in real archive video, the movie also follows the documentary filmmakers as they investigate how cannibalism swept through Ukraine during the notorious famine of 1932. After being lead deep into the vast Ukrainian forest for an interview with one of the last known survivors of the cannibalism epidemic, they are plagued with a series of unexplainable supernatural encounters and come face-to-face with the evil spirit of Chikatilo, who was born in the Soviet Union and was the most violent serial killer and cannibal of all time.
The film opens in Los Angeles and New York on March 20.
Old wounds are opened up in The Dark Places trailer that carries sort of a Zodiac vibe.
Charlize Theron is all grown up, but begins to investigate the murder of her family that she witnessed as a child.
It was recently announced that A24 and DirecTV acquired all U.S rights to Dark Places, based on the novel by “Gone Girl” author Gillian Flynn.
“Theron plays a survivor of the brutal killing of her family as a child who’s forced to confront the events of that day by a secret society obsessed with solving crimes.”
It also stars Chloe Grace Moretz, Nicholas Hoult, Christina Hendricks, Tye Sheridan and Corey Stoll, and was directed by Gilles Paquet-Brenner from his adaptation.
It opens in French theaters on April 8.
Recapping is starting to feel redundant with a new story breaking each and every day, but here we go…
Neill Blomkamp released Alien concept art a few months ago. It went viral. Fox hired him to develop the it. Ridley Scott is producing. Sigourney Weaver is returning. It will be the “final entry” and will take place after Aliens, but before Alien3. Michael Biehn could be in it (he claims to have been contacted), as shown in the concept art, and an unknown actor did makeup tests as Hicks in preparation.
Blomkamp’s Chappie opens in theaters tomorrow, and retimes him with Weaver. Both have been making a press tour, which is where all of this information is being gathered from. Variety has more, this time from Weaver, who tells them the next Alien will break new ground.
“I can’t think of a better director,” Weaver told the site at the New York City premiere of Blomkamp’s latest film, “Chappie.” “He’s a real fan. I think he’ll be true to the world and take it in unexpected directions. It’s got a lot of sinew in it. It will certainly stand up to the others and probably break a lot of new ground as well.”
Blomkamp expresses why he’s enamored with doing a new Alien, other than the first two films being his favorite films:
“I would love to make something in that world because the films use terror and dread and filmmaking techniques that are different than what I’ve dabbled in before,” he said.
Personally, I’m desperate for this Chappie tour to end because I both want to be surprised and don’t want to think about it as Blomkamp still has to write a script. It’s going to be a few years until this goes into production, assuming it’s even approved by Fox.
Neill Blomkamp won a lot of fans over with his debut feature District 9, which was nominated for four Academy Awards, including Best Picture. His sophomore effort Elysium had a lot of folks thinking maybe he was a one-hit wonder. Even Blomkamp admitted the story wasn’t very good. A few weeks before his latest film Chappie was released, it was announced that he’ll be directing the new Alien movie. Nailing that deal before it was screened was a wise move because Chappie is all over the place. It’s an ambitious, formulaic crowdpleaser that doesn’t know when to end and is crippled by the stunt casting of Blomkamp’s South African pals Die Antwoord.
Much more in the vein of A.I. than RoboCop, Chappie follows the developing consciousness of a sentient robot created by Deon (Dev Patel). He’s done so in secret because the powers that be (Sigourney Weaver) have forbidden him from screwing up the successful “scout” (robot cop) program. Things turn sour when Deon is kidnapped by Ninja, Yolandi, and America, three desperate crooks who need to pull off a major score to pay off a debt. Back at the lab, Deon’s bitter co-worker Vincent (Hugh Jackman with a mullet) is urgently trying to get his massive ED-209 wannabe integrated into the police force.
I mentioned ED-209 because there are a few artistic similarities to RoboCop, particularly the 2014 remake. There have been some obvious Short Circuit jokes buzzing around the net too, but ultimately Blomkamp’s film falls more in line with A.I., as it tracks Chappie’s evolution and how shitty and exploitative humans are to everything under the sun. At first, Chappie is like a puppy, shrinking back at every loud noise and raised voice. He then begins to pick up the Afrikaner street slang of Die Antwoord, “gangster number one” and all a that. Pedantic Deon wants Chappie’s creativity to blossom while Ninja wants to teach him to be a thug. These education scenes drag on and on and only graze the surface of exploring how morality is passed on and what consciousness really is.
The script is filled with moments that range from eye-rolling to just plain silly. There is a lot of humor that works very well, like the car stealing montage for instance, but a lot of it is unintentional as well. How quickly Die Antwoord reach a conclusion about how to deal with the scouts, for instance. Also, after kidnapping Deon, they let him go because he promises to come back the next day. Moments like that serve the story (Deon has his conflict with Vincent to deal with, after all), but they’re such face-palm moments that they distract from rather than propel the film. His writing is so straightforward at times that it makes the story feel dumbed down. When Chappie sees the aftermath of a dog fight, for instance, he learns how the world is literally dog-eat-dog. Get it?!
The biggest distraction of all is Die Antwoord, whose stage personas are thrown right into this sci-fi world in an abrasive way. People unfamiliar with them will probably be baffled. “Why does it say Zef everywhere?” “Why are there dicks drawn all over the walls?” “Why are they wearing shirts with their faces on them?” So many moments feel like plugs for their music, complete with close-ups of Die Antwoord shirts, that it completely takes away any seriousness the plot is supposed to have. How can I take anything in the movie seriously when Ninja is on screen wearing short-shorts and an oversized baby blue sweatshirt with dolphins on it, carrying a bright yellow gun and mugging to the camera like a last-gasp gangsta? On its own it may be a striking image, but in the dramatic world Blomkamp is trying to establish, it’s grating on the eyes. Yolandi is the least silly of the two and her motherly instincts towards Chappie at least come across as genuine.
As for Chappie himself (voiced by Sharlto Copley), Weta did an amazing job with the design and he, unlike Ninja, fits fantastically into Blomkamp’s world. Copley’s motion-capture performance is brilliant. He’s expressive and believably interacts with his environment and other characters. The actions scenes are very well-crafted and excitingly staged. There’s a moment during the climactic rumble where a strong bit of violence is happening behind Deon, but Blomkamp stays focused on Deon rather than the graphic clobbering behind him. That’s a great touch and shows Blomkamp does have some nuance as a director. He knows what shots will pack the emotional punch, the problem is there are SO many slow-mo money shots that they become quickly obvious rather than dramatic.
There’s a lot of heart and ambition in Chappie that are sadly driven down by the silliness of Die Antwoord and the formulaic nature of the script. It certainly is a crowdpleaser (who wouldn’t root for Chappie?) but after the crowd is pleased, the film drags on another 10 minutes or so. There are a couple spots that would have made perfect endings, but Blomkamp keeps Chappie going until he can squeeze another Die Antwoord promo in there. The best science fiction always asks What if the world were like this, wouldn’t that suck? Then it uses that as a backdrop to say something about our society as it is now. Chappie is unconcerned with this and feels like a retread of Blomkamp’s previous films.
Alien fans, hang on to your butts.
Aimee Osbourne, the daughter of legendary metal vocalist Ozzy Osbourne, has released a video for her music project ARO (pronounced “Arrow”) for the track “Raining Gold”. The one-take video, which was directed by Spencer Susser, depicts the aftermath of a horrific accident that sees body parts strewn about a gas station/diner in the middle of the desert. Osbourne sits calmly in the diner only to walk out, calmly strolling through the dismembered bodies, and drive away. The entire video has a strange dreamlike quality, the video subtly stretching and pulling, as though it all takes place behind a thin wall of gently undulating water.
The track is a dreamy and gentle electro-pop tune, showing the influences of Kate Bush and Portishead that Osbourne has stated are influences. A debut EP is in the works, although no title or release date have been set.