The crowdfunding campaign for the indie horror game Last Year wraps up this week, yet with three days left, it’s already a massive success. The gargantuan amount of support it’s received on Kickstarter, where it’s raised just over $83,000 — well exceeding its modest $50,000 goal — means there’s a definite audience out there for slasher games.
For the unfamiliar, Last Year is an asymmetrical multiplayer game in the same vein as Evolve, Damned and The Flock. In it, a group of five player-controlled teens must survive against a psychopath who’s also player-controlled.
Last Year is part of a wave of slasher games we have to look forward to in 2015 — here’s our rundown of the rest. This is good news for us for a couple reasons. This is very much an experimental game, and the warm reception it’s seen from the gaming community should go a long way in showing there’s a market for even more asymmetrical multiplayer horror games, as well as other slasher games like Until Dawn, Summer Camp and Splatter Camp.
This comic is the best of Daniel Clewes, John Waters, and Highlights magazine. It combines camp and kitsch with a fuck-you attitude, the real kind of fuck-you attitude, not the kind you could buy at the Hot Topic in the mall in 2002. It is, at its core, what a locally created comic should be. Created by J. Kelly and John G., out of Cleveland, Ohio, the stories are a lovechild of Strangers in Paradise and Creature from the Black Lagoon, plopped unceremoniously into the biggest busiest city of that, er, sophisticated and metropolitan state (heh heh).
WRITTEN BY: Jake Kelly & John G.
ART BY: Jake Kelly & John G.
PUBLISHER: Shiner Comics
Reviewed by: Katy Rex
The writing is the easy conversational dialogue that we’ve come to be familiar with in works like Love & Rockets, and as campy and cheesy as the plot can get, the realistic characters and their natural-feeling conversations keep the boo, as a whole grounded enough to keep the reader engaged. Because of the ease in which one can sink comfortably into the page with barely a bloop as one is absorbed, the predictable horror tropes aren’t even remotely jarring or boring. “Camp” is a trend in comics, and maybe it always has been (does that still make it a trend?), but there’s a huge difference between a campy story and some bullshit attention-grabber in a feather boa and fedora winking obnoxiously at the audience. This comic? Not bullshit.
The art, in full-color glossy (a luxurious printing option in the world of indie comics, but extremely well executed in this case), straddles the realistic and the grotesque. It nods, at points, to the gritty spattered aesthetic so popular in the 90′s, the bright mod look of the 60′s and 70′s, and the cheesy B movie horror thing. The images seem thicker, more textured, than the more traditional inks. Each panel is drawn with care, no lazy half-finished faces or hands/feet hidden behind set pieces, and the characters are consistently both easily distinguishable and easy to read, expression-wise. The character design, in fact, matches perfectly with the characters as they are written: realistic, mundane, but somehow appealing.
This is a fantastically fun-to-read comic, and the cherry on top? I don’t know, I guess this banana split has 2 cherries. The first is the letters column. Written by the Commodore, a sort of mascot, muse, and Tales From The Crypt-style host, the letters column gives absolutely no shits about the fans who write in. In fact, in the second issue, the Commodore printed AND THEN REFUSED TO ANSWER several letters that were not properly addressed to him in the opening. The writer who did remember to write to the Commodore had her question generally dismissed, since he did not appreciate her writing “in an attempt to trick me into writing your term papers for you, Ms. Wooley.”
The second cherry– or, I don’t know, let’s call this one a lychee berry. For variety. The lychee berry next to the letters column cherry is, bizarrely, the ads. It’s unclear whether the ads are designed entirely from start to finish by John G. and J. Kelly, but they’re certainly part of the book. They’re cartoon-styled, occasionally with panels, and always with a sense of humor that makes it perfectly clear that the business would not have ad space with the Shiner Comics Group if they didn’t deserve it. Genuinely, the record store and restaurant ads have made me want to move to Cleveland, or (when I’m rich and famous) at least buy a vacation home there.
And in particular the advertisements for the LCS, Comics Are A Go, are self-aware and hilarious, poking fun at us, the nerds, while celebrating the painful elitism, insecurities, and immaturities that we have learned to mostly hate and/or embrace as a subculture.
At $5 a pop, The Lake Erie Monster is a traditionally more-highly-priced indie comic, but as a thick and quarterly release crammed full of content, I’d say it’s well worth it. Now that the major narrative arch of the first five issues is complete, The Lake Erie Monster will continue to be an ongoing collecting short horror stories. Check them out at http://thelakeeriemonster.com/ for more details!
—Katy Rex writes comics analysis at endoftheuniversecomics.com, comicsbulletin.com, and bloody-disgusting.com. She also writes scholarly articles for various academic journals. She really likes butt jokes, dinosaurs, and killing psychos and midgets in Borderlands 2. She has a great sense of humor if you’re not an asshole. Twitter: @eotucomics Tumblr: katy-rex.tumblr.com Instagram: @katy_rex Email: firstname.lastname@example.org
Danielle Tunstall Photography brings the horror.
Danielle Tunstall is a photographer from the UK with a passion for Horror photography and graphic design. She is widely published and exhibited worldwide, working with prominent bands and authors.
Below are some of her stunning pieces of art that fuse horror and beauty together into an evil gem that Die Antwoord or Marilyn Manson would die for.
All images sourced to Danielle Tunstall
After being wowed by The Possession of Michael King, I was on a bit of an upswing when it came to demonic possession films. Sure, there have been other low-budget possession films that have come and (thankfully) gone, but I still wanted to see what came next. Lo and behold, Nicholas McCarthy shows up with At The Devil’s Door. Now while McCarthy’s film made it’s debut way back in March, I hadn’t heard much about it, other than “it’s by the guy who did The Pact“. Informative, right?
Leigh (Catalina Sandino Moreno) is a real estate agent tasked with selling a difficult house that contains mysterious burn marks on it’s walls. Leigh is also concerned about her sister, Vera (Naya Rivera), who is a loner and not entirely open to social interactions. While preparing the house for selling, Leigh comes across a mysterious girl in a red raincoat on the property (Ashley Rickards). Turns out Hannah has a few connections with the house, one of which is a deal with Ol’ Scratch. As Leigh investigates, she starts pulling her sister into the situation, endangering them both.
At The Devil’s Door wastes little time in immersing the viewer in it’s eerie atmosphere. While we know the antagonist is of the demonic persuasion, McCarthy wisely chooses to only give us glimpses of the entity, be it through it’s beckoning of characters, to shots in the mirror or out-of-focus background shots. You never do get to see the whole thing, and that really does leave the viewer’s head to come up with all sorts of creepy things. Add to that the look of the film, which is primarily dark and desaturated. To spice things up even more, McCarthy decided to take three subplots and weave them together and jump between timelines. While this is might be an instant red flag for many people, as it does lend itself to be confusing, McCarthy does manage to pull it off, albeit not with complete success. Still, it’s a lofty goal, and rather than it being a complete disaster, it does adds a certain amount of misdirection to the entire experience in an attempt to keep the viewer on their toes, preventing them from losing interest.
On the acting front, Moreno’s character is probably the most developed. Leigh is shown to be a responsible and caring individual, while Rivera’s Vera really does come across as someone who prefers to be alone, and is reluctant to accept help. Eventually, Vera does morph into a far more determined character that takes charge. As for Rickards’ mysterious girl, she does a good job of being both scared of the what she’s set in motion, but also showing signs of an inner battle. It’s all about that babysitting scene.
Now I know that this film has been polarizing a lot of people, and I can see why. That misdirection that McCarthy uses does come back and bites him, especially after a certain point in the film involving one of the main characters. Problem is, the sudden switch causes all of our investment in one character to be wasted (McCarthy pulls a Psycho on us), as the other characters have to pick up the slack, but can’t quite do it due to the lack of development. The other issue is with the tying together of the subplots. While again, not totally confusing, there are moments that feel shoehorned into place, and in an effort to keep the pacing going, have been cut down, leaving them vague and causing the film to stumble it’s way to the end. It robs the film of it’s true potential, and coupled with the confusion McCarthy had introduced into the film, leaves the film a missed opportunity.
Calling At The Devil’s Door a missed opportunity pretty much sums it up. The concept of purposely keeping the viewer off-balance while juggling three storylines is pretty ambitious, and the film is well-shot and has some good performances, the film feels like it’s cheating the viewer, as we really don’t get the payoff of investment in the characters we do care about, and the whole thing loses it’s footing by the midway point, hobbling to the end while waving at the viewer without showing the full dance routine. Perhaps if McCarthy had enlisted the help of another writer to help, or if he just stuck to the director’s chair, things would’ve been better. At The Devil’s Door is entertaining, but it’s faults will limit it’s audience to those with the ability to forgive it’s shortcomings.
Presented in 2.40:1 AVC-encoded 1080p, At The Devil’s Door looks very good. Colour saturation is consistent with the scenes, which can vary depending on the particular scene. The film has an overall dark look to it, but still retains good detail. No qualms about this one.
The DTS-HD Master Audio 5.1 track definitely takes advantage of the film’s locations and mood, immersing the viewer with a variety of cool ambient and surround effects. Dialogue is clear and free of distortion. The low end also gets work in the “impact” moments, which again also helps with the immersion.
Things start off with an Audio Commentary by writer/director Nicholas McCarthy, who offers up an interesting talk about a variety of topics, from the look of the film, casting choices, the origins of the film, the score, and the influences of films like Psycho and The Shining. Informative and enjoyable.
“Speaking Of The Devil: The Making Of At The Devil’s Door” opens with McCarthy describing the inspiration for the story. The doc then moves onto casting, and includes interviews with the cast. Following that, the piece looks at the story, the themes, the film’s production, including the difficulties in editing the film, and the “post-mortem” of the film. Overall, while there’s some overlap from the commentary, this is still an interesting little piece that does its job as an overview of the production.
Following that are a collection of six deleted scenes with optional commentary with Nicholas McCarthy. The scenes were basically cut for time from previous cuts of the film. McCarthy does a good job of explaining the context of the scenes and the decisions to trim them, but his commentary also highlights the problems of the film.
The film’s trailer rounds out the extras.
Relativity wants to send a Bloody Disgusting reader a The Woman In Black 2: Angel of Death “scary sequel Blu-ray price pack”!
(1) reader will score themselves the following on Blu-ray, as well as a Woman In Black 2 hoodie and sleeping bag: Insidious 2, The Haunting in Connecticut 2: Ghosts of Georgia, The Last Exorcism Part II and Paranormal Activity 2.
TO ENTER: Send YOUR FULL NAME and ADDRESS to email@example.com. Winners chosen at random. No PO boxes. US only.
The fright sequel, directed by Tom Harper and stars Jeremy Irvine and Helen McCrory, takes place in the same house 40 years later when a group of children who are evacuated from London during World War II come to stay and awaken the house’s darkest inhabitants.
It opens in theaters January 2, 2015.
“When a group of orphaned children are forced to move from their home in London, caretakers Eve (Phoebe Fox) and Jean (Helen McCrory) bring everyone to the desolate and eerie British countryside. 40 years after Arthur Kipps (played by Daniel Radcliffe in the first film, The Woman in Black) left, this supernatural horror film introduces this new group to the now abandoned Eel Marsh House; an odd but seemingly safe location. It isn’t long before Eve starts to sense that this house is not what it appears to be as the children in her care begin to disappear. As their house of safety becomes a house of horrors, Eve enlists the help of a handsome pilot (Jeremy Irvine) to help investigate what is happening. Eve soon discovers that it may not be a coincidence that she has come to reside in the house inhabited by the Woman in Black.”
Right after POWERS makes its debut on the Playstation network, Marvel Comic’s ICON imprint will relaunch the book with a new #1. It’s a great idea that will allow new readers to jump on board with the iconic series. I wonder just what sort of direction this new book will take thanks to the previous source material being so great, but with Brian Bendis and Michael Avon Oeming returning to the world that made them superstars, we can’t be disappointed.
This January, hot off the heels of the highly anticipated debut of the Powers TV series comes POWERS #1 – the recharged and reborn ongoing series from Marvel’s creator owned ICON imprint. A perfect jumping on point for fans old and new, Eisner Award-winning Powers creators Brian Michael Bendis and Michael Avon Oeming are back with a double-sized debut issue for regular price! Now is your chance to jump on board the hit series in time for its television debut!
Hardened homicide detectives Christian Walker and Deena Pilgrim are back, investigating the crimes and solving the murders involving superpowered criminals. If a superhero falls dead from the sky, they’re there. If a super villain winds up dead in the gutter, they’re the first on the scene. But having barely survived the most harrowing case of their careers, Walker and Pilgrim are faced with the toughest decision they’ve ever had to face. The discovery of a power no one has ever seen before will lead Walker and Pilgrim down a new path.
“What a miraculous time for Powers as the TV show becomes a reality to millions of PlayStation owners all over the world,” says series writer Brian Michael Bendis. “What a great opportunity to roll up our sleeves and make a bold new chapter for our characters. As the first issue opens, new powers are popping up all over the place and with that new cases and new headaches for our beleaguered Powers detectives. And most importantly a great new jumping on point for new readers.”
This double-sized issue also includes an exclusive, behind-the-scenes look at the making of the POWERS TV series with never-before-seen pictures from the set!
Two of the biggest creators in comics bring you a bold new beginning for the blockbuster series. No fan can afford to miss the highly anticipated POWERS #1 when it makes its exciting debut in comic shops this January!
Hannibal is an oddity. Everything about it spells disaster. It’s a previously tackled idea that was made into an academy award winning film. The Silence of the Lambs is a masterwork, due mostly to the incredible performance of Anthony Hopkins as Hannibal Lecter.
Somehow Hannibal is much more than the sum of its parts. It’s a masterpiece that elevates the television horror genre to a brand new level and is simply the best television show of 2014.
For the uninitiated Hannibal follows Will Graham, a gifted criminal profiler who has the unique ability to sympathize with his suspects. He embodies the crime he’s trying to solve, and doing so deeply affects his psyche. So much so they he visits Dr. Hannibal Lecter in an attempt to keep his grip on sanity.
Will is continually pushed to the absolute limit, and by the end of season one, Hannibal has convinced him that he’s an infamous killer – The Chesapeake Ripper. So season one ends with an inversion of the famous image – it’s not Hannibal behind bars with the horrible face mask, but our beloved hero.
When Hannibal returned to the small screen in 2014 it was a decidedly different and even darker show. The season begins with a horribly violent fight scene between Hannibal and FBI Director Jack Crawford. When we last saw them, they were friends. Yet, here they are in a brilliantly shot battle trying to murder one another.
When this scene ends, it leaves an insane tone for the rest of the season. We flashback weeks to Will behind bars, and everyone, including Jack is against him. He’s being treated like a maniac, and in a way he has to act like one to get what he wants.
It’s hard for me not to go into painstaking detail of just why this works so well. So I’ll talk about it in broad strokes. It’s not very often that a show heads into its second season with such a different direction. The show is largely structured the same, but it comes to define its characters in entirely new ways. Not the smartest choice when your show is barely alive in the ratings.
Yet, through making the show about a powerplay between equally intelligent sociopaths, Hannibal forgoes humanity for the sake of brutality. It shows the deeply sinister side to human nature, and better yet it approaches this sinister side like a beautiful art form.
Showrunner Bryan Fuller makes an incredible statement with each episode of the series. Murdering people is an art form, people take pride in what they’re good at, and some people really excell at murdering other people. Fuller takes the eccentricities embodied in someone’s art pursuits and pushes them to the fullest extent. The beginning of season two had the killer who stitched people into a grain silo. He killed people of varying skin tones to complete his masterwork, and there was simply nothing quite like that tracking shot that pulled out of the silo by the end of “Sakizuke.”
It’s the masterful attention to detail in moments like these that make Hannibal an absolute marvel to watch. Visually there is nothing quite like it on television. Breaking Bad was perhaps the closest equivalent but now Hannibal reigns supreme. The art direction and shot composition is unparalleled. Whether it’s the wide angle time lapse shots that are used on most exteriors or the tighter close up nature of the brutal violence, the cinematographer, James Hawkinson’s work is beyond awe-inspiring.
With a rotating cast of directors and the increasing demands from a studio, it’s sometimes difficult for a television show to be a visual feast. Instead, practicality and time efficient shots are often what makes it to the small screen. But, Hannibal is calculated and meticulous.
This video should show you everything you need to know about what it’s like to watch this beautiful orgy of death and violence. But, one thing should feel a little off. It’s celebratory, and while the video is a lovely reminder of the visual power of Hawkinson’s attention to detail, it does nothing to highlight the score.
Brian Reitzall’s score straddles a beautiful line between ambient horror and terrifying bombastic splendor. No two moments are alike. He’s able to wrap you in the warm embrace of Will’s isolated life through a couple piano keys melodic repeating in front of a minimalist string assortment.
But within the beauty he can create horrid creeping terror unlike any other composer I can think of. Strangely off key notes pound into the score, building a dangling assortment of sounds that wrap around you and create a soundscape that shows you the ugly side of Hannibal’s world. There is something about it that is ineffable, a magic that comes when combined with the insane visuals of the show.
Apart from all that, the characterization is deep and provocative. The relationship between Will and Hannibal is oddly sexual in nature. Their interest in one another can’t be denied. But it’s never really pushed to a provocative place. Instead small elements of interest seem vaguely sexual. There is nothing physical about the attraction but a provocation that can only be reached when you’ve met your match.
There is a certain surrealist element to Hannibal that channels your deepest fears and projects them onto otherworldly visions of creature who are alien and threatening. Often Will descends into a hallucinatory state that pushes him to see the Stag-Man. A horrid creature who’s leathery black skin absorbs all the light around it. Just when things are going well, the stag-man rears his ugly head and reminds us that nothing is what it seems in this show.
In the insane finale of season two “Mizumono,” Will and Hannibal share a moment of sober reflection before Hannibal cuts into his abdomen. They were close, dangerously close, and throughout the game they play in season two each of them were vulnerable, perhaps more so than they’ve ever been to anyone in order to gain the upper hand. When finally confronted with the bleak reality that one of them must die, David Slade lingers on the shot, making it an apology rather than an act of betrayal.
I’d be remiss if I didn’t take a moment to talk about Mads Mikkelsen as Hannibal Lecter. It can’t be easy to take on a role that defined another man’s career. But, somehow Mads makes you forget all about that character as he channels something equally sinister but distinctly different. He’s a smart calculated man, he’s not caught yet, so his manipulation is much more overt. Not only that, but he carries an extreme sense of patience. He carefully manipulates everyone around him.
Hugh Dancy never would have come to mind as someone who can handle a troubled role like Will Graham, but he gives Mads a run for his money. As he is equally manipulative, but far more troubled. He’s the opposite side of the coin, so paranoid and delusion that he could be caught for something he didn’t commit so he’s careful, he’s calculated, and he lacks empathy. It makes both of this characters wildly unpredictable and weirdly similar.
Hannibal cups Wills neck. He holds him close as he bleeds out, and he allows his embrace to guide Will into death. Yet, somehow the more sinister side erupts from him and like a jilted lover he slices Abigail’s throat just to see Will as she dies in front of him.
This brutality feels like a volcanic eruption. It mirrors the final act of a horror movie in many ways because it’s the unrelenting force of the killer on the loose that changes everyone’s lives for the worse. By the end of season two everything is torn down, the game of cat and mouse is over and our characters are fully exposed. Yet, when they stand naked in the chaos, there are only more questions than answers.
Somehow though, Hannibal will still come back a different and perhaps better version of itself when it returns in late spring. Now, with everything out on the table it has to take us somewhere new, and familiar. There is still plenty of source material left to draw on, and Bryan Fuller has made it clear he’s going to draw on it all, but he has yet to stop surprising us.
I often struggle to define Hannibal I hear myself saying, it’s Dexter only darker or it’s Breaking Bad if selling meth was equal to the psychological horror of criminal profiling. Admittedly that last one needs some work, but the real way to define Hannibal is the most meticulously crafted piece of horror television we’ve ever seen. It’s easily the best horror show of 2014, and not only that, but it was the best show on television of 2014, it’s a dark masterpiece.
We’re far from the glory days of the slasher genre. And while some people (Hollywood included) would rather drop the genre completely, there are others who would still want to pursue it. That’s fine and all, but coming up with a new and inventive way to execute it is the problem. Director Joel Soisson looks to remedy that with Cam2Cam, focusing on the video chat technology we’ve been using now for a few years. It obviously opens up a few different scenarios and possibilities, but the question of whether they can be executed properly is the main thing.
After the murder of her sister in Bangkok, Allie travels to Thailand to bring her sister’s killer to justice. Allie decides to rent out a room at an apartment complex, where she meets up with other twenty-somethings renting in the same complex. Her new friends use a website called Cam2Cam, in which people strip for money. Allie soon discovers that other people who use the website aren’t there for the amateur stripping.
Rather than reinvent the wheel, Cam2Cam plays it safe by opening with the standard “woman alone at home”. It plays out similar to the opening of Scream, save for the change in technology. There’s still a very real fear that accompanies the anonymity with chatting on the internet, and in this case, the anonymity goes out the window once you turn on the webcam or share pictures. Adding to that fear is being put in a foreign land (Thailand) with the obvious barriers that come with it.
Unfortunately, the film’s problems begin right from the start. First off, the opening sequence takes up 30 minutes of runtime. Out of a total runtime of 91 minutes. Also, it’s rather insulting that the lady in question doesn’t quite make the connection that the person who she’s chatting with is using a pre-recorded video. And, with a full-body shot, can’t possibly be typing and stripping at the same time. Maybe it’s just me, but the use of shorthand misspellings that many people use while talking online is aggravating to no end. So, of course, the opening sequence uses a ton of it. To top it off, the payoff results in a blood splatter on the curtains. Great.
The rest of the film doesn’t fare much better. While the opening sequence tries to capitalize on the potential tension that the concept and locale presents, it’s all again just wasted. Characters that we’re supposed to care about like Allie (played by Tammin Sursock, who kind of looks like Kate Beckinsale) are underdeveloped or have multiple personalities, acting one way in one scene and then acting completely different in the next. The horrible dialogue doesn’t make things any easier. I suppose that the screenwriters were aiming to say something about the dangers of the internet, but instead decided to make a heavy-handed after school special with the message that once you start using the internet, you’ll end up making amateur porn and die soon after. Or should I say “attempted” amateur porn? Even that is done in a halfhearted way, as if they had an extreme reluctance to show nudity. Even the opening sequence with a bunch of extras doing whatever was more provocative than this clearly lame attempt at being real.
Cam2Cam is definitely a missed opportunity. The film could’ve gone in so many directions, but instead bumbled along, apathetically trying to make the viewer care. The only consolation are the beautiful locales in Thailand, which are far more appealing and interesting than the film itself. Even then, they still serve as a reminder of what the film could’ve been doing to make it stand out. If you’re in the mood for a slasher, go check out something from the genre’s heyday. Sure, the formula is the same for a lot of them, but at least you’ll be able to glean some entertainment.
Presented in 1.78:1 anamorphic widescreen, Cam2Cam looks acceptable for an independent release. Detail is adequate throughout, with bright colours and accurate fleshtones. There’s no noise to speak of, but there are some instances of artifacting during the darker scenes.
The Dolby Digital 5.1 track is alright, though nothing spectacular. It’s also pretty quiet, leaving you to have to fight with the volume to be able to hear things. Dialogue is clear and free of any distortion, but again, you’ll have to crank up the volume to hear what’s being said.
Other than the film’s trailer, the disc comes with an Audio Commentary with director Joel Soisson. Soisson covers a variety of topics, including how he came onto the project, casting, how certain scenes were filmed, and so on. It’s a fairly mundane commmentary that unfortunately borders on Soisson just droning on, with a few gaps of silence where Soisson is watching the film instead of commentating. The track could’ve used another person to moderate or provide additional input.
While you may remember him from Spidr-Man, or Whiplash, I’ll always remember J.K. Simmons as the insane Nazi from HBO’s “OZ.” His performance always stuck with me, making him one of my favorite actors.
Exciting news Monday afternoon as Deadline reveals that Simmons has joined the newly titled Kong: Skull Island.
He joins Tom Hiddleston in the Legendary Pictures tent pole that Universal Pictures has set for March 10,2017 release.
Jordan Vogt-Roberts is directing a script by John Gatins and Max Borenstein that focuses on the wild island home of the iconic ape King Kong.
A new player has entered the game!
This week’s BD Playlist is brought to you by our reviewer extraordinaire Pat Torfe, who has put together a damn fine list of music that he’s been jamming out to lately. The first list of many is extremely varied, no two songs similar to another, so this entry into our weekly series will definitely keep you on your toes!
Head on in to check out the list and make sure to let us know what you’re listening to lately in the comments.
MTV recently set a premiere date for “Eye Candy,”, and has just now released the first actual footage from the seres.
Set to debut Monday, January 12th, the 10-episode series is exec produced by Twilight‘s Catherine Hardwicke and Jason Blum (Insidious, Paranormal Activity).
The series stars Victoria Justice and “centers on a beautiful but reclusive hacker whose blog exposes everything from terrorist plots to suspected killers. Convinced by her roommate to begin online dating, Lindy (Justice) is targeted by a dangerous cyberstalker and believes one of her suitors to be the culprit. When things take a deadly turn, she teams up with the city’s cyber-crime unit to catch the killer.”
Emmy Grinwis penned the pilot for “Eye Candy,” which is based on a novel by R.L. Stine.
Hardwicke, who also directed the fantastic Thirteen and Lords of Dogtown, helmed the pilot.
Argentine filmmaker Guillermo Martinez has released new stills, poster and teaser for When Your Flesh Screams!, produced by Vindicta Films of La Plata, Buenos Aires.
When Your Flesh Screams! is a horror film from the rape and revenge sub-genre in the vein of The Last House on the Left and I Spit on Your Grave.
“The story revolves around Martina, a biology student, who, after moving from her hometown to complete her studies, decides to undertake an excursion to the outskirts of the city in search of rare and exotic specimens for research. Not finding the specimen after a long search, she decides to rest by the roadside. At that time her new psychotic neighbors propose taking her to the woods, where they claim is the specimen that she seeks. Martina accepts the crossing naturally, but on the way the thugs kidnap her, determined to perform all sorts of sinister and gruesome acts, both physical and psychological. The story takes an unexpected turn when Martina decides to release her pent- up anger.”
Victoria Witemburg, Oscar Molinari, Javier Batic and Ricardo Marchioni all star.
The Order: 1886, Housebound, games released in a broken state, and more. Join us or die! … or just go about life as usual.
Christmas is coming early for one lucky Bloody Disgusting reader who will enter and win a holiday gift pack, courtesy of RLJ/Image and Attack Entertainment.
To enter to win (1) set of the below listed titled (a mix of DVD and Blu-ray), just send YOUR FULL NAME and ADDRESS to firstname.lastname@example.org. Winners chosen at random. No PO Boxes. US only.
“The devastating horror of a nuclear apocalypse is now reality and nine desperate strangers find themselves clinging to life in a farmhouse cellar, while radioactive fallout descends on the darkened world above. These would-be survivors face the nightmare of dwindling supplies, poisonous air and the greatest threat of all – the hordes of zombie-like refugees who want in. With each dying day, their choice becomes clearer – stay and let the makeshift shelter become their tomb or face the unknown terrors of the world outside. Starring Edward Furlong, Monica Keena, Andre Royo and C.J. Thomason, AFTERMATH takes a hard look at how far humans will go to survive. And it isn’t pretty.”
CABIN FEVER: PATIENT ZERO
“A group of friends planned the perfect vacation in the Caribbean, but when they head ashore to explore a remote island, their ultimate bachelor weekend devolves into their worst nightmare. After an ill-fated swim in contaminated water, they stumble upon a seemingly abandoned research facility where a deadly, flesh-eating virus has been unleashed. In the aftermath of a massacre, the only people left alive are a handful of secretive medical personnel and “Patient Zero” (Sean Astin), the lone person who’s been exposed to the disease and shows no symptoms. Can they find a way to survive and escape, or will the virus consume them all in a bloodbath of chaos and carnage?”
HUNTING THE LEGEND
“Five years ago, a deer hunter vanished in the Alabama woods, leaving behind only a rifle, bloodstains and an enormous footprint from a species unknown to science. Now, the hunter’s son Chris, his two best friends and a documentary film crew set out to learn the truth… and seek vengeance. Their search leads them deep into rugged terrain rumored to hide the huge, man-like beast known as Sasquatch. As they close in on their prey, they learn the horrifying consequences of Hunting the Legend.”
JERSEY SHORE MASSACRE
“A typical weekend down the shore takes a bizarre turn as six girls and five obnoxious fist-pumpers become the unsuspecting targets of a deranged killer.”
WOLF CREEK 2
“Lured by the promise of an Australian holiday, exchange student Paul visits the notorious Wolf Creek Crater. His dream Outback adventure soon becomes a horrific reality when he encounters the site’s most infamous local, Mick Taylor (John Jarratt). When Paul attempts to flee, Mick pursues him across a hostile wasteland and eventually drags him back to his underground lair. After seeing the true magnitude of Mick’s monstrosity, Paul’s only hope of surviving, where no one has before, will be to use every ounce of cunning to outwit the man behind the monster.”
Acquired out of the Tribeca Film Festival in New York City, the indie film Preservation (review) will be opening on VOD platforms January 9, 2015.
Today we scored an exclusive clip that’s sure to piss off dog lovers – although it’s safe to say no dogs were actually hurt during the filming.
Actor Christopher Denham takes his second turn in the director’s chair with whats’s said to be a finely crafted horror-thriller starring Pablo Schreiber (“The Wire,” “Orange is the New Black”), Aaron Staton (“Mad Men”), and Wrenn Schmidt (“Boardwalk Empire”).
“Three family members head deep into the woods for a hunting trip that doubles as a distraction from their troubles at home. When all of their gear is stolen, they turn on each other, but soon realize there are much more treacherous forces at work.”
Bloody Disgusting has the exclusive art premiere for Anchor Bay Entertainment’s new horror thriller The Atticus Institute, from producer of The Conjuring Peter Safran, available on DVD and Blu-ray January 20st, 2015.
Written and directed by Chris Sparling (writer of “Buried”) in his directorial debut, The Atticus Institute stars Rya Khilstedt (“Dexter”), William Mapother (“Lost”, The Grudge), Harry Groener (“Buffy The Vampire Slayer”), John Rubenstein (“Angel”) and Sharon Maughn (The Bank Job) and was executive produced by Dan Clifton.
“Dr. Henry West founded The Atticus Institute in the early 1970s to test individuals expressing supernatural abilities – E.S.P., clairvoyance, psychokinesis, etc. Despite witnessing several noteworthy cases, nothing could have prepared Dr. West and his colleagues for Judith Winstead. She outperformed every subject they had ever studied – soon gaining the attention of the U.S. Department of Defense, who subsequently took control of the research facility. The more experiments they conducted on Judith, the clearer it became that her abilities were the manifestation of evil forces within her, prompting the government to take measures to weaponize this force. But they soon discovered there are powers that exist in this world that simply cannot be controlled. Now the details of the inexplicable events that occurred within The Atticus Institute are being made public after remaining classified for nearly forty years.”
Special features include “The Making of The Atticus Institute” and deleted scenes.
The P.T. demo Konami released to announce Silent Hills showcased some impressive visuals, thanks to its being powered by Kojima’s Fox Engine. Even still, there’s always room for improvement, and that may have been what YouTuber djo9999 tried to do with their recreation of the demo’s creepy, mind-bending apartment using Unreal Engine 4.
Whether or not they succeeded isn’t the point, the lesson we should all be taking from this game will look good no matter what’s powering it.
Blue-Zoo Animation Studio is having a little fun with the holidays.
This morning they released a new short, “Daddy Christmas,” which gives homage to films like The Exorcist, Alien and even The Thing.
Written & Directed by Rory Cooke and Daniel Cripps, Voiced by Dan Renton Skinner (aka Angelos Epithemiou) and Teresa Gallagher.
If you’ve been keeping up with FX’s “American Horror Story: Freak Show,” the death of a Freak sparks troubling behavior in Pepper.
In this week’s episode, ‘Orphans,’ Elsa reveals the history of the Freak Show, while Desiree grows suspicious of Maggie.
Read our review of last Wednesday’s episode here.
One of the coolest scenes in Adam Wingard and Simon Barrett’s The Guest, starring Dan Stevens, is during a party that doubles as a haunted house.
In this exclusive clip from the UK home video release (VOD/DVD/Blu-ray December 29th; link), director Adam Wingard uses some clowns extras to scare star Maika Monroe.
Other special features include: 7x Deleted scenes, Theatrical Trailer, and Audio Commentary with Adam Wingard and Simon Barrett.
“Still struggling over the loss of their oldest son, the Peterson family find great comfort when David, a young charismatic former soldier, arrives at their home, claiming to be a friend and colleague of their late son. He is quickly welcomed into their lives, and begins helping out in unexpected ways that seem to change the family’s fortunes for the better.
A troubling and violent chain of events cause Anna (Monroe), the oldest daughter, to suspect David’s real intentions, and she begins to realise that his motives are more extreme than the family could ever imagine. This steely-eyed stranger might appear to be a dream come true but as bullets start to fly and the body count rises, the Peterson family’s nightmare is just beginning.”