A little while ago we bought you news of Visage, an intriguing upcoming horror game that was partially inspired by the cancelled Silent Hills. Now we’re happy to announce that it’s launched a Kickstarter campaign for $35,000, along with some creepy as hell gameplay footage, which you can watch below. So if you’re in the mood for some good old fashioned survival horror, then head over to Kickstarter now.
Are you a horror game fan who’s grown tired of the over-reliance on jump scares in some horror games, being startled instead of being truly, inescapably scared? You loved games like Silent Hill and Amnesia: The Dark Descent, and you wonder where the other horror games are that can manage to scare you like that. Do you find yourself wandering the endless virtual hallways of Steam, helplessly searching for P.T. and Amnesia levels of absolute, raw, mind-breaking terror?
Horror and indie game fans can take this quest to Kickstarter, where Canadian indie game developer SadSquare Studio has just launched the campaign for its much-anticipated, P.T.-inspired horror game, Visage.
Visage is a first-person survival/psychological horror game, spurred to development, in part, as a reaction to the evaporation of Silent Hills. Though noticeably inspired by P.T., Visage also draws upon influences from classic psychological horror games like Phantasmagoria and more recent entries into the genre, like Penumbra and Amnesia. At the same time, Visage adds randomized gameplay elements and a visually arresting blend of photorealistic environments with lurking pockets of surreal and nightmarish images, to create an overarching vision all its own.
SadSquare released a five-minute alpha gameplay trailer of Visage in October that was pronounced “gloriously creepy” by Power Up Gaming, with “an interesting premise” behind it. “A hit horror game in the works,” declared OnlySP, calling Visage a “gorgeous-looking game” that “looks like a mash-up of The Grudge, Allison Road, and Slender Man.”
The main character in Visage finds he’s trapped in a house, and you, the player, will need to find a way out. Of course, this house is no ordinary one. It carries a history, a past filled with families that were murdered in horrific ways — deaths that have left behind traces of themselves, presences that now follow your every move. As you try to find your way out, exploring every room, walking the never-ending corridors, you’ll find you’re being affected by the things that are stalking you: You’ll slowly start to lose your mind.
In Visage, you have no weapons, no defenses, no sanity tutorials. You’ll be hunted. You’ll be attacked. You’ll probably die. All you can do is search everything, interact with your environment, and try to find clues and items that might help you escape — all while trying to maintain as much of your sanity as possible, because if the house doesn’t claim you, the madness will.
Most notably, Visage will feature randomized events throughout its gameplay. Though the core story will be the same for all players, each playthrough will be unique, with certain events triggering at different times or potentially not at all. This mechanic adds to the game’s replayability and amps up the “what’s coming next?” tension factor, mitigating the scare-killing effect of Let’s Play previews and your spoilerific friends who might get through the game before you do.
Already a success on Steam Greenlight, where it was greenlit in just eight days, Visage comes to Kickstarter with a modest funding goal of $35,000 for a release on PC. Depending on the success of the Kickstarter campaign, Visage will also be released on PlayStation 4 and Xbox One and include V.R. support for a truly immersive experience.
While Visage will feature a full, original score by Peter Wicher and some of the surreal paintings of award-winning graphic artist Jarek Kubicki, its Kickstarter campaign also offers backers an exclusive opportunity to contribute their own original music or images to be used in the game. At certain funding levels, backers could even have themselves or their family members featured in the game, either in portraits or as the main antagonists that stalk the player.
To see the full list of available Kickstarter rewards and help contribute to the making of Visage, players can visit the Visage Kickstarter project page.
To learn more about the game, or to check out the alpha gameplay trailer, listen to soundtrack samples, and more, go to SadSquare’s Visage spotlight page or visit the SadSquare website at www.sadsquarestudio.com.
The post Silent Hills Inspired Game Visage Launches Kickstarter Campaign appeared first on Dread Central.
Twin brothers Aaron and Austin Keeling have always shared an appreciation for things that go bump in the night. After dealing with phantom housemates in their childhood home, it wasn’t long before the pair developed a keen fascination with the paranormal. So it makes perfect sense that they would bring those fears to life in their feature debut, The House on Pine Street.
The House on Pine Street finds a seven months pregnant Jennifer (Emily Goss) returning to Kansas with her husband, Luke (Taylor Bottles), after a particularly rough patch in their lives. Still struggling to get her life back on track, odd things begin happening; and Jennifer begins to question her sanity as she attempts to find out what is plaguing their new home.
Combining homegrown resourcefulness and a reasonable budget, the directing duo have delivered a simple but nerve-shattering shocker that’s guaranteed to cause a restless night’s sleep. The film hits DVD and VOD in the UK through Raven Banner and Second Sight on Monday, February 1st, whilst Raven Banner has also struck up a deal with Terror Films for U.S. distribution.
Stay tuned for further details; in the meantime enjoy an exclusive clip from The House on Pine Street, and feel free to share your thoughts in the comments section below.
The post Icy Cold Chills Abound in this Sneak Peek of The House on Pine Street appeared first on Dread Central.
The only way out… is through, when Goosebumps Alive comes to The Vaults, Waterloo, England, from 6 April, 2016. In anticipation, we’ve got two pairs of tickets to give away to a couple of lucky Goosebumps fans looking for a frightful day out!
Goosebumps is here to haunt you again… The gruesome imagination of R.L. Stine’s Goosebumps is yours to explore, adventurer. But be warned. This immersive theatre experience, in the abandoned underground world of Waterloo, might bring back nightmarish childhood memories you wish you had forgotten…
With the acclaimed designer of Alice’s Adventures Underground and a haunting score from The Tiger Lillies, R.L Stine’s creations will seem almost… alive. Though, surely they can’t be, can they?
To win a pair of tickets to take on the adventure of the summer, answer this question correctly:
What year was the first book in the Goosebumps series published?
Email your answer to email@example.com along with your full name, contact email address, and telephone number. We’ll take care of the rest! Travel to and from the show is NOT included.
Terms and Conditions:
Winners will be selected at random from all correct entries. Winner receives a pair of tickets to see Goosebumps Alive from 6 April 2016. Winners can redeem their tickets any time from 6 April until 29 May. For a full list of performance dates and times, visit goosebumpsalive.com.
Tickets are to be collected at the box office with no cash alternative. Tickets are subject to availability and are non-transferrable and exchangeable. Competition is run by BoomEnts.com.
The post UK Readers: Win Tickets to Goosebumps Alive in London! appeared first on Dread Central.
Directed by Burr Steers
In the wake of the zombie craze that descended upon popular culture in the late aughts, Seth Grahame-Smith’s parodical novel Pride and Prejudice and Zombies saw Jane Austen’s classic tale of love and marriage in Regency era England infused with zombies, ninjas, and apocalypse-themed passages. While some Austen purists were not too keen on the gimmick, the novel soon became a widespread sensation, praised for its comedic spirit and absurdly creative interpretation of the source material. Needless to say, a film adaptation was almost immediately announced after the book’s release, though it would be plagued with production woes for almost five years following the announcement.
After being passed through the hands of multiple directors and screenwriters, and even at one point seeing Natalie Portman accept the lead role (she remained on board as a producer after her departure), Igby Goes Down director Burr Steers ultimately took hold of the writing and directorial reins, vowing to retain many of the original beloved turns in Austen’s classic. While behind-the-scenes conflicts and multiple belly-up deals rarely bode well for a big studio project like Pride and Prejudice and Zombies, fans who have been following the tumultuous saga will be pleased to find that Steers ultimately manages to deliver a riot of a cross-genre ride that, though flawed, wholly owns its ludicrous premise — and has a great time in the process.
Expanding significantly upon Grahame-Smith’s method of simply inserting original zombie-laden material amidst Austen’s prose, Steers’ film presents a surprisingly genuine and fully realized alternate reality. In this world, Elizabeth Bennet (James, “Downton Abbey”) and her sisters attempt to traverse the rigid societal expectations placed upon them as women, while also keeping up on their martial arts and weapons training as warriors amidst a country overrun with the undead. As the well-being of the land begins to come into question after a string of increasingly intensified attacks, Elizabeth realizes that she must ultimately set aside her pride and join forces with famed, but egotistical monster-hunter Mr. Darcy (Riley, Maleficent) — with whom she often clashes — in order to save the people she loves from a brain-hungry zombie army.
The best thing about Pride and Prejudice and Zombies is that, despite the trappings of its inherent Regency era refinement, it knows exactly when to lighten up. The screenplay and performances exude just enough stone-faced earnestness to give weight to the looming threats and romantic entanglements in the story, but ultimately, everyone on board here knows that this is a movie about strong women kicking zombie ass. Austen’s built-in quips about gender roles and social commentary uphold this sentiment and translate well to this latest adaptation, but the additional energy brought in with Steers’ own overarching themes of very modern female empowerment really gives an extra jolt to his film. While some of these thematic elements are not always the most subtle, they are certainly no less effective.
Even despite years of developmental shakeups, it feels like the studio still managed to get it right with its cast, particularly in regard to the film’s leads. Lily James is magnetic, imbuing the timeless heroine of Elizabeth with a commanding grace, while Riley quite succeeds in conveying Mr. Darcy’s conflicted pomposity and reluctant longing. Elsewhere in the cast, Booth, Bella Heathcote, and Charles Dance turn in solid supporting performances as the familiar roles of Mr. Bingley, Jane, and Mr. Bennet, respectively. The film’s breakout performance, however, belongs to Matt Smith (Dr. Who), who charismatically bumbles his way into the lives of the Bennet sisters as the socially inept Mr. Collins — a cousin and potential suitor (!) of Elizabeth’s. Smith is a true delight here, anchoring the film with non-stop hilarity in just about every scene he graces, and Pride and Prejudice and Zombies is exponentially better for it.
On the technical side, the action and visual effects in the film are handled with more care than would often be expected in a February genre release. The zombies are comedically gross at some points and outright creepy at others, with the usage of CGI remaining much less distracting than I was personally anticipating. However, if there is any source of complaint for genre fans, it will likely be in the film’s lack of outright carnage. The opening scene establishes the type of PG-13 action that can be expected from the remainder of the film, most notably when it showcases an almost bloodless decapitation from the perspective of a zombie. I was not particularly bothered by this approach, as I felt that the overall style of the film’s action sequences didn’t necessarily merit a gore-fest, but there will undoubtedly be an outcry from horror fans who require a healthy helping of viscera with their zombie flicks.
Though Steers primarily succeeds as he adds his own flare to even Grahame-Smith’s narrative direction, the film stumbles somewhat in its final act — what is admittedly the least Pride and Prejudice-y section of the movie. There is one particular twist involving the antagonist that failed to pack the intended punch, muddling up the finale’s momentum more than I liked. I was also left wanting to see more action out of Lena Headey’s Lady Catherine de Bourgh, who most certainly could have been granted a greater role in the finale since Steers veered into his own direction at this point.
These gripes certainly do not detract too much from the film though; the action is consistently engaging, and the humor sticks, making Pride and Prejudice and Zombies quite an unrelenting blast. It offers an unseasonably exciting movie-going experience for genre fans in a February, boasting non-stop thrills, laughs, and likable heroines that are gracefully badass. In a nutshell, Pride and Prejudice and Zombies is arguably the best kind of popcorn flick, delivering substantial entertainment with a more than generous helping of well-placed wit.
Have you had a chance to catch Pride and Prejudice and Zombies? Sound off in the comments below, or tweet me (@TheAriDrew) and share your thoughts!
Developed by Capcom
Available on PS3, Xbox 360, and PC (Reviewed)
Rated M for Mature
You know, I don’t feel particularly bad for being a bit late on this one. I like to play games through before I pass judgement, but I cut that short when one of these 100+ hour super RPGs demands my attention. I get through enough to get a good sense of the game’s style and scope, and generally around the 20 hour mark I have a reasonable grasp on what to expect. Fallout 4 only took up about 30 hours before I gave it my seal of approval. As it stands, I am sitting now at 77 hours played of Dragon’s Dogma: Dark Arisen. Every time I boot it up to get a few screenshots, I spend another half a work day pissing away my time eviscerating ogres and dismantling dragons. This game has sucked me in like a toxic high school ex over Christmas break. I love, hate, and just cannot stop coming back to this game.
Granted, the game really played its hand just a few hours in. Assemble a balanced party, fight off smaller monsters to get to bigger monsters, climb said bigger monsters to hit them in their weak spot, do this for about 10 minutes, move on to the next objective. Each monster has its own weak points, elemental resistances, and behaviors, so there’s a good deal to be experienced with just trial and error. It reminds me of what drew me to Pokémon as a child, with each new zone and gym presenting a new and unexpected set of challenges for me to wrap my little brain around.
There’s something uniquely awesome about hanging on to a griffon for dear life as it flies around, desperately trying to thwack its wings with the right element to bring it down before your stamina drains and you fall to the earth like a defeated sack of potatoes. Dragon’s Dogma is at its best in these moments. There’s nothing like the tension of climbing on an ogre’s ass and slapping it as hard as you can to try and get it to stumble before it can eat your healer.
The amount of innovative ways to deliver death to monsters in this game is staggering. Tired of hacking and slashing your way through goblins? Grapple them, then kick them off cliffs. Lizard men giving you trouble? Cut off their tails, make them lose balance, then sit on them while your teammates laugh and unleash holy hell. There’s a stats consideration for almost anything, with certain enemies targeting women over men and certain passageways requiring a shorter hero to enter. This unique attention to detail can be often frustrating, but always respected. Making my character, I didn’t realize that being a big burly dude would actually prevent me from fitting in small spaces, but I also didn’t realize it would make it easier for me to make monsters fall down. This is a game where the weight of your inventory doesn’t just affect stamina consumption, but how quickly you can wear down a monster by grabbing onto its arm. It often doesn’t explain its mechanics in full, but I can see the appeal in taking the time to learn them.
Unfortunately, this is also the game’s greatest downfall. While this level of detail can make combat fun in a clunky, experimental way, it makes interacting with the world a fucking nightmare. This whole “just see how it works” mentality it applied across the board, without any consideration of playability, fun, or my sanity. Quests are easier to fail than North Korean loyalty screening, and with similarly unforgiving results. I actually had to restart the game 5 hours in because I had the audacity to go to the major city before exploring the forest, thus blocking off a questline and an entire zone for the rest of the game. About 60 hours in, I made the foolish mistake of talking to a random soldier with a quest marker over his head before the nobleman in the castle behind him, thereby irrevocably ruining my chances of getting the best reward. When I decided to talk to a boy about his adventures before delivering flowers to a church, I was rightfully punished with a cutscene that changed the day, withered the flowers, and led to another quest failure. Justice is swift in Dragon’s Dogma, and punishment is severe for not reading the game’s fucking mind.
Keep in mind, there are no explanations for why this would happen in the quest description. Quests generally have a brief description and mark a location on your map, with no hint as to what random other quest will instantly invalidate it. I can intuit that taking the male bandit lord’s quest will cancel out my ability to make nice with the female bandit lord, but why the fuck does killing a griffon suddenly make it impossible to discover the roots of a conspiracy? It is an unforgivably punishing style of gameplay that is indicative of a Japanese design mentality. I love the goofy freedom provided, but it makes it almost impossible to play the game without a wiki open.
Oh, and whoever decided that there needs to be one time only escort quests that require you to take a helpless NPC directly through the path of a dragon, go fuck yourself.
So, those are the basics. Monster fighting is unique and fun, but quests are a load of boiled ass. In between all of that, there is a lot to see and a ton to do. Crafting is a big part of the game, with tons of recipes and upgrades to delight that little item hoarder in your heart. Perishable items such as fish and meat go sour, but even then can be mixed with things to create useful items. Armor and weapons can be upgraded with materials, and beyond that can be empowered by literally bathing yourself in dragon fire. It’s a surprisingly simple and intuitive system given the rest of the game’s obtuse complexity.
As for the combat, you don’t just pick a class and play it through the whole game. There are 9 “vocations” (read character classes) for you to level up, each filling a different role and requiring a different playstyle to master. Leveling up a vocation unlocks “augments”, permanent buffs that can be equipped by any of the vocations. There are certain vocations that only you as the player character can assume, but this is fine since you usually want your sidekicks to be on support roles anyhow.
This leads me to the game’s most curious feature, the Pawns. I wasn’t sure if I should discuss them in the gameplay or plot section, since they are kind of impossible to discuss without knowing both. I’ll take this opportunity to briefly introduce the plot, which is really the best I can do anyways without giving massive 100+ hour gameplay spoilers. You play as the Arisen, a normal everyday person living in the quiet fishing village of Cassardis. One day, the skies open, and a meteor descends that turns out to also be a dragon. As the fiend lays waste to your friends and family, you gallantly pick up a sword and try to stab it. After planting your sword firmly in its claw, the dragon smacks you, claws out your heart, and eats it. Surprisingly, this doesn’t prove as fatal as you might assume, and you awaken as a newly empowered Arisen.
Aside from being able to walk around without a heart, the Arisen’s main power is the ability to command Pawns. Pawns are a race of humanlike entities with no will of their own who require an Arisen to give them purpose. You create your own personal Pawn that levels up with you and remains your companion for the rest of the game, and recruit two additional Pawns from the “Rift”. Essentially, this is Dragon’s Dogma’s take on multiplayer. The Pawns that inhabit the Rift are actually other player’s personal Pawns, who will gain insight into quests and monsters while in your world. It kind of feels like a message board with fireballs. Pawns more experienced in fighting Ogres will let you know they are weak to fire, and that wolves hunt in packs.
It is, in theory, a good idea. Different players will play the game in different ways, so it makes sense that they would have different experiences to share. In practice, it only made me wish the game was actually multiplayer. The information, “chimeras can be silenced” is only useful once before I grasp the concept that chimeras are in fact able to be silenced. Pawns also seemingly don’t possess short-term memory, so expect to be told several times a minute that “goblins hate both ice and fire!” The game is played through with a party of 4 in mind the entire time, so why they didn’t just make the whole thing multiplayer is puzzling.
Almost as puzzling as the fact that I’ve heard this often described as being like Dark Souls. This game is absolutely nothing like Dark Souls. Other than it being kind of hard at times and you can cut off tails, it is absolutely nothing like Dark Souls. The comparison is baffling, as none of the mechanics, gameplay, or even style resemble anything even remotely Dark Souls. I think that Dark Souls has just become the go-to name drop when a game was hard enough you had to actually turn on your brain, which granted Dragon’s Dogma did make me do. If you want to compare it to anything, compare it to Monster Hunter mixed with Dragon Age.
There are three more things I have to talk about before I can really call the review comprehensive, and the first is the jumping. I haven’t had this much fun just jumping around in a game since Guild Wars 2. Almost the entire game is designed to have interesting little areas that can only be reached by well timed jumps and extensive exploration. Different classes have different styles of jumping, and there are entire areas, loot crates, and quests that can only be accessed by having the right jump in the right area. It’s phenomenally well done, adding a whole new dimension to the already robust world
The second, less enthusiastic topic is the menu. The purpose of this review is for the PC port of the title, which was previously only available on Xbox 360 and PS3. As much as I dislike re-releases, PC ports don’t rub me the wrong way. I think the PC offers a unilaterally superior experience, with the extensive modding community part and parcel to my ability to get lasting enjoyment out of a game. That being said, there is a darker side to ports, that certainly did arise in Dark Arisen. First off, any game that doesn’t have a keyboard shortcut to a map needs to check itself, because it certainly wrecked itself. You can assign hotkeys to certain items, but not integral functions like the quest log, map, and equipment. This is totally unacceptable, and just plain lazy.
Furthermore, certain aspects of the gameplay just didn’t feel as smooth on a mouse and keyboard. Climbing monsters felt off, with directions sometimes failing to register. When using abilities, players either hold Ctrl or Alt to bring up their primary or secondary skills, which I’m assuming is reflective of holding a trigger on a controller. You then push one of three buttons to activate a skill, and release the button to cast the spell. Since spells have different charge levels, releasing at specific times is important. On a controller, I see how this works, but it just feels awkward on a mouse and keyboard. It didn’t break the game for me, but it also never got to the point where it felt natural.
The final bit is the reason I’m reviewing this game in the first place, the Dark Arisen DLC content. This is actually the third release of Dragon’s Dogma. The game first came out as just Dragon’s Dogma, sans the Dark Arisen suffix. This first release of the game was riddled with flaws, many of which were addressed in Dark Arisen. Previously, the game was an absolute monster to get around, as your only means of fast traveling was to teleport to set “portcrystals”, of which there used to be only two. The DLC adds four more, as well as an “eternal ferrystone” that allows you to warp to them infinitely. It also balanced much of the game and fixed some bugs, altogether providing a significant quality of life improvement for players.
It also added a new endgame zone, the Bitterblack Isles. For a game involving ripping out cyclops eyes and cutting off hydra heads, this zone is distinctly more horror. The cramped, musty halls are dark and heavy with dread. Hideous monsters and reaper-like wraiths patrol the corridors, presenting a daunting challenge to even the most experienced players. There’s even a mechanic where enemy corpses rot, and the stench attracts bigger, more gruesome foes. It’s rife with fear, and hones the game’s sense of overwhelming monstrosity to a fine point. After grinding for a week to be worthy of entering the decrepit isle, I can easily say it was well worth the effort.
Dragon’s Dogma: Dark Arisen is a deeply flawed experience that will frustrate and infuriate you. There are several times I put it down and refused to come back. Yet still, even while writing this, here I am again, back into the game. It’s utterly unique and deeply engrossing. The game took risks, and for all its failings there are equal triumphs. This is the kind of game that couldn’t get made in America. A Western design studio would look at it, point to all the flaws, and opt for another polished if not short and safe clone. This kind of adventure into the unknown is what gaming is about. From deep within my cold, jaded heart, that spark of what makes me love RPGs is once again Arisen.
Travis Zariwny’s reboot of Eli Roth’s Cabin Fever is on its way via IFC Midnight, and you can check out the flick in theaters in New York and Los Angeles on February 12th! In the meantime, here’s a new still.
Gage Golightly (“Teen Wolf”), Dustin Ingram (Paranormal Activity 3), Nadine Crocker, Matthew Daddario, and Samuel Davis star.
Executive producer Eli Roth presents this reboot of his instant classic gorefest, which features all new characters and all new kills. This story is familiar: Fresh out of college, a group of five friends retreat to a remote cabin in the woods for one last week of partying – only to become snacks for a gruesome, flesh-eating virus. What’s surprising are the ingenious new deaths, which offer a fresh spin on a horror-comedy milestone.
It doesn’t take much to catch my attention these days, and this is something I’ll readily admit to just about anyone. So when a group of filmmakers tosses a phrase like “Psychosexual Slasher Mystery” in my general direction, I’m going to check things out. That’s pretty much a given.
Writer/director Joe Magna uses that exact phrase to describe his upcoming feature-length horror outing Dummies on Indiegogo, which is reason enough for everyone to stop cramming processed food into their gaping maws and take a look. You can finish your snack after you’re done. You have my word.
If Magna’s name sounds familiar, you may remember his work as a Scare Consultant on Blumhouse’s Hellevator. He also directed a segment for Horror Month Massive Blood Drive PSA, which was spearheaded by the Soska Twins. In other words, Magna has some serious horror credentials, which means Dummies has the potential to be something special.
“Dummies is designed to be a no holds barred thrill ride. Scratch the surface of this nightmare, and you will find a story that is rich in character and depth, providing twists and turns that will keep the audience both mentally and physically on the edge of your seat, right up until the terrifying conclusion,” Magna explains on the film’s Indiegogo page.
The filmmaker and his crew are hoping to raise at least $15,000 to bring Dummies to life, so feel free to pull as much money as you can afford out of your mattress (or bank account, if you’re so inclined) and hand it over. The Indiegogo campaign makes this process incredibly simple. If you need a little more information before you hand over some cash, check out the pitch video below.
The post Psychosexual Slasher Mystery Dummies Launches Indiegogo Campaign appeared first on Dread Central.
Writing, directing, producing, and editing team Dion Cavallaro and Paul E. Thomas are hard at work putting the finishing touches on their upcoming found footage horror flick The Museum Project. To help spread the good word about Freeze Frame Films’ promising endeavor, Cavallaro and Thomas have given Dread Central a first look at the film’s trailer.
The team also delivered a pretty snazzy poster to promote the movie, which you can find nestled below.
However, if you’re expecting the same old found footage flick, think again. Freeze Frame has taken a different approach with The Museum Project:
We as filmmakers realize that the found footage style has been used quite a number of times; however, we wanted to offer our take on the genre and deliver a fun, creepy, atmospheric ride for the audience. Our film runs at 45 minutes, which is definitely a short feature length, but we feel that we’ve cut the fat that a lot of other found footage films falter with. We really believe this film holds true to the found footage genre without all the incessant fill that can plague these types of films. We’ve really tried to create an efficient, concise, and gripping film that we hope horror fans will enjoy.
A group of students decide to base their media assignment on a local railway museum myth. However, when they trespass the premises after hours, they soon learn that some myths are more than stories.
Dion Cavallaro, Paul E. Thomas, and Freeze Frame Films are currently aiming for a March release. In the meantime, feel free to stare at the following trailer for as long as you like. Also, check out Freeze Frame’s official Facebook and YouTube pages for lots of helpful info.
The post Exclusive: The Museum Project Debuts Its First Spooky Trailer appeared first on Dread Central.
The upcoming Pride and Prejudice and Zombies is a winner, and even better… it’s almost here! Look for a review soon, but in the interim dig on this new one-sheet. The apocalypse begins on February 5th!
Pride and Prejudice and Zombies stars Lily James, Sam Riley, Jack Huston, Matt Smith, Douglas Booth, Charles Dance, Lena Heady, Ellie Bamber, Millie Brady, Bella Heathcote, and Suki Waterhouse. Burr Steers wrote the screenplay and directs.
A zombie outbreak has fallen upon the land in this reimagining of Jane Austen’s classic tale of the tangled relationships between lovers from different social classes in 19th century England. Feisty heroine Elizabeth Bennet (James) is a master of martial arts and weaponry, and the handsome Mr. Darcy (Riley) is a fierce zombie killer, yet the epitome of upper class prejudice. As the zombie outbreak intensifies, they must swallow their pride and join forces on the blood-soaked battlefield in order to conquer the undead once and for all.
The post New Pride and Prejudice and Zombies Poster Makes a Cameo appeared first on Dread Central.
A new thriller is on its way featuring Dread Central favorite Doug Jones, and while we’re not sure just how Dread-worthy this one is at the moment, we’d be remiss not to mention it!
From the Press Release:
Starring a powerful ensemble cast of Hollywood’s leading action film stars, including Will Kemp (Van Helsing, TV’s “Girlfriends’ Guide to Divorce”), Doug Jones (Hellboy, Pan’s Labyrinth), William Forsythe (Raising Arizona, The Rock), Brent Spiner (“Star Trek: The Next Generation”), and Vinnie Jones (Snatch; Lock, Stock and Two Smoking Barrels), the hair-raising thriller THE MIDNIGHT MAN arrives on DVD and Digital HD March 1 from Cinedigm.
Making his feature directorial debut, D.C. Hamilton’s THE MIDNIGHT MAN follows a gifted hitman on a grave mission, derailed by losing his greatest physical quality, the inability to feel pain. Co-written and co-produced with cast member Brinna Kelly (The Midnight Monster), the mind-numbing tale pushes audiences to the edge of their seats, feeling fear in a way it has never been felt before.
When Grady (Kemp), an assassin with a genetic disorder that renders him unable to feel pain, is sent on a high-stakes assignment, his world is turned upside-down after an attack when he awakens to discover that he can feel pain for the first time in his life. With the clock ticking and his greatest asset gone, Grady will go head-to-head with his worst fears and unspeakable enemies, while experiencing a tactile world he never could have imagined.
Any time news of a new Paul Verhoeven film comes around, we’re all eyes and ears. Read on for your first look at his new thriller, simply titled Elle.
Isabelle Huppert, Christian Berkel, Anne Consigny, and Virginie Efira star.
Michèle seems indestructible. Head of a successful video game company, she brings the same ruthless attitude to her love life as to business. Being attacked in her home by an unknown assailant changes Michèle’s life forever. When she resolutely tracks the man down, they are both drawn into a curious and thrilling game–a game that may, at any moment, spiral out of control.
David Hess, Franco Nero, and a naked chick with a high-powered weapon in her hand all in the same movie? It just seems so right, and that’s exactly what we’re gonna get when Hitch Hike makes its way to Blu-ray courtesy of Raro Video and Kino Lorber.
From the Press Release:
Raro Video and Kino Lorber are proud to announce the Blu-ray release of Hitch Hike, a controversial and rarely seen Italian exploitation thriller directed by Pasquale Festa Campanile starring Franco Nero (Django) and Corinne Clery (The Story of O) and featuring a music score by acclaimed composer Ennio Morricone (The Hateful Eight).
Raro Video brings this cult classic to Blu-ray complete, uncut, and uncensored in a new HD transfer. The Blu-ray will become available on February 16, 2016, with a SRP of $29.95, featuring a new and improved English subtitle translation and special features including a documentary, Road to Ruin (26:29), and a fully illustrated booklet about the film.
While on a cross-country drive, a bitter writer (international superstar Franco Nero of Django) and his beautiful wife (Corinne Clery, The Story of O and Moonraker) pick up a stranded motorist (David Hess of Last House on the Left infamy). But when this hitcher turns out to be a depraved psychopath, their road trip takes a vicious detour into sex and savagery where the miles are marked in mayhem and vengeance is the ultimate rule of thumb.
Rarely seen in the U.S. (causing it to be named “one of the greatest films no one has ever seen,” IGN), Hitch Hike is a sleaze epic fueled by wild performances, scenes of shocking violence, and a visceral score by legendary composer Ennio Morricone. This RaroVideo release is completely uncut and uncensored and presents co-writer/director Pasquale Festa Campanile’s vision in all its shocking glory.
The big horror release this weekend is William Brent Bell’s creepy doll flick The Boy, which stars Lauren Cohan (“The Walking Dead”) as a woman tasked with babysitting, well, a super creepy doll. But it’s not the only horror option that was unleashed today. Read on for your VOD update!
First up, Epic Pictures Releasing put the award-winning Israeli horror film JeruZalem (review) up for streaming on digital platforms today. Directed by Doron Paz and Yoav Paz, the film is shot from the POV of a Google Glass headset worn by the main character, and was filmed in Jerusalem.
JeruZalem follows Rachel (played by “Jane the Virgin” star Yael Grobglas), and her friend Sarah (Danielle Jadelyn), two American girls on vacation in Jerusalem. The two follow Kevin (Yon Tumarkin), a mysterious and handsome anthropology student, into the heart of the Old City. The party is cut short when a biblical prophecy comes to pass on the night of Yom Kippur and Jerusalem’s gate to hell is opened, releasing an epic apocalypse. Trapped between the ancient walls of the holy city, the trio must survive long enough to find a way out as the fury of hell is unleashed upon them.
Also out today, via Anchor Bay, is the American remake of Martyrs (review), directed by Kevin and Michael Goetz. It’s available in limited theaters and on Digital HD this weekend, and will arrive on DVD, Blu-ray, and all VOD outlets February 2nd. The film stars Bailey Noble and Troian Bellisario.
Ten-year-old Lucie flees from the isolated warehouse where she has been held prisoner. Deeply traumatized, she is plagued by awful night terrors at the orphanage that takes her in. Her only comfort comes from Anna, a girl her own age. Nearly a decade later and still haunted by demons, Lucie finally tracks down the family that tortured her. As she and Anna move closer to the agonizing truth, they find themselves trapped in a nightmare – if they cannot escape, a martyr’s fate awaits them…
The cast is quickly filling out for Eden Falls, co-written by original Friday the 13th scribe Victor Miller, and we have the early word for you right here!
From the Press Release:
Jansen Panettiere joins the cast of Eden Falls as the main character, Rob Adams. Panettiere (Summer Forever, Ice Age: Meltdown) is the younger brother of Hayden Panettiere, star of “Nashville” on ABC. The film will also star Eileen Dietz (Pazazu from The Exorcist).
Eden Falls is the story of Rob Adams, a freestyle skiing star who corkscrews 720’s into a nightmare paranoid landscape to save Lucinda, the only woman he will ever love.
Eden Falls was written by Michael Coulombe, Martin Rogers, and Victor Miller, three-time Emmy winner and writer of Friday the 13th. It will be directed by Michael Coulombe. The score will be composed by Friday the 13th veteran Harry Manfredini.
Eden Falls is produced by Shaun Cairo.
The post Eileen Dietz and Jansen Panettiere Head to Eden Falls appeared first on Dread Central.
While the production values in the trailer for low-budget horror Dead Men Tell No Tales do leave a lot to be desired, the film still looks like it could be a guilty pleasure. And with a cast including well-know horror actress Genoveva Rossi, they at least have some star power on board.
Nadia White, Rita Christine, and Jenny Jannetty co-star.
From the warped mind of Dusty W. Fleischman comes the latest feature film from Creepy Crawl Entertainment. This zany comedy is all about the wrong power in the wrong hands. What would you do with the power to control destiny? See what craziness happens when an average everyday guy gets to answer that question.
Starring Edmund Kingsley, Jack Gordon, Josie Taylor, Joe Dixon, James Payton, Karen Bryson
Directed by Anthony Woodley
Distributed by Altitude Film Entertainment
Actor Jack Gordon doesn’t seem to have much luck on planes. After suffering the tortures of a demented killer in the sky in 2011’s Panic Button, he once again finds himself menaced on board a giant flying metal tube – this time, by a deadly global pandemic that has brought the human race to its knees.
Society has all but collapsed, and as the infected are summarily terminated without prejudice on the ground, Craig (Gordon) and his fellow bunch of survivors take to the skies in a 747 hoping to avoid the infection and perhaps make it to somewhere sickness-free.
Unfortunately, this being a genre film, the infection is in fact on board – leading to death and disagreement amongst the inhabitants of the airplane. Most want nothing but to survive, others seem to have given up hope, whilst the intimidating Eric (Dixon) believes that none of them should ever set foot on land again for risk of spreading the contagion further.
A low budget independent feature, funded mainly through Kickstarter, The Carrier often makes it clear to see just how much effort and spunk has gone into its creation. Yet, despite the best efforts of cast and crew, the script routinely fails to rise above the level of generic low-key disaster formula with a touch of zombie-like elements.
Make no mistake; the infected here aren’t crazed, bloodthirsty monsters… they’re simply desperate people, rendered hideously disfigured by the contagion, clinging to life by any means necessary – but their particular perspective is rarely explored in any depth, the narrative seeming to believe that a single moment of emotional connection with one of them is enough to get that message across. Sadly, it isn’t.
There’s a strongly topical idea at the core of The Carrier — that of a fatal, antibiotic-resistant infection quickly overtaking the human race – which should give all of us pause for thought towards the future of medicine… but again, this sinks into the background as the story plods along through an ill-advised second half that takes place entirely on the ground and brings the drama and tension grinding to a halt. So much for an air-based shocker.
Besides the narrative failings, The Carrier’s cast are all on point. Ed Kingsley is strong as the determined pilot who (unsurprisingly) turns out be a self-absorbed toff, whilst Gordon does his everyman thing with the usual aplomb. Northern Irish actor Billy Clarke (previously seen in the cracking The Devil’s Business) is as great as can be expected, whilst the female cast, including Josie Taylor and Karen Bryson, do their best to bring some spark to their threadbare characters.
Shouldering much of the tension is Joe Dixon as Eric. Being the supposed antagonist determined to ensure that none of the survivors manage to spread the plague elsewhere, it feels most damning of The Carrier that by the time the third act is swinging around, the prospect of him murdering every other character and getting things over with is much more appealing than anything else the film could do to salvage itself at that point.
So, check your passport’s valid because we’re taking a one-way flight to Pun City: The Carrier is a respectable, if sub-par, indie thriller with a few good ideas behind it… but it just never takes off.
On the special features front, Altitude Film Entertainment bring The Carrier to UK DVD sporting an 11-minute featurette that takes apart the impressive amount of creative effects work that was used to bring the film to life. It’s a real eye-opener and indicative of the hard work that went into creating the final product.
Next to that, there’s a 30-minute “making of” featurette that does everything it needs to do for such a supplement – plenty of on-set footage and interviews abound. There’s also a selection of deleted scenes that were (wisely) excised for pacing reasons, the film’s trailer and a feature audio commentary with director Anthony Woodley, producer Luke Healy and actor Jack Gordon. It’s a good listen given that, as is generally expected for independent films such as The Carrier, all involved have plenty of stories to tell about the adjustments, challenges and creative decision-making that went on throughout the film’s creation. Sadly, it isn’t quite strong enough to make a re-watch of the movie itself much of a recommendation.
- VFX Featurette
- Making of Featurette
- Deleted Scenes
- Audio Commentary
If you own an Xbox One, then my God, are you in luck! From January 21 to February 5, CD Project RED’s fantasy RPG masterpiece The Witcher 2: Assassins of Kings will be FREE to download as part of Microsoft’s aim to introduce Backward Compatibility to the console.
This is a pretty big deal as it was one of the top reviewed games of 2011 in addition to picking up a bunch of awards. Rarely does an opportunity come along to pick up such a highly acclaimed game for free so this is, quite simply, an offer you can’t refuse.
In honor of Shudder’s new partnership with Midnight @ Sundance, the AMC-backed streaming service has created a collection of festival favorites for your viewing pleasure, Midnight at Sundance. If you can’t make it to the Sundance Film Festival itself this year, you can catch some independent horror classics like Trollhunter and V/H/S on your sofa.
Sound up your alley? Then read on for the official details along with info on a slew of new titles just added to the service!
From the Press Release:
New Year’s Resolutions not working out? Still avoiding the gym like the plague? Nix those plans and spend these wintry months curled up with Shudder’s new additions to its scream-filled library. The AMC-backed horror streaming service will keep your heart rate up this year, no gym membership required.
The curators at Shudder are working hard to bring subscribers the best in horror as we wrap up the first month of 2016, curating additional films for streamers and screamers to enjoy. New titles now available on Shudder include I Can See You, Lips of Blood, Night Tide, Female Vampire, The Long Hair of Death, The Iron Rose, The Hands of Orlac, and The Phantom of the Opera with Cub, Bloody Knuckles, Der Samurai, Nightmare City, and Carved: The Slit-Mouthed Woman exclusive to subscribers.
In addition to new titles, Shudder has partnered with Midnight @ Sundance and will be hosting the first official Midnight Party at the festival this weekend. The service is celebrating the spirit of independent film for fans at home with its new collection, Midnight at Sundance. For 25 years, Midnight at Sundance has proven a terrifying tastemaker, introducing and supporting some of the brightest voices in 21st Century horror. Out in the dark, snowcapped mountains of Utah, at an altitude that challenges the faint of heart, horror has made a chilling mark on Park City. Any many of those films now reside at Shudder.
COLLECTION: Midnight at Sundance
As Sundance’s 25th Midnight gets under way, Shudder has selected past festival highlights for subscribers to stream, including:
• Dead Snow
• Donkey Punch
• Hobo With a Shotgun
• The Pact
Shudder is available now for desktop, iOS, Android mobile devices, Roku players, and Roku TV models with more outlets on the way. The service is available for a 14-day free trial with a monthly cost of $4.99, or $49.99 yearly, after the trial ends.
Visit Shudder to learn more about the service, browse the collection, or to start your free trial today.
The post Shudder Teams with Sundance for New Midnight at Sundance Collection appeared first on Dread Central.
We previously told you about Team17 Digital’s The Escapists: The Walking Dead, a mashup of breakout hit The Escapists with the beloved universe that is Robert Kirkman’s The Walking Dead comic series, and now we know when it will be arriving on the PlayStation 4.
Per the PlayStation Blog, it will be launching on February 16th.
About the Game:
In this unique game, recreated entirely in the charming 8-bit pixel art style of The Escapists, you play as The Walking Dead’s Rick Grimes as he takes on hordes of walkers let loose upon the world.
Rick is in charge of a band of survivors featuring many of the original comic book cast, including Maggie, Hershel, Glenn, and Michonne. Rick must secure the safety of the group by seeking out a safe escape route from each area and manage several dangerous tasks to keep as many of the group alive as possible. The game faithfully matches the timeline of the comics, meaning Rick must first fight his way out of the Harrison Memorial Hospital, arriving at the Greene family farm before visiting destinations such as the Meriwether Correctional Facility and Woodbury.
Protect the living, and escape the dead as you play through the award-winning comic’s epic story.
- 5 Locations: Tackle 5 of the most infamous locations from The Walking Dead story including: Meriwether County Correctional Facility, Woodbury, and Alexandria.
- Epic Crafting: Choose from over two hundred + different items to make over 70 tools or weapons to aid your survival.
- Well-known characters: Interact with all your favorite characters from the comics and recruit them to help you with important tasks.
- Routines: Make sure you and your survivors keep up your daily routines – it’s important for morale!
- Guns!: Firearms will now be available to craft or discover – they are handy for keeping walkers at bay!
- Zombie Hordes: Use your wits and your survivor companions to fend off hordes of hungry walkers.
Check out some screenshots and the announcement trailer below. For more info visit The Escapists: The Walking Dead on PlayStation.com.
The post The Escapists: The Walking Dead Arrives on PS4 in February appeared first on Dread Central.
A new horror flick from director Jared Cohn is on its way of the biblical variety as Deadline is reporting that the upcoming thriller 6ix will begin filming in Chicago in May.
Written by Nicholas Celozzi, the story follows a a devout and merciless killer who believes he was born without a soul and seeks to regain it by stealing the “senses” of his victims, using the New Testament Book of Revelation for inspiration. Two detectives are tasked with finding him before it’s too late and six innocent lives are lost.
Cohn is directing with Celozzi producing alongside Jeff Bowler. 6ix is fully funded and aiming for release later in 2016.