John Carpenter and Blumhouse Productions are bringing Michael Myers back to the big screen in 2017. Let’s hope they toss one of the Halloween franchise’s biggest problems out the window.
When John Carpenter’s Halloween was released in 1978, audiences were terrified – and we’ve got the vintage audio to prove it. The independent film, which played no small part in launching the slasher boom of the early-mid 1980s, introduced the world to a nightmarish boogeyman in the form of “The Shape,” who would of course come to be known by the human name Michael Myers.
But in the original film, The Shape wasn’t quite human so much as he was a supernatural force, hell-bent on brutally butchering anyone who happened to cross his path. Fifteen years after snapping and slaughtering his sister for unknown reasons, Myers escapes from a sanitarium and goes on a murder spree through his hometown of Haddonfield, Illinois, a blank white mask covering his face and effectively wiping away any semblance of humanity he once had.
What happened to Michael that caused him to snap? And why does he set his sights on young Laurie Strode and her friends? Carpenter never answers these questions, and it’s because he doesn’t that Halloween remains one of the most genuinely terrifying films in the history of the horror genre.
When Rob Zombie came along and remade Halloween in 2007, he gave Michael Myers the full “origin story” treatment, explaining away his source of evil as the product of a disturbingly troubled childhood. In doing so, Zombie turned The Shape from a potent symbol of terror into your ordinary white trash serial killer, and many fans may never forgive him for that. But let’s be real here: Myers was humanized, in a damaging way, long before Zombie gave him a beard and a backstory.
In the original Halloween 2, reluctantly co-written by John Carpenter, we learned that Laurie Strode was Michael’s sister, thereby explaining why he targeted her in the 1978 film. With that one major addition to the mythology, Myers was more or less given a motive, and if you’re asking me, that motive did a whole lot more harm to the character than good. The Shape’s familial connection to his victims went on to become a nagging issue that plagued the entire franchise, as it suggested that he was only really interested in killing family members. And that’s just not that scary.
Certainly not as scary as a masked maniac choosing his victims at random.
“Michael Myers was an absence of character,” Carpenter noted in a 2014 interview with Deadline, hitting the nail squarely on its head. “And yet all the sequels are trying to explain that. That’s silliness – it just misses the whole point of the first movie. The sequels rooted around in motivation. I thought that was a mistake.”
At this time, it’s unclear what direction Carpenter and Blumhouse are taking the franchise in – and they assure that they don’t plan on giving it the remake or reboot treatment – but if they hope to recapture the terrifying simplicity of the original classic, one thing they simply must avoid is connecting Myers to any of the victims he decides to stick his trademark knife into. Hell, they’d be wise to ditch his human name entirely, as The Shape becomes more and more terrifying when there’s less and less humanity present in him.
In order to make Halloween great again, they need to make The Shape scary again. And the easiest way to accomplish that goal is to retcon all motivation out of the franchise.
Because Carpenter’s right. All that family stuff was a huge mistake.
John Carpenter created one of the most iconic slashers of all time with 1978’s Halloween. And just like Hollywood does today, they saw a movie that was made for practically pennies (in their mind) and they wanted to cash in on that by making more just like it. Hence, we got Friday the 13th shortly thereafter.
When Carpenter looks back on such films, he admits that he thinks “…most of them were awful“, which is honestly true. Just like with any decade/era, only a few films rise above the rest and become memorable and iconic, Friday the 13th being one of them. But that doesn’t mean he’s a fan of that film or, it seems, that series.
Appearing on author Brett Easton Ellis’ podcast, Carpenter explained (courtesy of HitFix):
One springs from an organic idea and has a truly artist’s eye working. And ‘Friday the 13th’, I feel, affects me as very cynical. It’s very cynical moviemaking. It just doesn’t rise above its cheapness. I think the reason that all these slasher movies came in the ’80s was a lot of folks said “look at that ‘Halloween’ movie. It was made for peanuts, and look at the money it’s made! We can make money like that. That’s what the teenagers want to see.” So they just started making them, cranking them out…most of them were awful.
You can listen to the full podcast right here.
What do you think? Is there something to what Carpenter is saying or is he just full of himself? Weigh in with your thoughts in the comments below!
Osiris Entertainment has picked up Betrothed with a VOD release targeted for July 15.
Described as “The Texas Chain Saw Massacre meets House of 1000 Corpses, Bloody has a first look at Jim Lane’s (Deadly Famous) Betrothed, starring Mikayla Gibson, Bill Oberst Jr (Criminal Minds, Circus of the Dead), Trae Ireland (13/13/13), Omar Gooding (Barbershop), Reatha Grey (Chocolate City), Joey Bell, David Brown, Elizabeth Castillo, Jamie B.Cline, Adam Dunnells, and Bunny Gibson (Creepshow III).
“A trip to the store turns into a surreal nightmare when a college student is kidnapped by a deranged, dysfunctional family. Now Audra West finds herself trapped in the middle of the desert, and betrothed to Adam, the youngest son of the murderous clan. As a determined detective conducts a frantic search, Audra realizes the only way to survive is to escape. But even if she could get away, almost two hundred miles of desert lies between her and help.”
Jim Lane directs from a script by Jeff D. Rosenberg. Greg Munsell, Carole Vesely, and Marie Lemelle produce.
The 1979 ecological horror film Prophecy is now available to stream online for free courtesy of Paramount and their YouTube channel The Paramount Vault.
“Robert Foxworth and Talia Shire (‘Rocky’, ‘The Godfather’) star as a doctor and his wife, who, at the request of a concerned friend, travel to Maine to research the impact of the lumber industry on the local environment. They begin to investigate a succession of mysterious and terrifying events: ecological freaks of nature (including fish that grow many times their normal size), and a series of bizarre and grisly human deaths.”
Directed by John Frankenheimer (The Manchurian Candidate, The Island of Dr. Moreau), the film stars Shire, Foxworth, Armand Assante (“The Odyssey”), Richard Dysart (John Carpenter’s The Thing), and Victoria Racimo.
Peter Jackson’s 1996 horror/comedy The Frighteners is one of those movies I constantly forget exists and then, when I recall it, get really excited because I remember just how fun and entertaining it is.
The film follows Frank Bannister (played by Michael J. Fox), a man who uses his abilities to see and communicate with the dead to pull cons on unsuspecting people. The film also stars Jeffrey Combs (Re-animator), Dee Wallace (The Howling), Jake Busey (Identity), John Astin (“The Addams Family”), R. Lee Ermey (The Texas Chainsaw Massacre), and more. Basically, if you haven’t seen it, you don’t know what you’re missing.
Now, coming to the point of this article, one has to remember that many actors have been in TONS of films. And because they invest themselves so greatly during those few months, sometimes they find it hard to let go of previous characters. Such is the case with Fox during the filming of The Frighteners, when he kept forgetting to call Astin’s character “Judge” and instead referred to him as “Doc”, Christopher Lloyd’s character from the Back to the Future series!
Below is a clip from a behind-the-scenes reel where both Jackson and Fox discuss this and you can see the mistakes in action. It’s rather charming, in a silly way!
Take this rumor with the appropriate amount of salt, for it has not been confirmed in any way by id Software or Bethesda.
Earlier this week, the Internet stumbled upon multiple job listings (spotted by Gamenesia) on Bethesda’s parent company ZeniMax Media’s website that might be hinting at id Software’s next big project. They’re currently looking for talented game programmers who fancy the idea of working “as a part of a development team on legendary id game properties like DOOM and QUAKE.”
id Software is looking for a Senior Physics & Simulation Programmer to work as part of a development team on legendary id game properties like DOOM and QUAKE, developing physics and simulation technology for the game industry’s most advanced engine technology. This position requires engaging in a proactive, high energy development environment on our core technology team.
Seeing as one of those two legendary properties was just rebooted to considerable acclaim, that leaves us with Quake. The series has been on an extended hiatus since the release of Enemy Territory back in 2007.
I’d say we’re long overdue for another Quake, and I’m not just saying that because I’m eager to see what the Stroggification process looks like on our fancy new hardware. I bet it’s super gross, you guys.
I seriously doubt we’ll hear anything from a possible sequel/reboot, assuming it even exists, at E3 next month. Still, it’s fun to think about.
The Japanese culture is absolutely fascinating and stretches over tens of thousands of years. Over that time, many myths have come and gone, some staying and becoming a part of the country’s history and entering modern era stories, folklore, music, movies, and more. Many of these legends contain terrifying creatures and entities that are utterly terrifying in concept and design. And over the years, many Japanese artists have created their own visions of these monstrous beings.
While many of us horror fans may only know Japanese horror of the past two or so decades thanks to the rise in J-horror films as well as the ease with which we can import such films, I wanted to dig much further back to these historical pieces that boggle the imagination and showcase nightmarish demons.
Below are several examples of these masterful pieces of art.
Utagawa Kuniyoshi “Takiyasha the Witch and the Skeleton Spectre”
Kuniyoshi was an artist who was born in the late 18th century and is considered by many to be one of the last great masters in the style of ukiyo-e woodblock prints, which waned in popularity in the 19th century. He created pieces that included many different subjects, ranging from samurai warriors to kabuki actors to animals and more.
One of his most horrific pieces is a triptych titled “Takiyasha the Witch and the Skeleton Spectre”, which depicts a princess reading from a scroll to summon a gigantic skeletal phantasm to protect her from the hero of the myth.
From the British Museum via Surprise Round:
Princess Takiyasha was the daughter of the provincial warlord Taira no Masakado who tried to set up an ‘Eastern Court’ in Shimōsa Province in competition with the emperor in Kyoto. However, his rebellion was put down in AD 939 and Masakado was killed. After his death, Princess Takiyasha continued living in the ruined palace of Sōma.
This print shows the episode from the legend when the emperor’s official, ōya no Mitsukuni, comes to search for surviving conspirators. The princess is reciting a spell written on a handscroll. She summons up a giant skeleton which comes rearing out of a terrifying black void, crashing its way through the tattered palace blinds with its bony fingers to menace Mitsukuni and his companion.
The triptych currently resides at the Honolulu Museum of Art.
Artist Unknown “Tsuchigumo no soushi”
The Japanese had a mythical creature (yōkai) that was called the Earth Spider, a terrifying amalgamation that featured the face of an oni, a body of a tiger, and the legs of a spider.
Originally, the term tsuchigumo was a derogatory term for renegade clans who did not swear allegiance to the Emperor of Japan. Many of these clans took refuge and made their homes in caves, emerging much like the Chinese Bird Spiders, that the myth may be based on, do when they search for food. This information came from the renowned Edo period historian Motoori Norinaga.
“The basic story begins with the illness of Raikou. A priest is sent to pray for him, but the priest is actually the spider in disguise. It soon reveals itself and entangles Raikou in its web. Raikou slashes his way free but the spider escapes during the struggle. Raikou’s four retainers, usually known as the “Four Guardian Kings” (shitennou), eventually find the spider and kill it with Raiko’s famous sword which they rename Kumokirimaru (Spider-cutter). [Source]”
A print resides at the Tokyo National Museum.
Utagawa Kuniyoshi “The Earth Spider Generates Monsters at the Mansion of Lord Minamoto Yorimitsu”
Another masterful triptych from Kuniyoshi, this piece tackles the issue of nightmares as the Earth Spider is sending forth demonic creatures to haunt the dreams of Lord Minamoto Yorimitsu, all while his retainers sit around conversing and playing Go.
The evil Earth Spider conjures up a battle of demons to torment the unwell Raiko (Yorimitsu) in his sleep (far right), whilst his retainers play go. This design got Kuniyoshi into trouble with the authorities because it was felt that it was a caricature of the Shogun Ieyoshi (ruled 1837-53) and his hated chief minister, Mizuno Tadakuni (1794-1851). As a result the blocks were destroyed. Despite the controversy, soon after, the print’s popularity resulted in two pirated versions being produced from completely re-cut blocks, each with notable differences when compared to the original.
Various versions of this print can be found in Boston, Tokyo, and London.
Kurimoto Tanshu “Kappa drawings from mid-19th century Suiko juni-hin no zu”
The Kappa is an example of a Suijin, or a “water deity”, from Japanese legend. These creatures can range in terms of their intentions. Some of the Kappa are known as flesh-eaters that, when captured, will offer their services or impart their knowledge. Others are though to be rapists, impregnating women. Other still attack animals, specifically livestock.
Interestingly, according to myth, the favorite food of the kappa is a cucumber. Additionally, they are at their weakest when attacking livestock because they enter stables, which means they are more easily caught.
The below print can be found at the National Diet Library in Tokyo.
Utagawa Toyokuni “Tokaido Yotsuya Kaidan Onoe Matsusuke as the Ghost of the Murdered Wife Oiwa, in “A Tale of Horror from the Yotsuya Station on the Tokaido Road”
Supposedly, Ju-On‘s Kayako was inspired by this haunting tale. The story goes that a woman by the name of Oiwa was disfigured (sometimes the tale says she was murdered) by her husband, whom she haunted and pursued. When he went to remarry, her ghostly face appeared on the face of his bride. In terror, he swung his sword to behead the ghastly apparition only to behead his wife. He was ultimately killed by Oiwa’s brother.
According to Ju-On Wikia, simply telling this story is dangerous as it has a curse upon it. Filmmakers who use it as an inspiration for their own movies will apparently go to the grave of Oiwa in Tokyo to pray and ask for her blessings.
Toyohara Chikanobu “Kiyomori in a Snowy Garden of Skulls”
Some of Japan’s prints are not necessarily of demons of the flesh but more so demons of the mind. The actions of one’s past can haunt that person for the rest of their lives, as evidenced in this haunting ukiyo-e woodblock print.
“The subject of this painting was a very brutal warlord by the name of Taira Kiyomori. He killed many people, including members of his own family. Kiyomori is shown facing his snow covered garden, contemplating his life’s consequences. At the end of his life, he is now haunted by images of skulls and skeletons sculptured in the snow. [Source]
Tsukioka Yoshitoshi “Insatiable Old Woman”
Above I mentioned that Utagawa Kuniyoshi is considered one of the last great ukiyo-e masters. Well, Yoshitoshi is considered the very last master of the art. And his piece “Insatiable Old Woman” is a prime example of his abilities.
The piece is a representation of a scene from the folk tale “Shita-kiri Suzume” (translated as “Tongue-Cut Sparrow” and depicts the punishment of an old woman after her previous acts.
The full story follows that of an old husband and wife couple, the latter of whom is greedy and selfish. One day, the husband, while out cutting wood in the mountains, finds an injured young sparrow, which he brings home to nurse back to health. The wife is upset that her husband would waste their food on such a creature.
One day, the husband goes out to the mountains and leaves the sparrow with his wife, who goes fishing and leaves the sparrow alone in their home. Upon returning, she finds that the sparrow has eaten starch that was left out. In a fit of rage, she slices off the sparrows tongue and releases it back into the wild where it flies away.
When the husband comes home, he is distraught by this event and goes into the mountains to try and find the sparrow. He finds himself in a grove where a sparrow inn is located and he is invited in and treated kindly and lovingly by all the sparrows inside, including the young sparrow whose life he saved. The birds want to give him a present, so they present two covered baskets, one small and one large. He is allowed to choose only one, so he opts for the smaller one as it’s going to be the least heavy to carry back home from the mountains. When he arrives home and opens it, he finds treasures, delighting his wife. However, when she learns that there is a larger basket, she sets off to find it so that she may take it.
When she arrives at the sparrow’s inn, they grant her the basket but warn her not to open it until she gets home. Of course, her wicked selfishness doesn’t allow her this and she opens it on the path back home only to unveil creatures and demons which sprang out and startled her so much that she fell down the mountain to her death.
Quick heads up to those of you who are planning on getting the Dead Island Definitive Edition when it hits PC, PS4 and Xbox One next week — for PS4 owners, only the original game is included on the disc, so you’ll need to download Riptide.
Deep Silver confirmed the news on Twitter, saying “On XB1 it is on the same disc. PS4 discs don’t support multiple games, so there Riptide comes as a download code.”
When their followers pointed out the problem with that statement — Uncharted, Borderlands and Metro have all had shared disc bundles — the publisher clarified their wording, adding “We could’ve worded that better,” and “You need a separate menu, you can’t just put two games on disc the same way as on XB1.”
This isn’t a huge deal, more of a small annoyance really. It’s just unusual. When GameSpot pushed further, all they got was “There are limitations where you are unable to have multiple multiplayer experiences on the same disc, unfortunately we can’t comment further.”
Oh well. At least I was able to learn some more neat bits from their Twitter page, like how all three games will come with 1,000 GS points, or whatever the trophy equivalent of that is. It makes sense for the first two games to be treated like the full retail releases they were originally, but it’s mildly surprising that Retro Revenge is getting the same treatment.
Night School Studios has announced they’re bringing the original soundtrack for their supernatural teen thriller Oxenfree to vinyl, courtesy of the fine folks at iam8bit.. The deliciously atmospheric OST is the work of SCNTFC (Sword and Sworcery), and it may very well be my favorite video game OST of 2016 thus far.
The soundtrack is fantastic, but it isn’t the best thing about Oxenfree. There’s a lot to love about this charming ghost story, and I did my best to go over all of it in my review.
The audio/visual stuff is top notch, particularly the former, which benefits from some stellar sound design, quality voice acting and the OST I mentioned earlier. What surprised me is how well it works as a game and as a delivery device for a surprisingly emotional story. It actually makes having conversations with NPCs a joy to have, and that’s no small feat.
It has a satisfying narrative that can be seen through to the end over the course of an evening or two, but it’s the cast of refreshingly complex characters — sans the stereotypical teen angst garbage these games often rely upon — and the dynamic relationships between them that really carries the story. I usually cared more about my fickle relationships with my virtual friends than the vengeful spirits who were actively trying to murder them.
Anyway, it’s a good game, and it’s coming to PS4 on May 31 for $19.99, or $14.99 if you’re a PS Plus subscriber. The vinyl OST costs $35, and it’s available for pre-order over here.
Another major content update is coming soon to Saibot Studios’ indie horror game Doorways: Holy Mountains of Flesh, bringing it one step closer to leaving Steam Early Access. The update will build on what was added in Act 2: The Mansion back in March, as well as set the stage ahead of the arrival of the final act, The Temple, which will finally bring an end to the trilogy.
So far, Holy Mountains of Flesh has been a worthy finale to the series. I didn’t finish the first Doorways, but its sequel, The Underworld, was fantastic.
We won’t have to wait more than a few weeks for the release of the penultimate chapter in the Holy Mountains story, though I might suggest you enter the eponymous temple with caution. The folks at Saibot seem like good people, but “[We] hope you like what you see and get ready for what’s coming inside The Temple…” is a fairly ominous tease.
Methinks we won’t be too fond of this temple surprise. No, not one bit.
Killmonday Games is an indie studio founded and comprised of “two Swedish game developers of madness” — their words, not mine — with Isak Martinsson handling the technical stuff (coding, design) while Natalia Figueroa takes care of the audio/visual bits, like art, music and animation. The extremely talented duo are the creators of last year’s memorable 2D horror game Fran Bow, which you absolutely need to play, if you haven’t already.
Fran Bow is a still-new entry in a subgenre I sometimes refer to as sad horror. I’ll admit that’s not a terribly catchy label for these uniquely personal stories of genuine psychological terror, but it feels appropriate as these games often revolve around well-meaning protagonists with debilitating mental illnesses.
Killmonday recently posted an hour-long making of video for their darkly quirky adventure game that covers three years of its development, from 2013-2016. If you’re a fan, I highly recommend you check it out.
In Fran Bow, the young girl who serves as its main character is described as struggling with “a mental disorder and an unfair destiny.” I’m sure many of us can sympathize.
Neverending Nightmares is a similarly themed game designed by Matt Gilgenbach, who’s been open about his own war against mental illness and how the game doubled as both a creative outlet and a sort of therapy. A more recent example would be The Town of Light, a non-traditional horror game set in 1938 Italy that released back in February. It’s about a 16 year-old Renée who’s forcefully committed to a mental institution because “she didn’t know what her place in the world was.”
Krillbite Studio’s indie hit Among the Sleep touches on similar themes with its portrayal of a deeply troubled family that’s been torn apart by addiction, and specifically the impact that can have on children. Their next project, Mosaic, isn’t a horror game, but it too covers a topic we can all relate to: the mundaneness of adulthood.
Seeing as the oppressive tedium and impossible expectations of fame, fortune, and physical perfection that come with modern adult life are often cited as significant contributors to the mental illness epidemic of anxiety, depression and low self-worth that continues to quietly devastate millions of people, I believe it fits.
I might even include Erin Reynolds’ experimental, biofeedback-driven horror game Nevermind in that group, though it’s less interested in telling a story, and more about helping those who currently struggle with stress and anxiety develop an awareness of these issues, as well as help develop the tools to combat them.
We desperately need more games like these. Zombies, aliens, vampires, ghosts, demons, serial killers and animatronic abominations will always have a place in our favorite genre, but it’s so important that games developers don’t rely exclusively on these familiar foes when there are so many alternatives to choose from.
Mental illness is a different kind of scary. You might not understand it as intimately as someone who’s endured the slow death it brings, but you probably know someone who has. It’s still somewhat stigmatized in our society, and I think video games and the brilliant people who create them can help change that in a way that movies, books and television cannot.
Because if you haven’t felt the profound impact that depression or its myriad cousins can have on the mind, then it’s games like these that are in a unique position to help. And they’re scary, too. The psychological terror here is based in a reality that far too many of us know exceedingly well, and they’re not so easily vanquished.
Mental illness claims too many lives, and not just literally, but also in the passion for life it often drains from its unsuspecting host like an insatiable parasite. So please, you exceptionally gifted builders of the virtual worlds we love to explore, keep being brave. We need courageous storytellers like the devs I listed above, because this industry is broken in a way that keeps these stories from being told by more mainstream games.
What are your thoughts on this? Would you like to see more games like Fran Bow, Neverending Nightmares and The Town of Light, or not so much?
Stevie Calabrese was a contestant in SyFy’s “Face Off” who was eliminated in the 11th episode of the 9th season, making her a force to be reckoned with when it comes to special FX makeup. And even though she lost, that doesn’t mean she’s stopped making awesome creations.
Take, for example, her recent cosplay outfit as the Sugar Plum Fairy that was made infamous in the 2012 meta horror film The Cabin in the Woods. Calabrese faithfully reproduced not only the face but the entire outfit, bringing to life the terrifying maw faced creature that haunted the dreams of so many.
You can see photos of the cosplay below as well as a video of it in action!
— Stevie Calabrese (@AsSeenOnStevie) May 26, 2016
Today, AMC.com released the Director’s Commentary on the “Preacher” (read my review) pilot, in which series executive producers and directors Seth Rogen and Evan Goldberg give viewers an exclusive inside look at the premiere episode of “Preacher,” which debuted on May 22.
In the premiere episode, written by Sam Catlin and directed by Seth Rogen and Evan Goldberg, Jesse struggles to escape a past that is slowly catching up to him. A mysterious entity comes to earth, leaving a wave of destruction in its wake.
An encore airing of “Preacher’s” pilot episode will air Memorial Day weekend on Sunday, May 29 at 9:00 p.m. ET/PT followed by the debut of the after show “Talking Preacher” at 10:30 p.m. ET/PT with series star Dominic Cooper and series executive producers Seth Rogen, Evan Goldberg and Sam Catlin as guests. New episodes of “Preacher” resume on Sunday, June 5th at the series regular time of 9:00 p.m. ET/PT on AMC.
“Preacher” is a supernatural, twisted and darkly comedic drama that follows a West Texas preacher named Jesse Custer, who is inhabited by a mysterious entity that causes him to develop a highly unusual power. Jesse, his badass ex-girlfriend Tulip and an Irish vagabond named Cassidy come together and when they do, they are thrust into a crazy world populated by a cast of characters from Heaven, Hell and everywhere in between. The series stars Dominic Cooper as Jesse Custer, Ruth Neggaas Tulip, Joseph Gilgun as Cassidy, Lucy Griffiths as Emily, W. Earl Brown as Sherriff Root, Anatol Yusef as DeBlanc, Tom Brooke as Fiore, Derek Wilson as Donnie Schenck and Ian Colletti as Eugene/Arseface.
Netflix nabbed Mercy late last year, which Chris Sparling — who wrote the 2010 Ryan Reynolds thriller Buried and Gus Van Sant’s The Sea of Trees — wrote and directed.
“Mad Men’s” James Wolk and “Master of Sex’s” Caitlin FitzGerald star in the home invasion thriller, which will have its World Premiere at the upcoming Los Angeles Film Festival.
“When four estranged brothers return home to say their last goodbye to their dying mother, Grace, hidden motivations reveal themselves. The family’s already tenuous bonds are tested when secrets from Grace’s past resurface, causing a restless night to go terribly awry as the brothers are thrust into a fight for their own survival.”
Tom Lipinski (“The Knick”), Michael Godere (“The Affair”) and Dan Ziskie (“House of Cards”) also star in the film, which is produced by XYZ Films’ Kyle Franke and Nick Spicer and Uncorked Productions’ Andrew D. Corkin along with Robyn Bennett. Netflix is planning on using its new model where it releases the film in theaters first and soon after makes it exclusively available on Netflix.
Brace yourself for one of the most unflinchingly original wild rides when the adrenaline-fueled action hit Hardcore Henry (read my review) arrives on Digital HD on July 12, 2016 and on Blu-ray, DVD and On Demand on July 26, 2016 from Universal Pictures Home Entertainment and STX Entertainment. Filled with non-stop action and thrilling adventure, Hardcore Henry is the first film shot completely in first-person shooter perspective.
The Blu-ray, DVD and Digital HD feature even more explosive thrills with deleted scenes and commentary with the director and actor/producer. Be the first to own Hardcore Henry, starring Sharlto Copley (Chappie, District 9, Elysium), and immerse yourself in an exciting new world as you become the title hero!
“You remember nothing. Mainly because you’ve just been brought back from the dead by your wife who tells you that your name is Henry. Five minutes later, you are being shot at, your wife has been kidnapped, and you should probably go get her back. You’re also in an unfamiliar city of Moscow, and everyone wants you dead. If you can survive the insanity and solve the mystery, you might just discover your purpose and the truth behind your identity.”
From the director of the viral first-person shooter music video, Biting Elbows’ Bad Mother F***er (Ilya Naishuller), and the producer of Wanted (Timur Bekmanbetov), Hardcore Henry is a groundbreaking action hit that’s unlike anything you’ve seen before!
BONUS FEATURES ON BLU-RAYTM AND DVD
- Deleted Scenes
- Fan Chat: Director Ilya Naishuller and Star Sharlto Copley answer fan questions about how Hardcore Henry was made.
- Feature Commentary with Director/Producer Ilya Naishuller and Star/Executive Producer Sharlto Copley
Harking back to the first film, the new one-sheets for Roland Emmerich’s Independence Day: Resurgence takes across the globe to destroy all the famous landmarks!
“We always knew they were coming back.
After ‘Independence Day’ redefined the event movie genre, the next epic chapter delivers global spectacle on an unimaginable scale. Using recovered alien technology, the nations of Earth have collaborated on an immense defense program to protect the planet. But nothing can prepare us for the aliens’ advanced and unprecedented force. Only the ingenuity of a few brave men and women can bring our world back from the brink of extinction.”
Directed by Roland Emmerich, the film stars Liam Hemsworth, Jeff Goldblum, Bill Pullman, Judd Hirsch, Vivica A. Fox, Brent Spiner, Charlotte Gainsbourg, Jessie Usher, Maika Monroe (It Follows), and Sela Ward.
Independence Day: Resurgence invades theaters on June 24th, 2016.
Inspired by Michael Crichton’s 1973 feature film, HBO’s “Westworld,” a drama is billed as a dark odyssey about the dawn of artificial consciousness and the future of sin, is back on track for a fall premiere, although no date is set.
Ed Harris stars as ‘The Man in Black’ – described as the distillation of pure villainy into one man – who stars alongside Anthony Hopkins, Evan Rachel Wood, Jeffrey Wright, Rodrigo Santoro, Shannon Woodward, Kyle Bornheimer and more. The Box‘s James Marsden plays Teddy Flood, a mysterious new arrival to a small frontier town. Teddy quickly proves both his charm — and his talent with a revolver — while his pursuit of a local beauty launches him on a dark odyssey (source: EW).
In the below promo you get a taste of the modern adaptation, which has a serious Matrix vibe to it. And while there’s quite a bit of sci-fi imagery, it also looks pretty violent. I’m loving this concept fully realized as the original film feels both dated and “small,” considering how far our technology has come in 40 years.
It hails from The Dark Knight and Interstellar co-writer Jonathan Nolan.
“People who come into this place are looking for—and this is the irony of it—the authentic experience,” Nolan explained to EW last year, before the delayed production. “They’re looking for not the virtual version, but the real version, the tactile version. Interestingly we’ve arrived at what [the original film] created—fully immersible virtual worlds. Look at Grand Theft Auto or any of these wholly imagined open-world video games. They are beautiful. They’re perfectly immersive and brilliant and filled with narrative turns … “What happens in Westworld stays in Westworld.” It’s a place where you can be whoever the f–k you want to be and there are no consequences. No rules, no limitations.”
Saban Films has acquired North American rights to writer-director Zack Whedon’s feature helming debut, Come and Find Me, says THR.
The film stars “The Path” and “Breaking Bad’s” Aaron Paul, as well as Annabelle Wallis (X-Men: First Class, The Mummy).
“The thriller follows David (Paul), who must track down the whereabouts of his mysterious girlfriend (Wallis) after he realizes she’s not who she was pretending to be.”
The deal comes on the heels of Saban Films picking up the gender-reassignment thriller Tomboy: A Revenger’s Tale earlier this week, as well as Stephen King’s Cell, Rob Zombie’s 31 and even Backtrack, starring Adrien Brody and Sam Neill.
Automatik’s Brian Kavanaugh-Jones (Midnight Special), Motion Picture Capital’s Leon Clarance (“Sense8”) and Oddfellows Entertainment’s Chris Ferguson (Afflicted) produced Come and Find Me. Laure Vaysse and Jo Monk executive produced.
”The most unfettered imagination belongs to young people, and they don’t walk through life; they fly” – Rod Serling
In 1963, “The Twilight Zone” creator Rod Serling was interviewed by Australian radio presenter Binny Lum. The interview goes over a great many topics, including the now infamous show, which Lum admits to never having seen (and Serling takes it in very stylish stride).
Serling also talks about Japanese “Kamikaze” cab drivers, how science fiction predicts the future, and his own writing routine, which involved writing for at least three to four hours every day of the week.
The video is just over five minutes and it’s charmingly and delightfully illustrated, so I definitely recommend giving this a watch. Additionally, there’s a wonderful write up on the Blank on Blank page, which is where this series was created.
Gates Motel Looks like something I should backspace over, but no, it’s an actual thing. Grounded in the very obvious reference in its title, the game will require players to survive a night in this Psycho-inspired locale, collecting items in an effort to reach a phone and call the police.
Judging by the pre-Alpha footage, it appears that the progression will take players through the motel and up to the scarily-reproduced version of the “Gates” house. Gameplay appears to be a little rudimentary, but it’s early yet, and the inclusion of the word “puzzles” can be a red herring. Puzzles these days can be as simple or as complex as the developer sees fit, and I’ve played about as many “wander around this spooky environment and collect things” as I can stomach.
Here’s the basic premise (from the Steam page):
The game puts players in a motel off the main road, where they will play as a woman who has to confront two kinds of nightmares: The owner of the establishment as well as her own, deep, dark fears. Your job is to avoid the same fate previous tenants had to suffer while making your way to the telephone to notify local authorities and be rescued.
A video of the pre-Alpha footage can fill in some of the details for you:
The black-and-white art style is a nice touch and a bold one, as well. It hearkens back to the Hitchcockian aesthetic of the inspirational material. I especially dig the main menu screen, but a menu screen does not a game make. The early question, the one right out of the gate, is: what of what we see right now will be intact in the final, released version?
Odds are, the name, at the very least, will have to change…unless the developers really dig lawsuits and whatnot. What intrigues me more is what fundamental aspects of Gates Motel will go through an overhaul. Sure, the title’s difference from the movie is the equivalent of a faulty keyboard press, but there are also plenty of cosmetic similarities that render the game a giant question mark. Can they get away with a virtually identical reproduction of the motel / house from Psycho?
And then, if all of that is changed, then what is interesting about it? The mechanics are a mystery, as of this writing. It appears to be a collectibles-based survival game, where progression is based on what you pick up through searching. However, if we come to the game for the mouthfeel of a Hitchcockian experience, and it changes, then what is going to be the appeal?
Gates Motel is on track for a fourth quarter release on PC from Patagonia Art, whose previous release is entitled Pixel Survivors. No word on VR support just yet. It’s in a pre-Alpha state right now, so it’s unplayable at present moment, but it is up for voting over on Steam Greenlight. If that’s something you’d like to see on Steam, then go check it out.