Film Independent has announced its nominees for the 31st Independent Spirit Awards, which will take place Saturday, February 27, 2016; and a couple of films we’ve been championing here on Dread Central made the cut!
In the Best Director category, David Robert Mitchell received a nomination for It Follows, which also garnered nominations in the Best Cinematography (for Michael Gioulakis) and Best Editing (for Julo C. Perez IV) categories.
Also receiving multiple nods is Bone Tomahawk. It’s nominated for Best Screenplay (for S. Craig Zahler) and Best Supporting Male (for Richard Jenkins).
Lastly, Robin Bartlett from the sci-fi thriller H. was recognized in the Best Supporting Female category.
In the “not quite horror but we’re still interested” category is Anomalisa, which scored four nods: Best Feature, Best Director (for Charlie Kaufman and Duke Johnson), Best Screenplay (for Charlie Kaufman), and Best Supporting Female (for Jennifer Jason Leigh).
For the full list of nominees, visit IndieWire, and also be sure to keep an eye on the Spirit Awards website. The 2016 Film Independent Spirit Awards will be broadcast exclusively on IFC on February 27th LIVE at 2:00 pm PT / 5:00 pm ET.
at 2:00pm PT / 5:00pm ET.
The post It Follows and Bone Tomahawk Receive 2016 Independent Spirit Awards Nominations appeared first on Dread Central.
Anyone who’s ever played a video game or watched a sci-fi or horror movie since the release of James Cameron’s Aliens can attest to the impact that film had on vehicle designs. Recognizing this, NECA has decided to release a new line entitled “Cinemachines” celebrating these futuristic wonders.
From the Press Release:
Introducing a brand new line of die-cast collectibles celebrating some of the most iconic vehicles from film and television!
CINEMACHINES brings these supporting cast members to life in exceptional detail, ready to add to your collection. Each measures 5″-6″ long and is made from die-cast metal and plastic that’s carefully hand-painted.
Series 1 highlights vehicles and vessels from the Alien universe and includes:
- UD-4L Cheyenne Dropship, with miniature Armored Personnel Carrier that fits inside the bay (Aliens)
- M577 Armored Personnel Carrier (Aliens)
- “Origin” Derelict Ship with display stand (Alien)
- Fossilized Space Jockey (Alien)
Uncork’d Entertainment will bring the horror comedy Crying Wolf to VOD on December 12th, and right now we have some brand new stills for you to sink your teeth into.
Caroline Munro, Joe Egan, Kristofer Dayne, Gabriela Hersham, and Ian Donnelly star. Tony Jopia directs.
From the director of Deadtime and Zombie Harvest comes Crying Wolf! They’re hungry, hairy, and ready to hunt you down!
The comedy horror Crying Wolf tells the story of strange and weird goings-on in a little English village called Deddington. The gruesome death of local girl Charlotte by a rabid monster causes alarm and revulsion – before desperate reporters, crazy detectives, and revenge-seeking hunters descend on the scene.
Crying Wolf is a fast-paced British comedy horror that will keep you howling for more!
Certain serial killers have become media sensations based solely on their particular method of killing. Look no further than the notorious “Hillside Strangler(s).” Los Angeles’ San Fernando Valley is about to get its own serial killer with a specialty m.o., The Valley Drowner, and the press is going to love him.
Randy Wayne (“The Dukes of Hazzard: The Beginning,” Android Cop) stars as Johnny Taylor, a serial killer with a fetish for drowning hot girls. After killing his sexually-abusive babysitter in a swimming pool when he was younger, Taylor grows up to be a deeply troubled young man fighting a particularly deadly trigger: When he sees water and attractive young women together, his natural inclination is to drown them. Making matters worse, the only job he can get is that of a pool cleaner. This mass murderer doesn’t just rest with fatal swimming pool baptisms; give him a sink, a bath tub, a toilet – even a bucket of water will suffice. His killing spree sparks a media frenzy that turns him into a pop cultural phenomenon amid the seedier side of L.A.
Sara Malakul Lane (Kickboxer, Shark Lake), Shawn C. Philips, and a bevy of porn stars co-star in Jared Cohn’s (Atlantic Rim, Bound) twisted thriller inspired by true events about what happens when lust for fame meets the urge to kill.
Considering the film is set against the backdrop of the drug-fueled porn industry, The Valley Drowner looks to be the worst thing to happen to the adult film biz since Charlie Sheen.
The post Porn Stars Go Down in the Wet and Wild Serial Killer Thriller The Valley Drowner appeared first on Dread Central.
We always found it kind of funny that the logo for the Snapchat app is a ghost. Filmmaker Roberto Raad takes that friendly little specter and the communication app and adds a good amount of chills to it with his short film Snapchat Horror.
The film poses a unique question: What happens when you receive a Snapchat from beyond the grave? Check out the short below for the answer.
Snapchat Horror stars Courtney Leone and was written and directed by Raad, whose last short, OCD, made our 10 Short Horror Films That Kick Ass list.
Starring Jonathan Bennett, Talulah Riley, Rosa Salazar
Directed by Steven C. Miller
I have sat through more than my fair share of truly awful films in the horror and thriller genres, but I have come to find that there is something far more flagrant in a decently made film rife with missed opportunities over an outright display of filmmaking ineptitude. It is especially frustrating to see a movie lay out all of the components for an engaging and driving plot or surefire suspense-laden set pieces, but instead decide to bypass the obvious road signs to success for questionable attempts at narrative subversion and drab emotional conflicts.
Such is the case with Steven C. Miller’s latest independent thriller Submerged, which sees Mean Girls heartthrob Jonathan Bennett making his first foray into hero territory. Unfortunately, Miller’s underwhelming film will not be the catalyst for Bennett’s rise to leading man status.
The film follows Matt (Bennett), a former Army Ranger turned private driver who works for much maligned businessman Hank Searles (Tim Daly, “Madame Secretary”). Matt’s main task is to look after Hank’s college-age daughter, Jessie (Riley), while she is home during a break from NYU, even if it means chauffeuring Jessie and her friends around for a drunken night on the town. One such night takes a turn for the worst as a handful of kidnappers set their sights on Jessie in a grander plan to strike back at Searles. Though Matt attempts to keep Jessie and her friends safe in the midst of the ensuing high-speed chase, their pursuers ultimately send the limo crashing off of a bridge into a lake. As the limo sinks and the oxygen slowly runs out, Matt and the others must work fast to find a way out of the vehicle before it’s too late.
While the premise of Submerged lends itself to an expectantly claustrophobic experience high on tension, neither Miller nor screenwriter Scott Milam make proper use of the underwater setting to its full potential. You would think that a film set up on such grounds would see Matt utilizing his Army background to find an inventive way to freedom; instead, he spends much of his time in the driver’s seat reflecting on what got him to this point, guiding the film with flashbacks while the folks in the back shriek and holler.
The particularly uninspired banter among Jessie’s friends — most of whom become insufferably obnoxious after about ten minutes — does nothing for the film’s thriller aspirations. They spend their time inexplicably arguing about who fooled around with whom and what other largely unrelated personal secrets are being kept within their midst, and none of this ultimately forwards any aspect of the plot along. By the end, not one of their petulant rants has inspired the kind of sympathy that Milam’s script may have hoped for, a major misstep in a film that keeps its characters in such tight quarters for so long. The attempts at meaningful character development here ultimately fail in comparison to what we have seen in other more effective single-setting survival films like Adam Green’s Frozen or Neil Marshall’s The Descent. All the while, Jessie spends just about the entirety of the underwater scenes knocked out in the passenger seat — and she is by far the luckiest person in the limo for it.
For the bulk of the film in the present, Matt himself remains stuck in the driver’s seat with his leg impaled by an unspecified object, tortured by the fact that he feels he has failed Jessie and his own family. Most of the flashback scenes that are inter-cut with the moments in the limo center on his relationship with his younger brother, Dylan (Cody Christian, “Teen Wolf”). While the backstory between the siblings is on the whole quite unrelated to the greater mystery behind the attack on Jessie, it proves to be the most emotionally resonant aspect of the film. The performances from Bennett and Christian as brothers are refreshingly genuine in the midst of a film that so heavily wants to sell itself through pseudo-realized action and suspense. It’s hard not to wonder what the movie would have been like had it found a way to more prominently focus on their connection as a significant catalyst for the greater turns in the film. Unfortunately, such notable dramatic moments are sparse overall.
Submerged ultimately wants to focus on shaping Matt as a hero, but it doesn’t seem to know how to do so. Milam’s script very counter-productively sees Matt often doing literally nothing in the face of peril; at one point, he even rolls up the partition and turns off the speaker to the back of the limo so that he doesn’t have to listen to the bickering, although we don’t really blame him for this. By the film’s end, he is relegated to a sad punching bag scrapping to save Jessie’s life — and that’s not an understatement, as he really does get beat on a lot in the final act. At that point, it’s truly confounding that Miller and co. thought this was a fitting way to wrap up the character’s journey. To his credit, Bennett does his best to rise to the occasion with what he has been given, but that doesn’t stop the blows from coming: Even after escaping his underwater prison and tracking down the bad guys, Matt doesn’t get to deliver the final blow of death to the mastermind in the end. Talk about twisting the knife.
On the note of Miller’s final act, it is surprisingly entertaining when all is said and done, but only because of how incredibly silly it gets. The final showdown is a big, ridiculous hodgepodge of double-crosses and scenery-chewing monologues (we see no fewer than three “twists” take place, two of which are straight out of left field). In its tonal shift to unapologetic, corny action film, Submerged starts working in a very different way, but this over-the-top enjoyment is brief and comes all too late in the game.
Submerged is not an outright terrible film, but it is a very forgettable one that, to its greatest disadvantage, makes little use of a set piece that should have been wielded to tap into some real phobic terror. The initial premise promises much more intrigue than it actually delivers, and the troubled script presents far too many flat characters, which makes for a tedious ride that is suffocating in its banality. There is indeed an interesting level of commentary on the disparity between social classes hiding somewhere here, but ultimately the film is all too mired in its half-realized aspirations to make any kind of greater statement on society. For a more enjoyable set of chills and thrills, you would do better to check out 2012’s Silent Night, Miller’s loose remake of Silent Night, Deadly Night that showcases the kind of fun the director can have when properly motivated.
The British horror flick House of Afflictions will be hitting DVD Stateside on February 23, 2016, and we have a new trailer to share.
Michelle Darkin Price and Stefan Boehm star. Director Anthony M. Winson has built up quite a name for himself in the realm of low-budget supernatural flicks, having also helmed The Witching Hour and The Haunting of Baylock Residence.
Kate Beckley was once a best-selling crime author, but it’s been years since her last novel following the disappearance of her daughter, Julia. While attempting to write again in a new home, Kate finds herself haunted by strange visions and paranormal occurrences – which become worse each night. Has Julia returned, or is something more sinister preying on this grieving mother’
Planning to head out this weekend to see “Victor Frankenstein”? It is, after all, the last big horror release of the year, and here to get you ready for it are three more TV spots.
Victor Frankenstein stars James McAvoy, Daniel Radcliffe, Andrew Scott, Mark Gatiss, Jessica Brown Findlay, Freddie Fox, and Callum Turner.
Directed by Paul McGuigan, this adaptation of Mary Shelley’s novel was written by Max Landis. It arrives in US theaters on November 25th and in the UK on December 4th from 20th Century Fox.
Radical scientist Victor Frankenstein (McAvoy) and his equally brilliant protégé, Igor Strausman (Radcliffe), share a noble vision of aiding humanity through their groundbreaking research into immortality. But Victor’s experiments go too far, and his obsession has horrifying consequences. Only Igor can bring his friend back from the brink of madness and save him from his monstrous creation.
The post More Victor Frankenstein TV Spots Explain the Natural Order appeared first on Dread Central.
Thanksgiving is in a few days, and the DVD and Blu-ray release news for S. Craig Zahler’s Bone Tomahawk (review) has just been revealed! Better sharpen your teeth because you’ve gotta be ready when the goods arrive!
Look for the flick in stores and online December 29th. Kurt Russell (Tombstone, Hateful Eight), Patrick Wilson (Insidious, TV’s “Fargo”), Matthew Fox (Alex Cross, TV’S “Lost”), Sid Haig (The Devil’s Rejects, Spider Baby), Lili Simmons (“True Detective,” “Banshee”), and Richard Jenkins (The Visitor, Olive Kitteridge) all star.
The film is produced by Dallas Sonnier, Jack Heller, and Gregory Zuk of Caliber Media (Dark Was the Night, Some Kind of Hate) and executive produced by the Fyzz Facility’s Wayne Marc Godfrey (Sin City: A Dame to Kill For), Robert Jones (The Usual Suspects), and David Gilbrey (Red vs. Dead).
When a group of cannibal savages kidnaps settlers from the small town of Bright Hope, an unlikely team of gunslingers, led by Sheriff Franklin Hunt (Russell), sets out to bring them home. But their enemy is more ruthless than anyone could have imagined, putting their mission – and survival itself – in serious jeopardy.
We told you in September that Magnolia Pictures acquired U.S. rights to the Nordic disaster movie The Wave on the eve of its screening at the Toronto Film Festival, and now we can tell you that the flick will arrive in theatres and on VOD March 4, 2016.
Directed by Norwegian Roar Uthaug, The Wave is Norway’s official entry for the Best Foreign Language Academy Award this year.
The film is based on the 1934 real-life tsunami in Norway’s Tafjord, which left 40 people dead. The Wave opened last month’s Norwegian International Film Festival in Haugesund and posted the third-best opening in Norway for a local film during the final weekend of August.
The screenplay, written by John Kåre Raake and Harald Rosenløw Eeg, is set at Geiranger Fjord, one of Norway’s top tourist attractions. It takes place in contemporary Norway and centers around a geologist who realizes the inferno is about to hit.
Kristoffer Joner, Ane Dahl Torp, Jonas Hoff Oftebro, and Fritjof Saheim star in Uthaug’s fourth feature, which was produced by Martin Sundland and Are Heidenstrom for Fantefilm Fiksjon.
“The Wave is an incredibly accomplished action spectacular with phenomenal special effects,” said Magnolia President Eamonn Bowles, “but it’s also beautiful filmmaking with multi-dimensional characters and terrific acting.”
There are more than 300 unstable mountainsides in Norway–one of the largest is Åkerneset, a system of expanding cracks 800 meter long. It is accepted fact that one day it will fall, and when it does, the resulting rockslide of rock will create an 80-meter high tsunami that will hit the local community of Geiranger after just 10 minutes. This is the premise of THE WAVE, a pulse-pounding adventure about a family racing to survive the oncoming catastrophe.
A new thriller is on its way which features The Birds‘ Tippi Hedren alongside the voice of Jonathan Pryce as he breaths life into a big talking whale, entitled The Ghost and The Whale, and we have your first look at it right here.
Anthony Gaudioso and James Gaudioso co-direct the film, which stars Hedren, Pryce, Monica Keena, and The Human Centipede‘s Ashlynn Yennie.
A man, Joseph, loses his wife at sea, then spirals deep into a world of confusion. The wife’s brothers’ need revenge! Joseph tries to tell anyone who will listen that a whale killed his beautiful Annabel Lee, but even he doesn’t quite remember the truth. A journey into the depths of his mind, a conversation with a whale, and bloodthirsty brothers…
Love is forever; so is revenge.
Directed by Francis Lawrence
Though our coverage of The Hunger Games film franchise has lessened over the years as its chapters have distanced themselves from the Battle Royale-influence that first drew us to the series, we have admittedly still kept a keen interest in where Suzanne Collins’ dystopian novels-turned-films would ultimately lead. With Francis Lawrence’s The Hunger Games: Mockingjay – Part 2 finally bringing the saga to a close, we find the sci-fi/adventure series taking a notably bleak turn, a tonal shift that conclusively works in the favor of the series. However, as a 137-minute long film adaptation that is mining source material from only the second half of a 400-page book, there is an awful lot of wheel-spinning to endure before reaching that explosively emotional conclusion.
In the midst of a revolutionary war within the futuristic nation of Panem, the film finds Katniss (Jennifer Lawrence) reeling from an unexpected attack from her former friend and sometimes romantic interest Peeta (Hutcherson), who has been “hijacked” by the nation’s menacing dictator President Snow (Donald Sutherland) in an effort to thwart Katniss’ charge against the corrupt powers-that-be within the Capitol. Recognizing that Snow will stop at nothing until the revolution is halted, President Alma Coin (Julianne Moore) of the rebel city District 13 tasks Katniss with a mission to infiltrate the Capitol with a star squad of other skilled soldiers, including an unpredictable Peeta and her lifelong friend/second potential romantic interest Gale (Hemsworth). As the rebels battle their way through the streets of the Capitol, which have been armed with dangerous pods set to inflict varying degrees of destruction and terror, it becomes clear that Katniss may have to sacrifice much more than she bargained for in order to finally see Snow’s evil reign brought to an end.
The Hunger Games: Mockingjay – Part 2 is in fact the best kind of thrill ride you would hope to find in such an action-packed popcorn flick, but only once it stops retreading the contemplative slow-burn territory that the previous film so tirelessly covered. The finale’s most conspicuous problems are (still) inherent in the decision to split up the final book between two movies, which individually feel like two drawn-out halves of a whole. As Mockingjay – Part 1 focused on a dialogue-heavy, uncertainty-laden setup building towards an expectedly massive battle, the fact that we find much of the same “What should we do?” banter still so predominate in the first half of Mockingjay – Part 2 becomes frustrating — even for viewers like myself who have read and thoroughly enjoyed Collins’ divisive final book in the series. There are only so many empowering speeches and introspective exchanges that you can tolerate before you want to shout, “Just get on with it!”
To its credit, the story spanning across the two Mockingjay films is not a mind-numbing extension of a thin narrative yarn. Rather, it just spends a bit too much time focusing on what we have already established when it could have very easily left the more repetitive scenes on the cutting room floor, such as Katniss meeting with Coin and Plutarch Heavensbee (the late Philip Seymour Hoffman in his final role) more than once. Additionally, screenwriters Danny Strong and Peter Craig questionably retain some of the book’s more on-the-nose dialogue that spells out the state of the Katniss-Peeta-Gale love triangle a bit too obviously. Such moments don’t feel nearly as silly in the novel, but in the midst of the dismal tone that ultimately overtakes the film, they just don’t translate well to screen. Luckily, these moments are brief and are not the focal point of the film, which ultimately does Mockingjay – Part 2 and the character of Katniss a great service.
Once the action really gets going, Lawrence’s film consistently delivers. His directorial approach to the action sequences is gritty and unforgiving, capturing some of the more war-like battles scenes with commendable skill. The most notable of these is a thrilling chase sequence involving monstrously engineered “mutations” pursuing the rebels through an underground tunnel system. The front-lines camerawork in this section is effectively disorienting in the rebels’ race for survival, and the intensely suspenseful scene solidifies the unapologetically dark tone of the film as two notable characters meet tragic deaths quickly and mercilessly. I would have loved to see more sequences like this and those in which the group encounters the deadly pods throughout the city.
While the promise of an action-packed final battle may draw many in to Mockingjay – Part 2, the strongest aspect of the film lies in the decidedly grim and subdued direction its final act takes. This is a great credit to Strong and Craig, who wisely do not veer from Collins’ heartrending turns of plot that culminate in Katniss finally facing President Snow, once again chillingly portrayed by Sutherland as a relentless despot whose humanity has decayed as much as his health. Jennifer Lawrence shines once again as Katniss, who faces an inescapable, isolating darkness that she eventually accepts as a part of life in a world that has long been collapsing around her. In the film’s more emotionally raw scenes — like one in which she returns to her war-torn home and encounters her family cat — the actress is moving in her conveyance of exhaustion and heartache. The story’s final outcome may surprise many viewers who are not familiar with the books, as it makes very bold moves for a young adult series in regard to how it approaches survival, power, and the ways in which people are scarred by tragedy.
Conclusively, it’s difficult not to dwell on how much the decision to split the final book ultimately hampers would could have likely been an exhilarating single-film conclusion, as opposed to two solidly decent, if not occasionally uneven, efforts. In any case, viewers who walk into theaters with their franchise fandom intact are certain to leave feeling satisfied, as Lawrence’s faithful adaptation brings Collins’ final chapter to a satisfyingly dystopian realization. As big time Hollywood blockbusters go, The Hunger Games: Mockingjay – Part 2 does succeed in the end by solidifying the series’ more provocative attributes in way that is ultimately quite refreshing, as opposed to watering them down with syrupy romance or attaching to them an incongruously buoyant sense of closure. If unsuspecting audiences who are not aware of how the journey ends feel notably despondent as the final credits roll, the film will have most definitely succeeded as a work far more significant in its intentions that most would give it credit for.
Edited by Andy Cox
Published by TTA Press
Backed up by some seriously freaky photo-realistic artwork by Joachim Luetke, Jeffrey Thomas’ Distinguished Mole kicks off the fiction in issue 48 of Black Static. Telling the tale of Dr. Bendo Tin, a skilled physician passing his days in a Far Eastern health centre and lamenting the consistent lack of respect and recognition that his work receives, Thomas’ story takes us on an icky ride into existentially-tinged body horror.
Resentful of treatment by his peers, Dr. Tin decides that what he really needs is an impressive mole on his face – a cultural sign of mental and spiritual wisdom gauged by the size of the mole and the hairs that grow from it. Chance comes in the form of a mortally wounded monk who is wheeled into the operating theatre – sporting a gloriously distinguished growth on his chin.
Utilising his scientific know-how, Dr. Tin creates a tonic of sorts using cells from the monk’s mole… but he is in no way prepared for the surprisingly gruesome results.
Distinguished Mole is a speedy and very easy to enjoy nugget of body horror which takes a pleasantly unforeseen detour into a little bit of existential exploration for the final stretch. Most striking about it is the sense of place, which Thomas admirably creates not through focus on physical description or geographical details, but rather the cultural and local social attitudes revealed by his protagonist’s thoughts and character interaction.
Stephen Bacon’s Bandersnatch is up next. Our narrator, Lawrence, is currently in the midst of a pleasant walk alongside his sister, Michelle. Having just been reunited after a decade apart – owing to the death of their mother – the both of them find themselves working back into the familial groove.
Lawrence gets on just swell with Michelle’s dog, Roscoe… but not so much with her boyfriend, Scott. And let’s just say that Scott’s worries aren’t unfounded. Lawrence is one seriously twisted piece of work – a fact that Bacon gradually lays out for all to see, with excruciating inevitability that’s as calculated as his narrator’s grim intent.
Bandersnatch is uncomfortable stuff. Black as night and superbly unfolded throughout its short length, this is well-tuned human horror that will make you squirm.
In The Suffering, author Steven J. Dines introduces us to his narrator, Julia, a bereaved mother tortured by not only the memories of her beloved daughter’s death but by regular visions of her. As Julia sits nightly and looks from the window of her home, slicing and eating apples, she witnesses her young daughter run for her life – or afterlife, as it may be – from a demonic entity that stalks her though the woods behind the house.
The Suffering feels incredibly personal – reeking with an authentic sense of grief that works on one hand, but tends to drag the proceedings into something of a dirge on the other. The sense of hopelessness seems exactly the point, however, and Dines’ imagery is top notch, including a fearsome-feeling antagonist in the form of the creature – an otherworldly construct of rotting flora and fauna.
Up next, Andrew Hook’s Blood for your Mother is a lovingly old-school kind of family-ties shocker that keeps its revelatory punch for the finish. In it, Miriam Hubbard returns to the home of her all-but-estranged elderly parents in order to care for her father on what appears to be his deathbed.
Struggling with her inability to properly take care of the frail old man – owing to her own commitments elsewhere in life, and the refusal of the social services to intervene without her father’s permission – Miriam discovers a horrible truth about what’s going on beneath the roof of her old home.
And it’s a cracker. Consistently intriguing, all the way to the eye-widening finale, Blood for your Mother feels straight from Tales from the Crypt and would make for an excellent candidate for short film adaptation.
The lengthiest entry in this issue, Cate Garnder’s When the Moon Man Knocks rounds out the fiction with its fantastical approach to grief. Here, recently widowed Olive finds her life turned upside down when she gets an unsolicited phone call from Hector Wynter – The Moon Man – who wants to deliver her a particularly strange bit of news: that the dead live on the Moon, speaking to him by way of messages written on origami birds… and Olive’s deceased husband, Ben, has a message for her.
It’s certainly an inventive premise, and Gardner builds the drama admirably with the introduction of another woman with whom Ben may have been having an affair – putting the two ladies and Hector at a triangle of loggerheads whilst the supernatural tension also grows. With paper birds suddenly being received by all of them, and the actions of said birds becoming ever more autonomous and forceful, everything seems to be building to more threatening intent than Ben’s initial messages proffered.
Unfortunately Gardner does take a little too long building up to the final bombastic set-piece, so that When the Moon Man Knocks often threatens to lose its grip amidst the meandering dramatic threads. The author’s presentations of Olive’s grief and the confusion and denial that accompany the revelation of infidelity are well rounded and authentic, however, and manage to provide a solid anchor through to the darkly poetic finish.
Elsewhere this issue we have the usual wealth of film and book reviews to help you fill up your “to buy” list, along with a great Q&A with author Simon Kurt Unsworth, and columnists Stephen Volk and Lynda E. Rucker continue to uphold their usual high standards – the former assuredly tackling the advance of technology and hyper-reality bleed of film at once via the themes of classic sci-fi thriller Westworld.
All in all, here’s yet another excellent issue for Black Static. The threaded theme of grief and familial fracture makes it a heavy one… but it’s more than worth inviting the darkness in.
I cannot remember a time when horror was more prevalent on TV than it is right now, and we’re all the better for it. Another genre show is on its way as Deadline is reporting that Fox has put in development “Haunted,” a horror drama series written, executive produced, and directed by The Devil Inside co-writer/director William Brent Bell and executive produced by Chris Morgan.
Loosely based on the Bob Cranmer book The Demon of Brownsville Road, “Haunted” is described as a chilling horror series about a military agent who is partnered with her ex-boyfriend, now a rogue demonologist, to help a family overcome a deadly demonic infestation of their home.
The season-long case investigates the true story of one the most haunted houses in America. The believer-vs.-nonbeliever duo, by solving the mystery of the present, will solve the mystery of their damaged past. At its core the series will explore the age-old question, “Is evil real?”
Ainsley Davies also executive produces, while Lisa Arianna serves as a producer. 20th Century Fox TV, where Morgan is based, is the studio.
Fox has just dropped a trio of new posters for “The X-Files” on us, and they may very well be our favorite of the bunch thus far! Check ’em out!
“The X-Files” returns to Fox with a special two-night event beginning Sunday, January 24, 2016 (10:00-11:00 PM ET/7:00-8:00 PM PT), following the NFC Championship Game, and continuing with its time period premiere on Monday, January 25 (8:00-9:00 PM ET/PT).
David Duchovny and Gillian Anderson reprise their iconic roles as Agent Fox Mulder and Agent Dana Scully in a mixture of stand-alone investigative episodes and those that further the original show’s seminal mythology. In the opening episode, Mulder and Scully take on a case of a possible alien abductee.
The all-new episodes will feature appearances by guest stars including Joel McHale (“Community”), Robbie Amell (“The Flash”), Lauren Ambrose (“Dig,” “Six Feet Under”), Annabeth Gish (“The Bridge”), Annet Mahendru (“The Americans”), Rhys Darby (“Flight of the Conchords”), Kumail Nanjiani (“Silicon Valley”), and William B. Davis, who reprises his role as “Cigarette Smoking Man.” Three of the episodes are written and directed by Chris Carter, with the remaining new episodes written and directed by original series veterans Glen Morgan, Darin Morgan, and James Wong.
“The X-Files” originally premiered in September 1993. Over the course of its nine-season run, the influential series went from breakout sci-fi favorite to massive global hit and became one of the most successful television dramas of all time. The show, which earned sixteen Emmy Awards, five Golden Globes, and a Peabody Award, follows FBI special agents Scully (Anderson) and Mulder (Duchovny) as they investigate unexplained cases – “X-Files” – for which the only answers involve paranormal phenomena. “The X-Files” is a production of 20th Century Fox Television in association with Ten Thirteen Productions. Carter is executive producer and creator of the series. Glen Morgan also serves as an executive producer.
The post The X-Files – A Trio of Creepy New Posters Want to Believe appeared first on Dread Central.
As fall turns to winter, it is time to turn our attention to the great horror films that have successfully incorporated the chill of the season. While weather is a seemingly unimportant aspect of a film, these movies manage to take advantage of how cold, desolate, and frightening the winter can be… especially in a horror film.
10. Silent Night Deadly Night (1984):
Directed by Charles E. Sellier, Jr., this Christmas-themed horror movie created such controversy that Tri-Star Pictures pulled it from theaters days after it was released. Thankfully for all of us horror fans, it would eventually be re-released. It tells the story of a young boy who was institutionalized after witnessing the brutal murder of his parents by a man in a Santa outfit. In a serious lapse of judgment, he is released as an adult… at Christmastime. Donning a Santa outfit, he decides to let his freak flag fly and exact revenge on anyone and everyone during the most joyous time of year. The movie offended the PTA and a number of other religious organizations, resulting in the picketing and letter writing that eventually got the movie pulled from theaters. Of course, all that negative attention only served to make it even more popular… forever giving it cult status among horror fans.
9. 30 Days of Night (2007):
Horror fans either love or hate this vampire movie set in Barrow, Alaska. Directed by David Slade, the film capitalizes on the lore that says sunlight kills vampires. Since Barrow, Alaska, is about to experience a 30-day “polar night,” it becomes a target for a clan of vampires, who descend with a vengeance. Isolated and unable to signal for help, the townspeople of Barrow must fight for their lives… for the next 30 days. Plus, with all the snow in this movie, it will definitely put you in the mood for the holidays!
8. Dead Snow (2009):
Tommy Wirkola directed this Nazi zombie flick about a group of students that have to battle the undead in the mountains of Norway. Based on Scandinavian folklore that says the dead will rise to protect their treasures, the undead in this film are Nazis who are out to protect items that were never theirs to begin with. This film became a hit with many horror fans and seems to show that whatever is going on in Scandinavian countries, it seems like they have a knack for making great horror.
MORE Frostbitten Flicks on the NEXT page!
Our friends at Crypt TV have released a new One Minute Horror short film (although in this case it’s more like a minute and a half). Entitled Krampus Is Here, the film is “inspired by Krampus,” the new feature film which is heading our way on December 4th from Michael Dougherty.
Krampus Is Here is directed by John Ross, who also helmed The Thing in the Apartment (review).
Episodes are released several times a month and can only be found on Crypt TV’s Facebook page. One Minute Horror may be short in duration but is versatile in the different types of horror portrayed from week to week. From monsters to scares to thrills, One Minute Horror is designed to be easy to devour and geared to be watched multiple times.
Halloween may be over, but Krampus is coming… in fact, he’s HERE!
ONE MINUTE HORROR: Krampus is HereHalloween is over… but Krampus is coming.
Posted by Crypt TV on Thursday, November 19, 2015
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The Aokigahara Forest (青木ヶ原, also known as the Suicide Forest or the Sea of Trees) is the perfect setting for a horror film given the horrors that have taken place there. There have been several features which took place in the location, and right now we have what’s being called a digital one-sheet for the next one, which is simply entitled The Forest.
Starring Natalie Dormer (“Game of Thrones,” The Hunger Games), Taylor Kinney (“Chicago Fire”), Eoin Macken (The Night Shift), and Yukiyoshi Ozawa, director Jason Zada’s The Forest hits theaters nationwide from Gramercy Pictures on January 8th. Dig on the image along with a new trailer below.
Rising with terrifying grandeur at the base of Mt. Fuji in Japan, the legendary real-life Aokigahara Forest is the suspense-filled setting of the supernatural thriller. A young American woman, Sara (Natalie Dormer), journeys there in search of her twin sister, who has mysteriously disappeared. In the company of expatriate Aiden (Taylor Kinney), Sara enters the forest having been well warned to “stay on the path.” Determined to discover the truth about her sister’s fate, Sara will have to face the angry and tormented souls of the dead that prey on anyone who dares come near them. These malevolent spirits lying in wait for Sara at every turn will plunge her into a frightening darkness from which she must fight to save herself.
The post New Digital One-Sheet and Trailer Take You Into The Forest appeared first on Dread Central.
We have such sights to show you… Dread Central has joined forces with the Who Goes There Podcast to bring Frights & Pints Horror Movie Night to The Ugly Dog Pub in sunny (and hot as HELL) San Diego! Just because Halloween is over doesn’t mean the nightmares just go away.
Join us on Blackest Saturday for the fun, drink many beers, meet other horror fans, and maybe win yourself some cool horror goodies! Please share this event with everyone you know! It’s FREE!
The event will bring with it a special screening of 1982 classic The Thing! That’s right, one of our favorite films and the story the podcasters named their show after! Not to mention that it’s also one of the best displays of practical effects ever put to film and shows off Kurt Russell’s ability to grow a wicked beard!
Bring your friends and drink away all of your holiday angst!
Start spreading the word and join us Saturday, November 28, 2015, at 8PM PT!
The Ugly Dog Pub San Diego
6344 El Cajon Blvd.
San Diego, California 92115
The post Dread Central and Who Goes There Bring Frights, Pints, and More to San Diego appeared first on Dread Central.
If a horror movie was released in the ’80s and it hasn’t yet been remade, then it’s either completely irrelevant or someone just hasn’t gotten around to it yet. Steve Miner’s House, which hit theaters in 1986, is a favorite among fans, so it comes as no big surprise that it’s up on the chopping block.
In an exclusive interview with Fangoria, House producer Sean S. Cunningham (Friday the 13th) spoke about a modern day take on the horror-comedy gem, revealing that he’s currently developing a remake. Only he doesn’t quite call it a remake because some big changes are being made.
“I’m doing it right now. We are deeply in development,” Cunningham told Fangoria after accepting a Lifetime Achievement Award at the New York Horror Film Festival. “We worked on [a new] HOUSE about four or five years ago and determined that the structure of [the original] is extremely strong and that just remaking it in modern times wasn’t going to improve it and wasn’t going to change it. It would have to be rethought, and there had to be a really good reason to do it.”
“Recently we came up with—and it sounds so obvious—what if we made a gender switch, so that it’s not a man in the house?” Cunningham continued. “Although they’re not involved, imagine HOUSE starring Kristen Wiig or Melissa McCarthy. It wouldn’t be either one of them… well, it could; I mean, that’s a dream. But suddenly we realized, oh wait, then everything would have to adjust. And also, if we did it that way, it would bring back the fun that HOUSE had. So that’s the direction I’m committed to going in. I would love to make that movie, and I hope to be able to keep all the elements of the personal story from the Bill Katt version and still have it be fun.”
Good idea? Terrible idea? Sound off below!
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