Recently we’ve been telling you quite a bit about the 2014 Howlin’ Wolves Monster Fest, which takes place in Melbourne between the 20th and 30th of November. Now you can take a look at the full festival schedule alongside a bloody new video featuring an introduction by the disembodied head of festival director Neil Foley. Check it out!
Limited tickets for the master-classes and special events at The Monster’s Lair (Yah Yah’s Bar) can be had via the Monster Fest ticket page on Pozible, and session tickets for each of the film screenings are also now available from the Cinema Nova box office and website.
You can also follow Monster Fest on Facebook for the latest news alongside the chance to win prizes in their online competitions.
That’s not to mention that there are also new Facebook event pages now live for Lloyd Kaufman’s MAKE YOUR OWN DAMN MOVIE workshop and Monster Fest’s FREE Happy Hour screenings which will take place during the festival. Yep, there’s a lot going on in Melbourne this year!
The post Australian Monster Fest 2014 Announces Full Schedule appeared first on Dread Central.
Starting at 7am GMT this Halloween (that’s TODAY!), the folks behind @TrickorTweetUK on Twitter will be running another online event packed full of quizzes, prize giveaways and even a Zombeavers live tweet-along.
Take a look here for the full schedule and how you can get involved for a spooktacular Friday!
The post UK Readers: Join in and #TrickorTweet This Halloween appeared first on Dread Central.
Last week Lionsgate started a charity auction on eBay that ends TOMORROW, HALLOWEEN (10/31), AT 5PM so this is your last chance to own a piece Saw history!
Here are the details:
To celebrate our 10th Anniversary Re-Release and to help a great cause, Lionsgate is auctioning off five (5) prize packages that include the following items:
- 1 SAW 10th Anniversary Poster signed by Tobin Bell, Shawnee Smith, James Wan, Mark Burg, Oren Koules, and Leigh Whannell
- 1 SAW REBIRTH comic signed by Tobin Bell, Greg Hoffman, Mark Burg, Oren Koules, and Leigh Whannell
- 1 SAW II DVD
- Full Set of 10th Anniversary Limited Edition Posters (5 designs in total)
- SAW VI Original Halloween Blood Drive Poster
All proceeds go to The American Red Cross.
Look for the film to open on Friday, October 31st, with select screenings beginning Thursday night, October 30th. The seven Saw films grossed $874 million at the box office worldwide and were hailed by the Guinness Book of World Records as the “Most Successful Horror Franchise” of all time.
Saw was the first collaboration for co-creators James Wan, who directed the film, and Leigh Whannell, who wrote the screenplay. Together, they also created the successful Insidious franchise, and Wan has gone on to direct such high-profile films as The Conjuring.
Directed by Wan from a script penned by Whannell, Saw is a psychological thriller focusing on two men who wake up in a secure lair of a serial killer with a dead body lying between them. The killer, nicknamed “Jigsaw,” leaves them tape recorded messages with details of how to make it out alive. The only way for one man to make it out alive is to do the unthinkable. The two men desperately try to find a way out, while also trying to figure out who’s behind their kidnapping.
It’s almost time for “The Originals” episode in which Nina Dobrev from “The Vampire Diaries” guest stars, and on tap now we have a new sneak peek to share. In this look at Episode 2.05, “Red Door,” Cami tries to bring some humanity to Klaus.
As much as we love you, Cami, please leave Klaus be… it’s his INhumanity that makes him one of our favorite current TV villains!
“The Originals” Episode 2.05 – “Red Door” (airs 11/3/14)
In order to show Elijah (Daniel Gillies) that her plan is what’s best for him, Esther forces him to relive a time long ago when he loved a young woman named Tatia (guest star Nina Dobrev).
With the help of Marcel (Charles Michael Davis), Hayley (Phoebe Tonkin) is determined to find Elijah, who has gone missing, but is torn when she discovers that Klaus (Joseph Morgan) is also in trouble. Elsewhere, Cami (Leah Pipes) finds herself in a dangerous situation when Mikael (guest star Sebastian Roche) takes her hostage as a way to lure Klaus to him, and Davina (Danielle Campbell) makes an upsetting discovery about Kaleb’s (guest star Daniel Sharman) true identity.
Lastly, a violent confrontation ensues when Klaus comes face-to-face with Mikael. Michael Robison directed the episode written by Declan de Barra and Diane Ademu-John.
The post Get a Sneak Peek of The Originals Episode 2.05 – Red Door appeared first on Dread Central.
Magnet has released yet another clip from the third chapter in the V/H/S anthology franchise, and as always we have it for you right here. Check it out and look for it on VOD now!
V/H/S: Viral (review) features segments from directors Nacho Vigalondo (Timecrimes, Extraterrestrial), Marcel Sarmiento (ABCs of Death segment “D is for Dogfight”), Gregg Bishop (The Other Side, Dance of the Dead, The Birds of Anger), Justin Benson and Aaron Moorhead (Resolution, Spring, Wrecked), along with Todd Lincoln (The Apparition).
Related Story: New V/H/S Viral Red Band Clip; Death Toll Infographic
Gary Binkow and Brad Miska produced for Collective Digital Studio and Bloody Disgusting, marking their third collaboration with Magnet on the V/H/S films.
A police chase after a deranged ice cream truck has captivated the attention of the greater Los Angeles area. Dozens of fame—obsessed teens flock to the streets with their video cameras and camera phones, hell—bent on capturing the next viral video. But there is something far more sinister occurring in the streets of L.A. than a simple police chase. A resounding effect is created onto all those obsessed with capturing salacious footage for no other purpose than to amuse or titillate. Soon the discovery becomes that they themselves are the stars of the next video, one where they face their own death.
With Trick ‘r Treat director Michael Dougherty forever left his mark on the Halloween season by delivering what is arguably the perfect Halloween-themed anthology film. Will he do the same for Christmas? We’ll find out when Universal and Legendary release Krampus on Friday, December 4, 2015.
Based on an ancient legend about a pagan demon who punishes the wicked, Krampus will be similar in style to Dougherty’s cult hit Trick ‘r Treat. Dougherty also co-wrote X2, the second installment of the X-Men franchise, and Superman Returns. He’s also working on a sequel to Trick ‘r Treat. That is also at Legendary.
“The dark ancient origins of our holidays have always fascinated me,” Dougherty said. “I’ve been drawing twisted Christmas cards for well over a decade so it only made sense to bring some of that morbid yuletide fun to the big screen, and Krampus was the perfect mythology to do that. Christmas has been invading Halloween for far too long. It’s time to return the favor.”
Entertainment Weekly scored the first ever look at some of the cast members of the long brewing book adaptation Pride and Prejudice and Zombies. Check it out!
Below you’ll find your first glance at characters Elizabeth (Lily James), Lydia (Ellie Bamber), Mary (Millie Brady), Jane (Bella Heathcote), and Kitty (Suki Waterhouse).
Pride and Prejudice and Zombies also stars Sam Riley, Jack Huston, Matt Smith, Douglas Booth, and Lena Heady. Burr Steers is directing from a screenplay by David O. Russell and Steers.
The film hails from Cross Creek’s Brian Oliver, Sierra/Affinity, and Lauren Selig. It is produced by Allison Shearmur, Sean McKittrick, Natalie Portman, Annette Savitch, Marc Butan, Brian Oliver and Tyler Thompson. Exec producing are Lauren Selig, Aleen Keshishian, Ted Hamm, and Sue Baden Powell.
Pride and Prejudice and Zombies mixes the 1817 Jane Austen classic Pride and Prejudice with a legion of bloodthirsty undead. Seth Grahame-Smith’s popular novel plays with the relationships between lovers from different social classes in 19th century England who are faced with the challenge of an army of the “sorry stricken” (i.e., zombies).
The post Pride and Prejudice and Zombies – First Look at Cast appeared first on Dread Central.
Another remake is on its way, this time of the 2006 film Otoshimono, aka Ghost Train. Read on for all the details you need. All aboard!
From the Press Release
Adding to its commitment to establish a cultural bridge between a consortium of Japan’s leading creative companies and prominent Hollywood filmmakers and studios, All Nippon Entertainment Works (ANEW) has partnered with the Hollywood feature film production company Depth of Field and Japan’s legendary movie studio Shochiku to develop GHOST TRAIN.
Based on the 2006 Japanese horror thriller OTOSHIMONO, GHOST TRAIN is a horror-themed tale tracking a mysterious force that invades an underground commuter train and terrifies its passengers.
The announcement of GHOST TRAIN follows on the heels of previously announced ANEW projects that include SOUL ReVIVER in association with Fields Corp. and filmmaker partners Edward Zwick and Marshall Herskovitz of Bedford Falls Prods. and a live action remake of TOEI Animation’s robot anime GAIKING with producer Gale Ann Hurd’s Valhalla Entertainment, Inc.
ANEW’s vision is to develop and produce adaptations of proven creative brands from Japan for the English-speaking market, bringing together top Hollywood filmmakers and studios with Japanese content owners and creators. ANEW expects to unveil several additional Japanese IP-based projects in upcoming months.
“Film projects based on, or inspired by, Japanese storytelling have been very successful internationally in recent years, and the adaptation of the fresh and original GHOST TRAIN for the English-speaking audience builds on this trend,” said Annmarie Bailey, ANEW’s Senior Vice President, Creative Affairs. “This property represents the first of several planned projects from a pool of the best Japanese-originated horror and anime properties that will benefit from Hollywood sensibilities and popular storytelling.”
Depth of Field’s Dan Balgoyen is overseeing the English language adaptation of GHOST TRAIN, which is being written by Josh Miller and Patrick Casey (“Golan the Insatiable” for Fox TV). OTOSHIMONO writer-director Takeshi Furusawa and producer Yoshitaka Ishizuka will also be involved in developing the adaptation. The producers expect to commence shooting in 2015 for a targeted 2016 release.
OTOSHIMONO (originally starring Erika Sawajiri, Shun Oguri, and Chinatsu Wakatsuki) centers on the disappearances and horrific challenges a group of commuters face after finding a lost ticket at a subway station deep underground. The film explores the value of family and friendship and the power of a past curse’s influence on these people’s lives.
“The original inspiration for OTOSHIMONO was numerous American horror titles, which makes this remake feel like a homecoming for the property,” Furusawa said.
“I’m very excited to see how the original version evolves in the American remake version,” Ishizuka added.
“Our new relationship with ANEW to co-produce GHOST TRAIN, marks a pivotal moment and exciting opportunity for all of us at Depth of Field to break new ground in bringing Japanese-originated properties to English-speaking audiences worldwide,” Andrew Miano said.
Starring Eric Bana, Edgar Ramirez, Olivia Munn, Sean Harris, Joel McHale
Directed by Scott Derrickson
Distributed by Sony Pictures Home Entertainment
Like a narcoleptic DJ, Deliver Us from Evil is inconsistent. It feels like a man with tourettes is trying to narrate The Silence of the Lambs, so every once in a while during the tense or charactery bits, he just jumps up and screams “OOGAH BOOGAH.” One of the dumbest “thinking man’s” movies around, it still held the distinction of being one of my favorite summertime releases. The characterization is done uncharacteristically well for a horror-genre popcorn-film, and the antagonist is genuinely unsettling.
In case you are not familiar, Deliver Us from Evil is a supernatural thriller about a New York Bronx cop played by Joel McHale tragically dying an hour and a half in, leaving all the dramatic weight on Eric Bana’s shoulders. Bana plays real life Bronx cop turned demonologist Ralph Sarchie, his characterization as a violent man coming to terms with his past to better confront evil holds up pretty well. Bana’s mannerisms and accent are pure New York Bronx, and it’s apparent that a lot of care went into making this movie look and feel very Bronx on top of feeling very supernatural. It is hard to imagine this film taking place anywhere else, so kudos to them for integrating the setting so well into the film.
The plot requires some leaps of faith that aren’t satisfyingly explained, so let me just recap the plot and just take at face value that I’m not pointing out the stupidity for the same reason you don’t have to point out when an elephant has decided to sit down in your living room. While investigating crimes out of the 46th precinct of the Bronx, Sergeant Ralph Sarchie hears a domestic disturbance call that sets off his “radar.” Explained as his sixth sense for weird and violent stuff, they find that the domestic dispute is both violent and weird. Hints of possession are there for those looking for it in the audience, but there are no spinning heads or inverted crosses, so it does a good job of slowly easing the characters into the world of the supernatural. Next, they get a call about a disturbance at the Bronx zoo, and during a nighttime manhunt encounter the antagonist, later revealed to be an Iraqi war vet named Santino, painting over some writing on a wall. From here the manhunt for Santino begins, with the first big break coming from an unrelated case, where a haunted house was found to be painted by Santino and the man from the first domestic dispute. How Sarchie manages to string together a series of seemingly unrelated cases into a single thread of logic is beyond reason, but you just kind of have to accept it like you accept that the elephant is going to eat all of your fruitcake.
Side-plots include Sarchie’s family somehow slowly becoming haunted by demons as well, and the dark history of Mendoza, the priest that brings Sarchie into the whole supernatural business. Over the course of the movie, Sarchie becomes more disturbed and agitated by the stuff he is seeing, and character arcs his way from skepticism all the way to becoming an exorcist himself. If it sounds like I’m not explaining something, its because a lot of the plot doesn’t really go anywhere. While things certainly happen in the movie, it is never really clear what the greater threat or endgame is. For example, the demons are given this sense of devious intent by painting over all of the demonic scratchings they leave on the walls. However, of the three demons, one ends its plotline by throwing itself off a building for the sole purpose of startling Sarchie, and the other just turns itself in to be exorcised. Not exactly masters of evil level planning there, demon hordes.
If it sounds like I am being harsh on Deliver Us from Evil, know that everything I didn’t like only stuck out because it was sandwiched in something I did like very much. Joel McHale’s performance is fantastic, but they have to cock it up by only letting him be in like 10% of the movie. There is a great scene where they watch security footage of Santino suspiciously talking to a lion, and then a bloody face just jumps on screen for a few seconds. It is one of a few asinine jump scares in the movie, and they fit in like the dicks from Fight Club, not really shocking you or adding anything. They just make you scratch your head and wonder “did they just stick their dicks in my supernatural thriller?”
Anyways, if I keep pointing at the elephants they will start feeling self-conscious. The shot design and sound design are great, and there are a lot of little flairs that add to the movie. Sarchie’s descent into anger and eventual redemption at the hands of God through confessing to Mendoza are done with adequate weight to be believable. The family drama and dark histories add a human weight to the characters, and are integrated well into the main plot. The acting is good all around, and the antagonist does a good job at being genuinely terrifying. Theres some good philosophical debate, that allows the movie to be watched intelligently if you ignore all the jump scares. Overall, the movie is enjoyable, but is dragged down by some questionable additions. It’s like someone on the staff was afraid that if something didn’t make me jump every 5 minutes, I’d fall asleep.
Oh, and Sarchie is also being haunted by The Doors. Yes, the band. But at this point you might as well just let the elephants have their own little tea party and enjoy the ride.
There are two sets of special features, one for general DVD release and one for Blu-Ray exclusively. In the general category, we have a Director’s Commentary track and a featurette on the making of the movie titled “Illuminating Evil: Making Deliver Us from Evil.” Clocking in at about 13 minutes, “Illuminating Evil” plays like an abridged version of all the other special features. You will get the key points from most of the Blu-Ray content, and whatever the marketing department decided was key from Derrickson’s commentary. It plays like a big pat on the back, but you get some sense of what they were trying to do.
The director’s commentary is unintentionally hilarious. I was first exposed to Derrickson’s work from his foray into the Hellraiser series. The fifth installment of the now totally shit series, I watched Hellraiser: Inferno as part of a marathon of the whole series with my girlfriend of the time. After Hellraiser 3: Shit Goes Bananas and Hellraiser 4: Hellraiser in Space, my girlfriend and I were weirded out that the fifth installment was actually not total shit. Along with Saw VI, it stands as an actually kind of good later installment to a series that has long lost any license to be anything but cash-grab screen-vomit. I liked Derrickson’s work on Sinister and The Exorcism of Emily Rose, but by God if it wasn’t proving that there could be a decent Hellraiser sequel that made me respect the man.
Which is why the commentary being such a rambling mess is hilarious. It would be just sad if he went up and talked about his kids the whole time, but Derrickson gives just enough little short bursts of insight that his 10 minute rants about how science is wrong because spirits exist, followed by a subsequent 5 minutes of hard backpedaling, come off as tremendously out of place. He seriously goes from talking about the interesting uphill battle he fought to get Joel McHale cast in the part he wrote for him, to telling anecdotes about McHale’s struggling theater career and slightly psychotic knife collection. If this commentary were done in more than one take and in any setting other than Derrickson sitting alone with a voice recorder and bottle of Gin, taking a shot every time he had to change the subject, I will eat my own foot.
As for the 3 Blu-Ray exclusive featurettes, they all focus on a specific aspect of the movie and are worth watching. “Deliver Us From Demons” is about the makeup and characterization of Santino, and it is genuinely cool to see him go from normal guy to total batshit demon. Nothing truly revelatory, but worth a watch. “The Two Sergeants” is about Bana learning from the real life Ralph Sarchie how to play Ralph Sarchie, and if anything gives you some respect for Bana’s commitment and process. It was cool to see how much of the real life person went into the performance of the sensationalized fictional character. It is worth a watch, especially for people familiar with Sarchie’s work.
The last feature, “The Demon Detective,” is easily the most interesting special feature. A small biopic on Sarchie, it gives the real life Ralph Sarchie a chance to color himself. A normal, hardworking, American guy, Sarchie comes off in that likeable and respectable way that most honorable working class people do. You get a real sense of pride in what he is saying, and most importantly never get a shred of him being disingenuous. He really believes in what he is doing, and regardless of if you believe in God and the Devil or exorcisms, his earnest candor is enough to make you understand where he is coming from. He’s no movie star, and certainly gets more comfortable as the interview goes on, but is the kind of no-nonsense guy that can cut through the glamour of being on screen and just tell his story. It is a genuinely enjoyable bit, even with all the God stuff.
Overall, the special features are worth a watch, as they do give you insight into how they shot the movie and what they were going for that was not already apparent. A bit of a back patting session for sure, but not enough to get in the way. If you can spring for the Blu-ray, do so, as the extra features bring in enough detail to be worth watching.
- Director’s Commentary
- Illuminating Evil” Making Deliver Us from Evil
- Deliver Us from Demons (Blu-ray Exclusive)
- The Two Sergeants (Blu-ray Exclusive)
- The Demon Detective (Blu-ray Exclusive)
The Annabelle movie may not have delivered on the shivers, but one thing’s for sure… she remains creepy looking as hell. Looking for a Halloween getup? This video tutorial will help you get all evil-dolled-up!
Check out the video below courtesy of Hannah Leigh. Even cooler? When you’re done, you can message your picture here using the hashtag #AnnabelleHalloween for a chance to be included in an official Annabelle fan gallery!
What are ya waiting for? Get your gruesome on!
The American Film Market is approaching, and that can only mean that new and exciting b-movies are beginning to let the world know that they will one day exist – hopefully.
Red Sea Media (the company behind the inexplicable sequel Beyond Skyline) look to be getting in on the act with a horror sex comedy and an arachnophobe’s worst nightmare.
The title-of-the-week award goes to Zombie Babysitters in Vegas. How Troma didn’t come up with this one first is beyond me.
Four babysitters go to Vegas for a bachelorette party – a sexy, fun weekend of through their weekend of debauchery, a different breed of men finds them. What happens in VEGAS may EAT YOU…
A species of spider previously unknown to man is transported to America via cargo ship from South America. The spiders begin to lay eggs inside unsuspecting humans, using them as hosts for their eggs. As the carnivorous spider infestation spreads, it is up to a team of scientists and police officers to figure out the cause of the plague.
Aside from Perry Teo (director of Necromentia, The Gene Generation, Witchville) being behind the camera of The Plague, there really isn’t anything else to report on these two titles as they are that early into pre-production.
Stay tuned. There’s no doubt more AFM fun to come.
The post AFM 2014: Red Sea Media Parts; Zombie Babysitters in Vegas and The Plague appeared first on Dread Central.
Directed by Eoin Macken
Distributed by Revolver Entertainment
Let’s see, where was I? Oh yeah, aisle 6 has allergy medication, Band-Aids and aspirin. Moving on to aisle 7 – AHA! Anti-nausea pills… I’m going to pop these things like they were Tic Tacs, especially after the torturous activity that my stomach has gone through during and after watching The Inside, a film from director Eoin Macken, who apparently has a VERY favorable opinion towards motion sickness and the effects of dishing it out in large quantities to the unsuspecting viewer.
Added to the extensive totality that is the unrelenting, front seat point-of-view ocular assault called “found footage,” there is an appropriate sprinkling of just enough illogical action from the characters in this film, giving you a solid haymaker to your temple as you bend over attempting to cement yourself on solid ground, all the while wishing that the damn spinning would cease in your breadbasket.
The most troubling thing about this particular film, you ask? Here’s the kicker: drop the first-person shaky-cam garbage and scale back on the incessant screaming from the female cast members, and you’d probably have a halfway decent presentation. Hell, I’ll even contend with the moronic actions of the characters. Take my hand as I lead us all to the anatomization of a movie that defines the term “missed opportunity.”
The premise is as simple to read as the liner notes in your favorite Michael McDonald CD (come on, you know you dig the guy). A man wanders into a pawn shop with the hope of scoring some greenbacks for a wedding ring he’s trying to unload. The clerk offers him a paltry amount plus a video camera that was recently brought in off the street, and the man accepts. We then witness (through the viewfinder) the events that unfold when a group of friends are attacked at a birthday celebration and the aftermath.
Okay, problem #1: The five girls and their male counterpart come up with the ever-so-intelligent prospect of bypassing a restaurant or a nightclub or maybe even someone else’s home to let loose and revel in to celebrate one of their own’s name-day, instead opting to hang out in an abandoned apartment building. There’s only SO much that can be said for brainpower and the correct time frame in which to use it.
As the party moves along, tempers flare due to some over-imbibing, and it’s not long after when the bash is crashed by three transients (possible squatters), and our male event-organizer is beaten to death by one of the goons, leaving the women to fend for themselves. What happens next is a true test for those with weak stomachs and low tolerance for monotonous screaming. As the trio of tormentors commence their heinous behavior towards the birthday girl and her friends, the allowance of dizzying camera work and shrieking from the women is unrelenting – so much that I was begging for the scenes to speed along.
In the film’s second act a rather quick departure from the usual disturbing psychological thriller turns into a slow moving night-vision foray that deals with a supernatural force that begins to stalk all participants once the lights begin to dim in the apartment. One would hope that with a sudden turnaround in the storyline such as this one, the effort would be seamless and stable, but those hopes had gone swirling as soon as more of the shaky-cam and shouting marathon raged on – talk about disappointing.
What remains to be seen in the closing act is a deluge of nonsensical excitations that will make you question each and every turn – no one is ever willing to drop the damn camera regardless of peril, or maybe they should choose to NOT re-enter an area that proved hazardous to whoever just escaped it moments before.
As I said earlier, a missed opportunity is the most accurate description that I can muster in order to give this movie the caveat that it so rightly deserves. Aside from a few very brief jump scares and situational frights, it falls right in line with so many others that came before it… although the annoyance level was ramped up to unpardonable heights. If it’s true chills you’re after, I suggest walking the perimeter and completely bypassing The Inside altogether.
Directed by Drew Rosas and Nick Sommer
Distributed by Uncork’d Entertainment
To all those non-believers that continue to bash the all-American national pastime that is baseball (games take too long, the steroid issue), one simply needs to insert the missing piece of the puzzle in order to restore a sense of regaled opprobrium… and that is the implementation of the Billy Club.
Okay, so I MAY have been stretching my wish list a bit too long there, but come on, who could resist the opportunity to see a nail-studded Louisville Slugger do some real damage to not only the horsehide being tossed around, but any positional player that may object to said rule change?
Look, any way you swing it, this goofy and gory addition to the horror heavyweight lineup deserves a crack at the cleanup spot, and while the movie certainly doesn’t take itself too seriously, there’s just something fun about watching a revenge-fueled kook swinging for the fences with a home-crafted thunder-club that would make Roy Hobbs from The Natural run to the visiting team’s dugout for safety. I’m serious when I say that the bat is a work of art itself, with a fully-retractable bayonet of sorts in the head to complement the assortment of driver-tacks that are sure to send any batting average through the roof.
The movie follows a group of four friends that are reuniting to commemorate the anniversary of the tragic killings that took their Little League coach and fellow teammates from them years ago. Now older (and slightly more annoying), the foursome have an odd connection to the killer, who was sent away after the initial killings, and the first part of the movie (aside from some very enticing kills) is spent cementing the relationships that the group has with each other. Both humor and terror are combined, and aside from some side-stepping actions that will have the audience shaking their collective skulls, a nice foundation is laid out for the second half, where the home run derby truly commences.
Allison (Erin Hammond), Bobby (Marshall Caswell), Devon (Matthew Dunlop), and Kyle (Nick Sommer) are the type of crew that make the atypical “trapped in their high-school glory days” bunch that much more believable, and when all is said and done, and the identity of the catcher’s mask-wearing killer is revealed, there actually is a slight bit of remorse for the character, especially with the bullying undertone that the movie slightly focuses on.
As I mentioned earlier, Billy Club uses not only a sizable amount of gore, but an appropriate helping of flaky laughs provided by both Dunlop and Sommer (one scene involving a potential drug overdose is worth the price of admission). I know that I can be a severely critical goon when it comes to low-budget flicks, but there certainly is a way to distinguish one from the other, not only in presentation, but how the end result can be taken in by the viewer’s eyes and mind.
Billy Club won’t take the place of some of the great 80’s slashers that it was modeled after, but it definitely deserves mention as a nice accompaniment to the trailblazers that set out long before it, so don’t tip over your DVD collection just yet with these words I’m typing, but pop this one in your player when the mood strikes you, and enjoy some good old-fashioned diamond-slaughter from a guy that swings harder than A-Rod on roids could ever do.
Chicago writer/director Joe Avella has released a trailer for his upcoming web series “Wheelchair Werewolf,” an homage to B-movie horror and educational films of the early 80s. The seven-episode series begins its weekly release on October 31st (Halloween).
A genre mashup between classic 80s horror and educational videos on disability etiquette, “Wheelchair Werewolf” follows a series of grisly murders plaguing a small town that share a curious set of characteristics: an attacker from relatively low to the ground (almost as if the killer were sitting down) and mysterious wheel tracks at the scene of the crime. Who could it be? Everyone in town is a suspect! Well, almost everyone.
The series is written, produced, and directed by Joe Avella (“Delivery Dudes”) and features performances by Tim De la Motte and Chris Blake as befuddled State Troopers, Jimmy Pennington as the world’s best werewolf hunter, and Brian Duff as Terry, a disabled man with a dark secret.
The post Joe Avella’s Parody Web Series Wheelchair Werewolf Rolls Out on Halloween appeared first on Dread Central.
Pre-production has kicked off for The Call Up, and with the American Film Market about to do the same, we have the flick’s early details and artwork for those of you who enjoy a bit of sci-fi flavor with your horror meal.
Written and directed by Charles Barker and produced by Matt Wilkinson and John Giwa-Amu, The Call Up is set to star Matt Deacon, Morfydd Clark, Ali Cook, Parker Sawyers, Tom Benedict Knight, Boris Ler, Douggie McMeekin, and Adriana Randall.
Yeah, none of those names rings a bell with us either, but the film’s ambitious synopsis has us intrigued so read on for that plus the poster and let us know what you think. The anticipated completion date is sometime during 2015.
When a group of elite online gamers each receive a mysterious invitation to trial a state-of-the-art virtual reality video game, it’s a dream come true and impossible to resist. Arriving at the test site, the group members step into hi-tech gear and prepare for a revolutionary, next-level gaming experience that brings modern warfare to life with frightening realism.
At first it’s a unique and exhilarating experience. But what starts out like a dream encounter with cutting-edge technology quickly takes a turn for the sinister. Once they are attacked by enemy combatants, the player soon realizes this is no game after all. Make a mistake here, and you pay with your life. Now these masters of the shoot ‘em up will have to fight for survival within a game gone bad, but this time it’s for real.
Bill Johnson, who gained genre fame by playing Leatherface in Texas Chainsaw Massacre: Part 2, and his musical partner, Nurse Hatchet, are proud to announce the release of their latest collaboration, Faust Haiku, Part 3. Dig it!
Johnson and Hatchet (sounds like a great name for a bluegrass band!) have long been working together on their Faust Haiku project. Always envisioning it as a three-song compilation, the duo already have the first two segments completed (see videos below) and will be dropping the conclusion on, when else, Halloween.
So if the Halloween holiday season wasn’t awesome enough, now you can add this to your list of things to see and do. Nurse Hatchet (a.k.a. Mixtress Demonatrix) and Wild Bill Johnson describe the music style as Electro Erotic Industrial Horror Punk Fetish Metal, and as you’ll see by the videos below, they live up to it.
The original segment of Faust Haiku was number one on the industrial metal music charts for over nine months, and each time Johnson and Hatchet have collaborated, their song has hit number one on the industrial and industrial metal charts. Their influences include Slayer, Mr. Bungle, Fantomas, Ministry, Revolting Cocks, My Life with The Thrill Kill Kult, Rob Zombie, Nine Inch Nails, Gary Numan, David Lynch, Wendy O. Williams, John Carpenter soundtracks, and Danny Elfman.
Both of the original Faust Haiku parts are below in their entirety. They were created by Wild Bill Leatherface Johnson and Nurse Hatchet with Johnson writing and performing the lyrics/vocals and Hatchet providing additional vocals and composing the music with Patrick D-Day Madcox. Hatchet also directs the videos, which feature F/X by Demonatrix Trax & FX and comic/video visual artwork by Lyndal KONG Ferguson, the official Mixtress Demonatrix comic artist, and featuring additional artwork by Ju Gomez and Fernando Ignatuis Martin.
Faust Haiku, Part 3 will be released on Halloween, and the video can be seen on the Mixtress Demonatrix YouTube Channel. You can also purchase CDs of the entire Faust Haiku compilation at the Mixtress Demonatrix SoundClick page. Be the first on your block to own this insanely original piece of music. You won’t be disappointed.
We spoke with Nurse Hatchet herself, and she was more than happy to share a nightmare or two. “For fans looking for more psychodelik creative collaborations from Bill Johnson and me, we are gearing up to release our next project very soon,” Hatchet said. “Still top secret and in the works right now, but there is already more from our collaborative efforts to check out right now with our recent release of the P.I.L. cover mixes of Death Disco Demonatrix & the Nurse’s Orders of Death (tribute). Lick the kink and enjoy thoroughly.”
And for more from the duo, ‘like’ Bill Leatherface Johnson on Facebook and Nurse Hatchet (Mixtress Demonatrix) on Facebook and follow Nurse Hatchet on Twitter (@nursehatchet_69). as well as on the official Mixtress Demonatrix LastFM page.
The post Leatherface Bill Johnson and Nurse Hatchet Collaborate on Faust Haiku Part 3 appeared first on Dread Central.
Exclusive: Creative Director Tom Gilliland Talks Bringing Sideshow’s Court of the Dead to Life; Win a Queen of the Dead Figure
We’ve seen a lot of impressive collectibles lines over the years, but few have captured our imagination quite like Sideshow Collectibles’ Court of the Dead, based on an original story and characters created by Creative Director Tom Gilliland.
After meeting Tom at this past summer’s San Diego Comic-Con and seeing several of the figures up-close, we simply had to learn more about both the man and his masterpieces. Following New York Comic Con earlier this month, Tom was finally able to sit down, take a breath, and share a few more details.
And that’s not all he and Sideshow are sharing with us. One lucky Dread Central reader can win a Queen of the Dead Premium Format Figure. All the info you need is found at the end of Tom’s Q&A.
Dread Central: When we met at SDCC, you mentioned that despite their ominous name, the members of the Court of the Dead are actually the good guys in a war between Heaven and Hell. Can you explain a bit about the line’s mythology for our readers?
Tom Gilliland: The Court of the Dead takes place in a universe where human souls are being enslaved as a power source to fuel a war that has long existed between the laws of Heaven and the chaos of Hell – a war that is now rapidly racing towards total destruction of all creation.
In this maelstrom, only Death himself stands between these two celestial forces. Having been the shepherd of men’s souls from very the beginning, he is now compelled by the fates of so many to take action. Death assembles the Court in order to unite the Underworld with the mortal realm and stop the madness that Heaven and Hell have created.
While Death and the members of the Court are very flawed heroes, their quest for noble ideals drives them to attain a level of grace not often bestowed on characters consigned to such dark roles.
DC: Along with Death and his Queen, the Court consists of reaper generals, assassins, spies… you even have a mermaid and an eater of the dead. Where did you get your inspiration for the characters? They seem to be a rich mixture of the Bible, Greek and Roman mythology, literature, Norse legends… your own nightmares perhaps?
TG: You list some impressive sources, many of which employ the archetypal heroes and great epic struggles that typically capture my imagination, and have certainly been part of the inspiration behind Court. Pantheon storytelling with large casts of characters have always appealed to me; I love stories about teams and confederations, which are as much about the whole as they are the parts.
War movies probably set me in that direction as a teen, and then comics and role-playing games picked up where that left off. Fantasy has also long been one of my favorite genres. All in all, I wanted to tell a story that felt like one of these sweeping epics, and insisted on doing it with the most unlikely cast I could imagine.
TG: The factional aspect of the Court is indeed one of my favorite parts of the story, as it provides a rich mechanism to highlight the duality of unity and division among the Court members. The Factions symbolize the story’s major themes of balance and judicial moderation, as the characters struggle with their individual philosophies while together reaching for their united purpose.
The Faction of Bone relies on structure and a linear order to get things done for the Underworld, making it extremely efficient. However, their inflexible outlook on what’s best creates plenty of rifts, especially with principal rivals in the Flesh Faction. As history has shown, any establishment that is unwilling to change threatens to eventually leave itself with only one option – to crush all voices of dissent. Bone’s cautionary tale is that it’s the Faction on the fastest track to becoming the type of extremism the Court is fighting against from Heaven and Hell.
Flesh, on the other hand, is a Faction of adaption, which gives it a significant dexterity in exploring unusually masterful ways to achieve its ends. However, if not moderated, the Flesh outlook can lead to a wantonness of expression that breaks down rather than builds sustainable solutions. Ultimately, the Flesh faction must rely on strategic partnering with Bone to create a strong moderation of their combined potential.
The Spirit Faction’s grasp on its strengths and weakness is entirely situational. Because it is not tethered to any foundation as the other two Factions are, Spirit can swing wildly in its identity. When galvanized with purpose Spirit can be a juggernaut of force, but when its focus is lost it becomes scattered and unproductive. Spirit represents the greatest body of entities in the Underworld, and requires the other two factions to act in concert in order to create a mandate that binds their attention into forceful action.
DC: The Court is filled with intrigue and deception. Can any of these assembled souls be trusted? Are there some alliances that are stronger than others, even within the various Factions?
TG: This is just the question the story is looking to answer, and one that will take time to truly unravel. Can these diverse entities, that in many ways represent our own condition, get their act together in order to cooperate and succeed?
In this story, as in reality, there will definitely be times that trusted sources betray their allies, but also unexpected moments where the lowest of the low will rise to become great heroes. It all comes down to motivation – and the quest to restore a balance for freedom within the Celestial realm will prove to be a very compelling force for the Court of the Dead. While the Factions are a powerful instrument to create allegiance, I believe it’s among the individual characters and their commitments to each other that the sharing of this ideal will take the firmest root and provide the strength the Court needs to overcome its titanic challenge.
DC: We saw the Court character prototypes at Comic-Con and were blown away by the size and scale of the sculpts, not to mention their breathtaking beauty and craftsmanship. What goes into making just one of these statues? Can you give us an idea of the timeline from the design stage to a finished product, ready to ship, and how large your team is for this endeavor?
TG: Sideshow is renowned for offering some of the best collectible art from a wide spectrum of popular movie and film licenses, and we are approaching the Court of the Dead with the same level of enthusiasm and artistry.
Working on the Court of the Dead has been a welcome creative charge, and our team has grown fairly extensive. It’s been a fortunate and exciting opportunity to explore this new world with contributions from friends and colleagues, who also happen to be some of the best talents in the business.
Our 3D development team typically spends six months to create an original prototype, a process which requires design work, sculpting, molding, painting, and costume fabrication. From there, the final production of a limited edition run can take an additional 9-12 months. The Sideshow website actually has a cool Studio Tour video series that will give a more in depth look at each step. Most of the pieces that we have shown so far at conventions should be available through 2015-16.
For those looking to catch up on the display mentioned, it can be seen in our blog on CourtoftheDead.com.
DC: Do you have the entire line mapped out, or is it constantly evolving? I suppose you have to have an end point in mind… or is it just open-ended for now?
TG: There’s definitely a method to the madness. We introduced a large number of characters visually in our gallery showroom at San Diego Comic-Con and are now working to tell their stories in more depth via the Court website. There is still a lot of room for us to explore the mythology, and a few key players yet to come, which have already led us to start evaluating additional storytelling outlets and product categories.
DC: Do you use human models, or are the faces all imaginary? Have any of your friends or family members been immortalized here? You must get volunteers all the time! Who wouldn’t want to be a badass executioner or Valkyrie warrior?!?
TG: It’s true that in times past Sideshow has snuck our own likenesses into projects, but so far everyone has eluded Death’s grasp for Court subjects. Although I’m sure any character I put a handlebar mustache on will undoubtedly cast suspicion my direction, regardless of how much I protest that it’s purely coincidental.
DC: We’ve seen some Court of the Dead comics and videos already; what else do you have planned in terms of supplemental materials, viral media, and social networking to raise awareness?
TG: The Court of the Dead website and Facebook page will continue to be our main sources of news and interaction. So far we have released a trove of exclusive artwork and content, held contest giveaways, and even had a personality quiz geared towards discovering which Faction of the Underworld our fans would belong in. Keep your eyes there to watch the Court “Rise, Conquer, and Rule.”
DC: The concept seems ideal for a TV miniseries or film franchise. Is that something you’d like to, or maybe already have begun to, pursue; and which avenue do you think it’s best suited for?
TG: It’s flattering to hear remarks like this. I’d be delighted to see the project elevated someday with cinematic storytelling or a video game franchise.
DC: Thanks so much for your time, Tom! Having seen the Court first-hand, congratulations on a job well done, and we can’t wait to see what you and your team have up your sleeves next.
TG: It has been very rewarding to work on something original that we can share with like-minded individuals, who are able to find their heroes in some of the darkest places.
Now it’s your turn to be rewarded. Just click here or on the image below and enter NOW for your chance to win a 21.5-inch Queen of the Dead Premium Format Figure. This contest ends on Tuesday, November 11, 2014, at 11:59pm PT
She is the first-born creation of Death, his Eve; the embodiment of his dark creative spirit, limitless guile, and soaring ambition. From high atop her spired tower, Gethsemoni, Queen of the Dead, oversees the realm of the Underworld before her. As Death’s appointed Regent she rules the Court of the Dead, a contentious assembly of beings of the netherworld that are driven by Death’s quest to Rise, Conquer, Rule!
We’re fast approaching Halloween, and there’s no better movie to help get you into the spirit of the season than Michael Dougherty’s Trick ‘r Treat.
Halloween just isn’t Halloween until you’ve watched that adorable pumpkin boy known as Sam deliver swift Halloween justice to those disrespecting the holiday, so make sure to do so – at least once – before the big day.
Think you know everything there is to know about Trick ‘r Treat? Take a break from your holiday festivities by checking out a list of ten things you just might be surprised to learn!
1) Writer/director Michael Dougherty’s original idea for the film was for it to be an anthology of stories that had no direct connections, tales that he envisioned would be directed by different horror filmmakers. Development executives weren’t so keen on the idea, which prompted Dougherty to repackage the concept – deciding to connect all of the individual stories into one seamless narrative. After years of working on the story, he also decided he didn’t want other filmmakers to bring his vision to life, feeling that his passion for the project made him the perfect person to direct the film.
2) It was actor Brian Cox who came up with the look for his character Mr. Kreeg, taking initial inspiration from old rockers like Jerry Garcia and David Crosby. The biggest inspiration for the look, however, was a man who knows a little something about Halloween: John Carpenter. Story goes that Cox had met Carpenter several years prior, taking note of the fact that he looked like he was plucked straight out of the 70s. That’s precisely the way Cox wanted Kreeg to look, and so various prosthetics were added to his face to make him look like Carpenter.
3) It’s common knowledge that it was 7-year-old Quinn Lord under the Sam costume, but did you know that Lord also has a cameo earlier in the film, before Sam even pops up? During the scene where Laurie and the gang are getting ready in the Halloween shop, there’s a little boy dressed as a monkey who is briefly seen peeping in on them as they’re changing into their costumes. That’s Quinn Lord, whom Dougherty was so impressed with that he wanted to feature him in the film outside of the costume!
MORE Trick ‘r Treat Fun Facts on the NEXT page!
The post 10 Fun Things You Might Not Know About Trick ‘r Treat appeared first on Dread Central.
Time for horror audiences to go trick or treating! Fun Size Horror is a horror film collective that has come together to create 31 films to celebrate Halloween! You can find all of the terrifying shorts distributed across Dread Central, Bloody Disgusting, Shock Till You Drop, Collider, and HitFix during the week of Halloween.
Today’s Entry – UNDER DARK
Written and Directed by Max Isaacson.
Man – Jon Cahill
Girl – Leona Liskey
Monster – Alan Maxson
A burglar looking for the right score picks the wrong house.
Merrick the maniac is cutting his own path of blood-drenched mayhem through the Internet today and until 10:00 am PT tomorrow on the Killcast, and right now we have a look at some of his carnage.
Killcast is a 24-hour live stream that documents the story of a sadistic clown named Merrick, and the idea is that the footage will be edited down into a 90-minute feature film once the stream comes to an end. So it’s basically a found footage movie, only one that plays out live right before your very eyes.
You can interact with the stream and pre-order copies of the finished film exclusively over on Fundraising platform FanBacked, making this one of the most unique fundraising campaigns we’ve ever seen.
The stream began at 10:00 am PT this morning, and it will run through the same time tomorrow. Let the killing begin by watching the live stream below!