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!
The CW just released the synopses for all of its shows airing during the week of November 10th, and while there’s some good stuff ahead on each of the series we cover here at Dread Central, what caught our eye was the description of “Supernatural” Episode 10.05, “Fan Fiction.”
Read on for the first details of the fan favorite series’ milestone 200th episode.
“Supernatural” Episode 10.05 – “Fan Fiction” (airs 11/11/14)
SUPERNATURAL CELEBRATES ITS 200TH EPISODE — When Sam (Jared Padalecki) and Dean (Jensen Ackles) investigate the disappearance of a teacher, they are stunned to see the school is putting on a musical based on their lives.
Familiar faces abound in this milestone episode directed by Phil Sgriccia and written by Robbie Thompson.
The post First Details on Supernatural’s 200th Episode – Fan Fiction appeared first on Dread Central.
Greg Berlanti is a TV force to be reckoned with these days, what with his production company’s “Arrow” and “The Flash” burning up the small screen; and now he’s dipping his toes into another comic’s universe with “Riverdale,” based on the Archie gang.
Here are the details, straight from ArchieComics.com:
The news is out: “Riverdale,” a one-hour drama based on the iconic Archie comic book characters, has landed at Fox. Warner Brothers Studios is producing along with studio-based Berlanti Productions.
“Riverdale” offers a bold, subversive take on Archie, Betty, Veronica, and their friends, exploring the surrealistic twists of small-town life plus the darkness and weirdness bubbling beneath Riverdale’s wholesome facade.
Set in the present in the small fictional town of Riverdale, New York, the show will focus on the eternal love triangle of Archie Andrews, girl-next-door Betty Cooper, and rich socialite Veronica Lodge and will include the entire cast of characters from the comic books—including Archie’s rival, Reggie Mantle, and his slacker best friend, Jughead Jones. Popular gay character Kevin Keller will also play a pivotal role. In addition to the core cast, “Riverdale” will introduce other characters from Archie Comics’ expansive library, including Josie and the Pussycats.
The show will be produced by Greg Berlanti’s Berlanti Productions and written by Roberto Aguirre-Sacasa.
Bertlanti’s track record as a producer includes a number of small-town teen dramas, such as the acclaimed “Jack & Bobby” and “Dawson’s Creek,” and superhero fare pulled from the four-color pages of legendary comic books like Arrow and The Flash. Aguirre-Sacasa, in addition to being the Chief Creative Officer at Archie Comics, also writes two of the publisher’s best-selling titles – the horror series Afterlife with Archie and Chilling Adventures of Sabrina. He spent three years as a writer on “Glee” and penned the remake of teen-angst classic Carrie and the cult horror classic The Town that Dreaded Sundown as well as the Broadway-bound musical adaptation of American Psycho.
“This is a historic moment for Archie Comics, and we couldn’t be happier to partner with Fox, Warner Bros., and Greg Berlanti to bring our characters to television,” said Archie Comics Publisher/Co-CEO Jon Goldwater. “Greg and Roberto are experts when it comes to making great, compelling television and bringing beloved comic book creations to life on the screen. They’re the perfect team to welcome viewers to ‘Riverdale.’”
“This is something we’ve been working on for a while now, figuring out the best way to bring these characters to life for what will be, essentially, the first time,” Aguirre-Sacasa said. “The entire team working on ‘Riverdale’ is as passionate about Archie as Jon and I are, so it feels like the stars have finally aligned for Archie and the rest of the gang.”
We’ll be keeping an eye on this one; here’s hoping some of Afterlife‘s genre flavor carries over into the series.
The post Greg Berlanti Shepherding Dark Archie Comics-Based Series Riverdale at Fox appeared first on Dread Central.
MIA in the latest installment of “The Originals,” Mikael and Davina return with a vengeance in next week’s Episode 2.04, “Live and Let Die”; and in this new sneak peek of the ep, he teaches her a deadly lesson.
“The Originals” Episode 2.04 – “Live and Let Die” (airs 10/27/14)
A HIDEOUT IN THE WOODS — Knowing that it’s only a matter of time before Klaus (Joseph Morgan) comes after them, Davina (Danielle Campbell) takes Mikael (guest star Sebastian Roche) to her family cabin in the woods. When Hayley (Phoebe Tonkin) gets a tip that Vincent (guest star Yusuf Gatewood) is recruiting young, unsuspecting teenagers in order to build a werewolf army, she enlists the help of Elijah (Daniel Gillies) and Marcel (Charles Michael Davis) to rescue the group.
After Cami (Leah Pipes) inadvertently lets Klaus in on Davina’s whereabouts, she tags along in an attempt to truly understand the deeply rooted hatred he has for his parents. At his mother’s urging, Kaleb (guest star Daniel Sharman) seeks out Davina in order to locate the missing white oak stake and is caught off guard when he has a dangerous encounter at the cabin.
Lastly, Josh (guest star Steven Kruger), who continues to struggle with his vampire identity, opens up to an unexpected ally. Jeffrey Hunt directed the episode written by Ashley Lyle and Bart Nickerson.
The post You’ve Got a Job to Do: Watch this Sneak Peek of The Originals Episode 2.04 – Live and Let Die appeared first on Dread Central.
Looking forward to tonight’s Episode 6.04 of “The Vampire Diaries,” entitled “Black Hole Sun”? You East Coasters have just a few hours left while those of us here on the other side of the country have a bit more time to kill. So how about checking out this new clip and a preview of the ep with executive producers Julie Plec and Caroline Dries?
Maybe tonight we’ll all find out what really happened on May 10, 1994!
“The Vampire Diaries” Episode 6.04 – “Black Hole Sun” (10/23/14)
FLASHBACKS TO A TUMULTUOUS TIME IN DAMON’S LIFE — When Damon (Ian Somerhalder) and Bonnie (Kat Graham) realize that uncovering a time in Damon’s past may provide clues to finding their way home, Damon is forced to relive one of the worst days of his life.
After an awkward run-in with Jo (guest star Jodi Lyn O’Keefe) at the hospital, Alaric (Matt Davis) steps in to help Jeremy (Steven R. McQueen) get his life together and cope with the loss of Bonnie. Elsewhere, Stefan (Paul Wesley) attempts to show Elena (Nina Dobrev) what it’s like to start over and create a new identity, while an unsuspecting Matt (Zach Roerig) finds himself in a disturbing situation when Tripp (guest star Colin Ferguson) lets him in on a dark secret.
Lastly, Stefan, who is desperate to regain some normalcy in his life, is stunned when an unexpected visitor shows up. Michael Malarkey also stars. Kellie Cyrus directed the episode written by Melinda Hsu Taylor and Neil Reynolds.
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If you’re a fan of the V/H/S anthology franchise, you’re in luck! Right now we have a new red band clip for the third film in the trilogy as well as a TV spot and an infographic detailing the body count of the first two flicks. Dig ‘em!
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).
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.
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Destroyer is an oddity among slashers in that I know a lot of people who have never watched it but have seen the memorable VHS artwork of massively jacked-up NFL star Lyle Alzado hoisting a jackhammer like a machine gun. Never before on DVD, the 1988 prison-slasher flick Destroyer will bypass that format and go directly to Blu-ray thanks to Scream Factory.
Eighteen months after mass murderer Ivan Moser’s electric chair execution led to a prison riot that shut down the facility, filmmakers converge on the now abandoned jail to film a women-in-prison exploitation flick, only to find out the brutal killer is more charged than ever and ready to deal death by a variety of horrific means, including jackhammer impalement.
The late Lyle Alzado plays the undead killer with shades of Shocker and The Horror Show. Eighties scream queen Deborah Foreman (April Fool’s Day, Waxworks) and Anthony “Psycho” Perkins co-star in this gore-soaked slasher from the Eighties.
In a strange twist, Destroyer will not be flying solo onto Blu in the summer of 2015; it will be paired with Scarecrows, a previously announced Scream Factory title also from 1988. No further details at this time.
Scream Factory promises more surprises before the month of “Shocktober” is up. Stay tuned.
***fingers crossed*** The Vindicator ***fingers crossed***
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Yesterday the UK trailer for Hammer’s The Woman in Black: Angel of Death stormed in, and now we’ve gotten our hands on the slightly different US version. Check it out, and keep your eyes peeled for lots more over the coming weeks.
The film arrives in US theaters January 2, 2015, courtesy of Relativity. It will also be released by eOne in the UK on February 13, 2015.
The Woman in Black: Angel of Death stars Phoebe Fox in her first leading role in a feature film. Fox is joined by Jeremy Irvine (War Horse, Great Expectations, The Railway Man), the award-winning Helen McCrory (Skyfall, Hugo, Harry Potter and The Deathly Hallows), and rising star Oaklee Pendergast (The Impossible).
The film is directed by Tom Harper.
Hammer is looking to take the franchise route with The Woman in Black, starting with this one, which is set 40 years after the events of the original film.
England, 1941. With London in the midst of the blitz, two teachers evacuate a group of schoolchildren to the abandoned Eel Marsh House. Seeking safety from the bombs in the remote coastal location, the group instead find themselves facing an evil far more frightening when their arrival awakens the Woman in Black.
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Some supposed details have surfaced regarding Universal’s upcoming reboot of The Mummy, which is being directed by Alex Kurtzman. According to Superhero Movie News the film’s opening goes a little something like this…
The story follows Navy Seal Tyler Colt and his mission in the Iraqi desert to find a group of terrorists hiding out in a bunker. To his and his team’s surprise, the terrorists within the bunker turn out be nothing more than some grave robbers who have all magically died. Upon entering the bunker, Tyler and his team also succumb to some mystical forces out of their control. They soon realize the bunker they have infiltrated is actually a centuries-old tomb. Mayhem erupts as all the Navy Seal members start turning on one another and are captivated by the forces within the tomb. Tyler is the only one to make it all the way deep within the tomb alive to find a black iron sarcophagus. It’s marked with Egyptian symbols like the Ankh and Eye of Horus. Here Tyler is entranced by the forces to open it up and release what is inside. But after placing his hand onto the sarcophagus, he is immediately stabbed in the palm with a star-shaped symbol. From then on his mind is cursed with visions of Ashurbanipal, King of Assyria… The Mummy.
The site goes on to report that other characters in the movie include archeologist Jenny Halsey, shady billionaire Lorenzo Montanari, and Malik leader of the Temple Brothers.
No word on whether or not any of this is true… but there you have it.
The Mummy reboot hits June 24, 2016.
I’ve said it a 1,000 times. No good can ever come from poking around the woods. No one ever listens though, and I thank the video gods for that because there’s nothing finer, and sometimes funnier, than watching the repercussions dealt to those who stick their noses where they don’t belong. Take this clip from Exists (review) for example.
Exists will be arriving on various VOD platforms and in limited theaters on October 24th.
In Bigfoot’s bold return to the big screen, five friends on a camping weekend in the remote woods of East Texas struggle to survive against a legendary predator that is stronger, smarter, and more terrifying than anything they would have ever believed exists.
The film stars Chris Osborn, Dora Madison Burge, Roger Edwards, Samuel Davis, Denise Williamson, and Brian Steele and is produced by Jane Fleming, Mark Ordesky, Robin Cowie, and J. Andrew Jenkins. Exists, written by Jamie Nash, is executive produced by George Waud, D. Todd Shepherd, Gregg Hale, and Reed Frerichs, and the Sasquatch creature was designed by Spectral Motion.
For five friends, it was a chance for a summer getaway— a weekend of camping in the Texas Big Thicket. But visions of a carefree vacation are shattered with an accident on a dark and desolate country road. In the wake of the accident, a bloodcurdling force of nature is unleashed—something not exactly human, but not completely animal— an urban legend come to terrifying life…and seeking murderous revenge.
Directed by Stiles White
Distributed by Universal
Utter the words “horror” and “PG-13” in the same sentence around certain genre fans, and you’ll likely witness a level of teeth-gnashing and unbridled rage that’ll leave you either shuddering with fear or shaking your head in disbelief.
To be honest, this reviewer has never had much of an issue with lighter horror fare so long as its intent to scare is genuine. I’m thinking of movies like The Ring, Insidious, The Others, or 1408 – films which didn’t need to trade in extreme violence, bloodshed, nudity, or profanity to effectively elicit a series of genuine chills from their audiences. So long as a scary movie attempts to, y’know, actually be scary, I couldn’t care less what its rating winds up being.
Of course, there are also movies bearing that lower rating which have absolutely nothing going for them in terms of storytelling or craft – movies which shoot for a PG-13 and a more lucrative box office take without any regard to what should be their intended fanbase. Make a bad film, then remove all of the more exploitative elements that can at least make a bad film fun, and then what are you left with?
…a movie that would look a hell of a lot like Ouija, I should imagine.
Poised to take the top spot at the box office this weekend in the absence of any other Halloween-friendly horror flicks (oh, Saw and Paranormal Activity – why have you forsaken fans this season?*), Ouija is a solid ninety minutes of “Who gives a shit?!” – a movie so bereft of an interesting plot or relatable characters that this writer CHALLENGES any masochistic viewers out there willing to take this flick in to ignore their watches for what feels like an interminable running time.
Ouija stars Olivia Cooke (so great as Emma in “Bates Motel”) as Laine, our would-be Final Girl who opens the film having just lost her best friend Debbie (Hennig) to suicide. While attempting to move on from this tragedy, Laine refuses to let Debbie go without saying goodbye – enlisting fellow friends to take a spin with the very Ouija board Debbie had mentioned using the night of her death in order to contact her one last time so that everyone can say their proper farewells. Said friends (I don’t remember their names and neither will you) gather ‘round a table, move the Ouija’s planchette about the board a bit, and wind up awakening an entity which proceeds to haunt their every move before taking them out in the lamest possible ways, all while Laine attempts to figure out the nature of the board’s evil and how to possibly stop it before it claims her own life.
Apologies if that paragraph made the movie seem even remotely interesting. While Cooke does her damnedest to make for an engaging lead (and indeed, the entire cast is perfectly solid – if saddled with terrible writing), the movie never manages to take flight. By minute forty of this ninety-minute flick, we’ve barely gotten past our heroes’ first communal whack at the Ouija board. The following quarter-hour has our mostly yet unseen villain terrorizing the leads by taunting them with the phrase “Hi Friend”- its signature greeting. I’m entirely serious – a decent chunk of the damn movie has each character, one by one, being assaulted with “Hi Friend” (written with chalk, in the condensation of a car window, carved into a desktop, yadda yadda…).
Things eventually kinda-sorta kick into gear when Lin “Exposition” Shaye pops in to grab a paycheck and explain the film’s backstory in one big, lazy info-dump – sending Laine and her remaining Scoobies into harm’s way in order to battle and destroy the film’s Big Bad, leading to a twist ending that’s as head-slappingly lame as it is incredibly obvious.
It’s not all bad, though. As mentioned, Cooke tries her best to overcome the material, and the film is handsomely shot. And… well… okay, I guess it’s mostly all bad. But more so than bad – the film is just damned dull. I’d forgive it if there was any attempt made to entertain its audience, but yikes – every choice made is safe, every scare telegraphed, every plot point hammered over the audience’s head. If I told you that the writers responsible for this flick also inflicted upon us the utter borefests Boogeyman and The Possession, would you be at all surprised? Would you be even less surprised to find the Platinum Dunes fellas listed among Ouija’s producers?
Again – the film isn’t bad because it’s PG-13. It’s not even bad because it’s based on a friggin’ Hasbro board game. It’s bad because it’s poorly written, lazily directed, and features not one moment that rises above the level of “entirely uninvolving.” I weep for all of the kids out there who are growing up with films like Ouija haunting the multiplexes. At least there are plenty of great films awaiting them on disc and various streaming services. It’s to those youngsters, and to you readers, that I’m obligated to say – skip Ouija. Skip it. It deserves neither your precious time nor your hard-earned money. If you want to celebrate the upcoming holiday with an appropriate movie, find one that bothers to give a damn and watch it instead.
Board game? More like Bored Game.
*Yes, yes – I know. The original Saw is getting widely re-released back into theatres next weekend. I just miss seeing new installments of venerable horror franchises during the Halloween season.