Bloody-Disgusting has teamed up with Denver, CO hardcore band Bastards to bring you the exclusive song premiere for “Grave Rusting”, the second track from the band’s upcoming debut EP Ethos (out April 21st).
Vocalist Jacob Belcher states:
This song revolves around the concept of losing people close to you due to suicide/drug/alcohol-related incidents. I’ve lost many of my friends and family due to these sorts of things. I spent so much of my time and energy dwelling on thoughts about taking my own life so that I wouldn’t have to deal with the anger and other emotions that come along with that sort of loss. As I’ve grown older, I’ve learned that we all will die and that I shouldn’t spend that energy trying to cut life short. Try to do things that make you happy. Be kind to other people, animals and the earth, because time will get us all eventually – so make it worth it, and live right now. ‘I sink, tied to the weight.’
May 8th, Summit Music Hall, Denver CO
For a show that moves along so slowly, a lot of things actually happen in every episode. This week’s episode of The Returned was no different, featuring plenty of happenings but little in the way of answers. Let’s dive right in, shall we?
Well it looks like Lucy is now a member of the returned! After being absent since the pilot, Lucy wakes up in the episode named after her. Although she only gets three scenes, they are revealing and inspire excitement for all of the potential storylines that may sprout from her new gift. In a brutal twist of irony, Lucy is now able to actually hear the dead. Not only that, but she uses her gift in the final scene to channel Jack’s father, who warns him that he is in danger.
This is definitely a shot of adrenaline the show could use, but it does raise more questions. If all of the returned came back at the same time, why is Lucy brought back later? Is she the only one? I doubt we will get a firm answer on this anytime soon, but her ability to communicate with the dead should come in handy once she begins to interact more with other returned. Needless to say, Leah Gibson did some great work in that last scene with Jack.Helen
Helen is in police custody for leaving Victor at the diner last week, so Nikki thinks it would be a good idea for Julie to talk to her. Alright. Luckily, Julie was Helen’s husband’s nurse, so she immediately recognizes her and they have a discussion about life and death.
Julie is still a bit unrelatable, at least in comparison to the other characters, but this conversation she has with Helen lets us see more of the real Julie than we’ve ever seen before. When Julie admits to Nikki that she is unable to feel the life inside of her, it’s heartbreaking. She hasn’t felt the same ever since Adam nearly murdered her and suddenly her previous actions with Victor make sense. It makes some of her past mistakes more understandable. They’re still frustrating, but at least we can sort of understand why she has done what she has done.
Peter gets some retribution this week in the form of a vicious hallucination played by Victor/Henry. After apologizing to Victor at the grave of his murderer, Peter sees that very same man walk towards him, point a gun at his face and pull the trigger. It’s a wicked little trick on Victor’s part, one that Peter very much deserved. It is unclear if Peter is actually a nice man, or if it is just a front he puts on to mask his true instincts. I’m betting on the former, but the latter would be pretty interesting.
Victor also gets his reunion with Julie this week, as he stops her from jumping off the roof of a building. There’s a really weird conversation between the two of them where he tells her she is his fairy, and she agrees to be his fairy. It’s a little odd but at the same time kind of endearing.Adam
Lastly we have Adam, who is acting as caretaker for Lena. He is able to heal her back with a mixture of nettles. It’s a little disheartening that nothing more came of her scar. It was built up so much that you would assume it would play a bigger part in the overall mystery, but it turns out it’s just a normal wound.
Adam continues to be creepy this week as he cares for Lena. We still don’t have a lot of insight into what exactly makes him want to kill, but something about Lena doesn’t bring this out in him (though he does nearly pull a knife on her as she is changing). They do have sex, though, which is weird. We haven’t seen enough of Adam to really care about him. This is a problem The Returned has with many of the supporting characters, but Adam is hit especially hard by this fact considering that all we know about him is that he’s a homicidal maniac.
This was another solid, if not spectacular episode of The Returned. What did you guys think? I’m ready to see some more of these storylines merge together. What about you?
- One of my frustrations with the characters is that no one really seems to wonder why the dead are back and if something might be wrong with them. Both of these issues get addressed this week as Helen asks the why and Claire wonders aloud if Camille has returned to them different than when she left them. Progress!
- Camille tries to have sex with Ben, but he realizes who she is and bolts. He probably didn’t want to participate in necrophilia. Can you blame him?
- I’m just going to keep referring to Victor/Henry as Victor, until everyone starts calling him Henry.
- Claire and Peter have sex, so that’s a thing.
- Adam tells Tony that he’s actually hiding their returned mother inside and that she never wants to see him again. Poor Tony.
- Is no one trying to solve the murder of Julie’s neighbor? I feel like that should be more of a focus, considering her tongue was ripped out and her cats were found eating it.
- Speaking of necrophilia, did you miss Mary Elizabeth Winstead this week? Have no fear! Next week’s episode is named “Rowan.” Here’s the promo:
Fisk makes a major move in this episode of Marvel’s Daredevil and, although I’ve only reviewed as far as I’ve seen, It seems that the pace of things will significantly pick up from here on out. The war for Hell’s Kitchen has begun and if you didn’t think Fisk was a serious threat after last episode I’m certain you do now.
The title “World on Fire” is cleverly misleading as it first comes up at the beginning when Matt is describing his powers to Claire. We see a glimpse of his POV which I have mixed feelings about. The metaphor and visual appeal have me partially convinced this is the perfect representation for the show to take. Representing his radar sense this way brings a weight to his character, almost like Wolverine explaining that it hurts when his claws come out every time. It is unfortunate that the 360 “radar seeing” is difficult to represent. I’ve always been particularly attached to it conceptually, and I worry that “fire vision” gives Matt a little too much actual sight.
But, the city on fire turns out to be literal, as Fisk orchestrates a spectacular display of finishing off the Russians. There is a lot to be said about the connection between Matt and Wilson that this episode emphasizes. It is a common narrative trope to draw ideological parallels between the protagonist and antagonist. The proverbial “We’re not so different, you and I” is served to us on a silver platter and our opponents have not even met yet. Wilson and Matt both want to save the city. They both see the city on fire. Where they differ is in the Wilson sees the flames as progress. I have commented before about the bluntness in the way the show handles themes, but I think there is a charm to that. It isn’t heavy handed in a “see what we did there?” kind of way, more in a “got it? good” kind of way that I can appreciate.
In his review of episode one Zac talked about the lack of a traditional 3 act structure from this show and that struck me in particular in this episode because “World on Fire” has a very deliberate structure that begins and ends with opposite perspectives of the city on fire, as discussed, and is framed by 3 relationships each in the same “discovery” stage. As the audience we are in a similar discovery stage with the show and the characters: we saw something that attracted us, we came back for more, and now we are starting to understand what “Daredevil” is and how it works. It is a cleverly timed episode and an effective way to develop these characters, most of all Fisk and Vanessa.
This episode had a few misses, most notably the Foggy and Karen “let me touch your face” scene. I don’t know what the hell that was, and frankly I’m not sure what these two are really adding to show right now. I can’t stand levity characters and I’m hoping that their plot line will fit into the big picture and not distract from it. Having said that I think this is probably the most polished episode yet in terms of plotting, and it was just the right time to give us another taste of oner action. This show is practically everything I want it to be.
Lionsgate has unspooled a new one-sheet and release date for the next exorcism horror film, The Vatican Tapes, now opening in theaters on July 24, 2015.
Lakeshore Entertainment is behind the pic directed by Mark Neveldine (Ghost Rider: With A Vengeance, Crank) that, “follows the ultimate battle between good and evil- God versus Satan. Angela Holmes is an ordinary 27-year- old until she begins to have a devastating effect on anyone close, causing serious injury and death. Holmes is examined and possession is suspected, but when the Vatican is called upon to exorcise the demon, the possession proves to be an ancient satanic force more powerful than ever imagined. It’s all up to Father Lozano (Pena) to wage war for more than just Angela’s soul, but for the world as we know it.”
It comes in the spirit of films like The Exorcist, The Devil Inside Me, The Exorcism of Emily Rose, among various other recent exorcism-inspired genre films.
Michael Pena, Djimon Hounsou, Dougray Scott, Peter Andersson, Olivia Dudley, and Cas Anvar star.
I just recently revisited Walter Murch’s 1985 Return to Oz, a film I have always loved since I was a wee lad.
Much like The Neverending Story, Labyrinth and The Dark Crystal, Return to Oz isn’t dated at all, and is just as fantastic as I remember it being. In fact, I got obsessed all over again and started seeking out fresh information about it and learned that it was quite a troubled production. In fact, there was a fan-made documentary (since removed from the Web completely) that detailed all of the problem that started with a ballooning budget.
Starring Fairuza Balk as Dorothy, I learned that Return to Oz was a legitimate sequel to Wizard of Oz, and even more faithful to L. Frank Baum’s books. There’s a plethora of interesting fact if you scour the Web.
In it, Dorothy is saved from a psychiatric experiment by a mysterious girl, and is somehow called back to Oz when a vain witch and the Nome King destroy everything that makes the magical land beautiful.
Thanks to Reddit user Scottland83 we have the following collection of rare behind-the-scenes images from the puppet-centric movie that was part of Jim Henson’s filmography.
Well this was a table-setting episode if I ever saw one. Not that that was a bad thing, there was just a lot of setup for the rest of the season that the bombastic season premiere didn’t provide. While it may not have been the most exciting episode Salem has ever done, it definitely created plenty of anticipation for future episodes.
Let’s get the bad (read: boring) out of the way first: John Alden. He’s still just kind of there, only now he’s a killing machine. It was a smart move for the series to bring him back to Salem so early in the season, but we’ll have to wait and see how long it takes for Mary to learn of his presence. The quicker the better, says everyone. We did get to see him slit Petras’ throat, though (that’s the guy who likes to pull out his own eyeballs to show other people visions), so that was cool. Unfortunately he is still the weak link of Salem.
The opening of the episode picks up right where last week’s premiere ended: with the townsfolk discovering the bodies of the elder witches hung (by their own intestines) in the town square. It was a bold move to have them burn Mercy and her “army” up right at the beginning, but it was as thrill to watch. The CGI of all of the witches burning was pretty good for WGN standards as well. It is a little perplexing why none of the witches in the crag woke up and ran when they were getting doused with oil (especially since Mercy was shown to already be awake), but it was a brutal way to start the episode.
Clearly, Mercy couldn’t have been permanently killed, so it wasn’t much of a surprise when she was revealed to have survived the burning. What was surprising was her decision to return home to her father in the final scene. Honestly, I don’t remember much of her father from the first season (back when she was “possessed”), but this might give Mercy some more depth to see her relationship with her father. It’s an interesting idea but we will have to see how it plays out in the coming weeks. As usual with Salem, the makeup department was on point with her charred flesh.
Mary had quite a lot on her plate this week. It gave Janet Montgomery the opportunity to show a lot of range, but also kind of blurred her motivations. After Tituba tells her she must kill Isaac to prevent him from blabbing about her participation in the Grand Rite, she shows sympathy for Isaac at the 11th hour and spares his life. It was an interesting decision for Mary, but her character is still a bit of a question mark. Sometimes she seems like she’s all in for this whole Satan worshiping thing, then other times she shows moments of compassion that seem completely out of character. That’s what makes a good anti-heroine though, and Mary is one of the better ones we’ve been offered in recent memory.
Anne actually had something to do this week, and it seems like she will be directly involved with Coutness Marburg! First, Anne teleports herself (intentionally?) to Boston to see Cotton. Not five minutes later, Marburg shows up to interrogate Anne inside her soul. It was a pretty nifty set piece, with Marburg’s various teleportations mid-conversation were interesting to watch. We learn that Marburg is incredibly old (and was also Hecate, the Greek goddess of witchcraft, ghosts & magic) and that she is very interested in Mary, since she performed the Grand Rite. Lawless was confined to just two scenes this week (which is one more than she got last week), but she made the most of them.
While not exactly an exciting episode of Salem, “Blood Kiss” set the stage for what could prove to be some interesting future episodes. I’m still a little unsure why Cotton is still a part of the show, but color me intrigued!
- “For once, cease your shrieking, harpy.” I’m not sure why, but the word “harpy” is such a funny insult, but I like it. I might start using it more. Also, Tituba is totally a harpy.
- George Sibley is still alive! And he is being taken care of by Mary’s son. Gotta say, that needle going under George’s toenail was hard to watch. Mary’s son is quite the little deviant!
- Hawthornes intimidates Anne by calling her an orphan. He also doesn’t want the corpses of the pox-ridden to be thrown into the crags. Fascinating.
- There’s a “bring out your dead” scene! Did anyone not see this and immediately have Monty Python and the Holy Grail flashbacks?
- I can only assume Lucy Lawless speaking to Anne telepathically about how she “smelled a witch” was an homage to a similar scene between Danny and Halloran in The Shining.
- The Countess referring to Increase Mather as a “pestiferous, pus-headed killer” was the highlight of the episode for me. Seriously, this show has some spectacular insults.
- Apparently male witches like to make out with their mothers, as that happened twice in this episode (one instance involving a 6-year-old child). Gross.
This past weekend, the 2nd annual Fear FestEvil, which was created by Metallica guitarist Kirk Hammett, was held in San Jose, CA. The event featured live performances from acts such as Meshuggah, High On Fire, Orchid, Blues Pills, Agnostic Front, as well as featuring guest appearance from several metal legends and horror-related icons, including Asada Messiah, Corey Taylor, Slash, John 5, Sara Karloff, Bela Lugosi Jr., Ron Chaney, Charlie Benante, and Bill Moseley.
Below is a gallery from the event, with photos from live performances, guest signings, and more.
I’m of the firm belief that the Addams Family are the most loving, caring, and connected family that has ever graced the silver screen. They are wildly devoted to each other, show an interest in what the others are doing, and spend tons of quality time together. In all honesty, there’s quite a bit to be jealous when watching them.
Many times I found myself wishing that I could be a part of that family. Yeah, they might be kooky, ooky, and sometimes a little bit spooky, but I think I could live with that.
This week’s quiz gives you the chance to see who you’d be if you were a part of the Addams Family! Simply take the quiz below and then make sure to leave a comment letting us know who you got!
I got Morticia, which stated:
Low-voiced, incisive and subtle, smiles are rare…ruined beauty … contemptuous and original and with fierce family loyalty … even in disposition, muted, witty, sometimes deadly … given to low-keyed rhapsodies about her garden of deadly nightshade, henbane and dwarf’s hair.
Almost one year ago, the world lost one of its most creative and visionary minds when Swiss surreal artist H.R. Giger passed away. Giger was known in the horror community for his incredible artwork and his work on films such as Alien and Species. His presence was also felt strongly in the music community with his artwork used by bands such as Triptykon, Emerson, Lake & Palmer, Korn, whose vocalist Jonathan Davis commissioned a one-of-a-kind mic stand sculpted by Giger, and Debbie Harry (for whom a never-before-seen documentary will premiere).
On May 22nd and 23rd, the Museum of Art & Design in New York City will be holding the “H.R. Giger Film Festival”, which will showcase rare and in some cases, never before screened anywhere, documentaries and short films. This event is part of the MAD cinema series, as well as a chapter in the ongoing HR Giger Film Festival.
Some more information, direct from the press release:
Marking the one-year anniversary of his passing, the Museum of Arts and Design presents The Unseen Cinema of HR Giger. Partnering with the HR Giger Museum and the HR Giger Documentary Film Festival, this weekend-long event presents rare and never before seen films made by and about HR Giger.
Opening up Giger’s personal archive for the first time, these films reveal the behind-the-scenes practice of this singular artist. The Unseen Cinema of HR Giger gives a rare glimpse into the personality, process, and vision of his indelible impact.
The first evening of screenings will be introduced by Debbie Harry and Chris Stein.
I was contacted by the festival’s curator, Zev Deans, who also dropped this amazing piece of information:
The real gem is a 45 minute arthouse sci-fi called “Swissmade”, made in 1969, that features Giger’s first use of prosthetic costume in a film. It has only been screened twice, only in Switzerland. This festival will be its American debut.
There will be three programs during this event:
“The Collaborations of H.R. Giger” – More information
“Inside H.R. Giger’s Sanctuaries” – More information
“Behind the Scenes of H.R. Giger’s Studio” – More information
While there was definitely a problem with MTV forgetting that it was supposed to be, y’know, a music television station, there were some amazing shows on that network. And one of the gems was Celebrity Deathmatch, the ultraviolent, hyper gory stop-motion battle show. Eight years ago, that show was cancelled after six seasons (which themselves were broken up over nine years). But now that’s about to change as MTV2 has ordered a pilot for a new season!
According to The Hollywood Reporter, creator Eric Fogel will return to the show with Chris McCarthy and Paul Ricci as executive producers. THR also states that the new version, “…will again feature animated no-holds-barred fantasy fights between infamous figures from entertainment and pop culture and will be reimagined for a social media world and hourly Twitter wars.”
Below is a clip showing the Men In Black vs. David Duchovny and Gillian Anderson battling it out.
Now tell me, who’s excited for this? Because I know I am!
Just a few days ago, I was walking past my local theater and saw that they were showing It Follows (review), the indie horror film that has received near universal critical acclaim. Even as a writer for this site, I’ve managed to avoid any spoilers, trailers, or reviews for the film once I heard that it was something special and deserved to be seen. So I walked into the theater to see when the next showing would be and, fortuitously enough, I stumbled in exactly one minute before it was set to start. I bought a ticket, plopped my ass down in a rickety theater seat, and sat back for a film that received an insane amount of hype. And you know what? I loved it.
Goddamn, It Follows is fucking great. It’s legitimately scary, expertly crafted, and is extremely entertaining throughout. The acting is very believable and the story leaves enough to the imagination to make things haunting for hours after the credits roll. And perhaps the best part was that I never felt safe watching the film. At no point did I feel like the characters were in a safe, secure place, which made the tension all the more thick and the paranoia all the more real.
But one of the main standouts is the killer soundtrack courtesy of Disasterpeace (aka Rich Vreeland). It blew me away with its minimalist electronic horrorsynth vibes and even on its own possesses the power to unsettle me greatly, causing me to look over my shoulder and be wary of the dark.
I reached out to Disasterpeace and was fortunate enough to get in touch regarding an interview. You can check out our exclusive chat below!
BD: First of all, how’d you get attached to the film?
I scored a game called FEZ a few years ago. David loved the music and reached out to me via e-mail. Our initial discussions were straight-forward. We talked logistics and expressed our interest in working together. David touched base right before he started filming and then we fell out of touch for a year. When he came back to me, prepared to start scoring, I had a lot of work underway and did not have much time. I turned him down at first, but he could tell that I wanted to work on the film. After much discussion, I gave in to his persistence. I’m glad I did! We at first talked about exploring an aesthetic with guitars and other acoustic instruments. Over time, we realized that synths had the versatility we needed.
BD: Your music has been compared almost relentlessly and endlessly to John Carpenter. At what point does it stop being a compliment and become more a situation of, “Can’t my work stand on its own?”
Oh, I don’t really think about it too much. The reality is that we used John Carpenter as a reference for a few of the cues, so it makes sense. Outside of that though, my familiarity with his music is somewhat limited.
BD: Not to downplay the last question at all but as I listen to the music, I also very much heard other acts, such as Vangelis and Tangerine Dream, as potential influencers. Rather then ask if these influenced your music for the film, I’m much more curious as to what artists and bands actually drove you to pursue music.
As a teenager, my musical world revolved around guitar. Bands like Led Zeppelin, Tool, Rage Against the Machine, King Crimson and Yes really got me into writing music.
BD: There’s been a strong resurgence as of late for the whole “retrosynth” and “horrorsynth” musical style. What do you think has made it so appealing over the past few years?
Well, I do think the barrier to entry for making synth music is diminishing all the time. But for me, creating a synth-centered horror score just made a lot of sense, given my background and the limited amount of time we had. I’m always listening to new music but I never think deliberately about trends.
BD: What I found incredibly appealing about ‘It Follows’ was that it never pandered to the audience. It never had scenes that injected humor simply to alleviate the mood. The film maintained a constant and consistent sense of dread and terror, which was only amplified by your score. Did you feel that the lack of variety in mood restricted you and what you could offer or did it have the opposite effect?
I think there is subtle humor throughout the film, even in some of the darker segments. But I would imagine that the sense of the dread and terror is a bit minimized on me, because I helped create those feelings. I tend to focus on the characters, which I think is where most of the humor in the film comes from. Yara is an oddball and Paul is a bit desperate and I found them both entertaining. The pervy neighbor also deserves a mention.
BD: The film takes place in the Detroit area, which can go from beautiful suburbs to decaying landscapes. It’s also, in many places, basically a ghost town, with entire neighborhoods abandoned. Many times, when listening to the score, it sounded like the plaintive howls of ghosts, begging to be heard, as though the music was the voice of these ghost towns, the cry of the forgotten. Did Detroit itself influence the music?
Detroit certainly has a unique feeling to it, and I think that comes across in many of the film’s shots. For this film I worked in a fairly intuitive, unspoken way. Many things influenced my decisions, but it was all based on feelings and senses. I never set out to deliberately do something that was “Detroit”, but to me the film just oozes that locale, and things that ooze out of the screen will certainly seep into my work.
BD: The film has seen some absolutely unbelievable critical acclaim and that word of mouth has led to a fantastic response at the box office. Did you anticipate that the film would resound so strongly with the horror audience?
I had no idea to be honest. We were hoping for the best and I think things have truly exceeded our wildest expectations. This is my first feature film and I’ve never been much of a horror fan so this whole experience has been quite surprising for me.
BD: Speaking of the film’s success, your score is considered one of the highlights of the film. What does this kind of recognition mean to you?
It means a lot! People have told me that the music moves them, frightens them … To hear of such visceral reaction from listeners is pretty satisfying.
BD: Many composers leap at the chance to compose for a horror film, saying that it gives them a creative freedom that they rarely achieve in other genres. What do you think of this idea?
I totally agree! Scoring horror is a ton of fun. I had no idea what I was doing, to be perfectly honest. I just went with my gut feelings on things. I tried to make the cues as brazen and wild as I could.
BD: The notion of a shapeshifting entity that follows a person everywhere they go, regardless of how long it takes to get there, was really terrifying for me. If you found yourself in the same position as Jay, what kinds of shapes do you think would haunt you?
I’m sure for me it would be something a bit bigger, a bit uglier than the entities in the film. I try not to think about it too much though! Haha.
Infographics are a hot commodity because they mean instant hits, which means everyone is making them. And while some are graphically cool, the research is flawed or rushed, making it basically something pretty to look at and go “I like that too!”
Well, not MorbidMalignant – no, no, no.
He went back and revisited all five seasons of AMC’s “The Walking Dead” to create this absolutely bonkers infographic detailing, well, everything.
“Back in December after The Walking Dead’s mid-season finale, I decided to begin rewatching the series from the beginning and I wanted to take notes on a few things. So, I did.. and I kept track and continued updating my notes up until the Season 5 finale and after that was over, I updated them one last time.
After that, I made a series of infrographs covering just about anything you could ever think of from characters with the most human kills to characters with the most walker kills.. individual graphs for most of the main characters in the series, who gets the most kills in each season and if you can believe it, even more.”
Check them all out below! What do you guys think?!
In the ongoing battle to spoil entertainment before it’s even close to being released, someone has taken scans of DC Comics’ upcoming free comic book day title, Divergence, spoiling the identity of the new Batman. This new Batman will exist in the post convergence universe, and have a story that takes place after the current arc “Endgame.” Bleeding Cool posted a wealth of details regarding the leak, and excitement now seems to be at an all time high.
So if you don’t want to know who takes over the mantle of Batman, stop reading now. SPOILERS AHEAD.
So first let’s talk about what is immediately noticeable about this new build. There’s one red, and one blue light on the back of this robot suit thing. It’s holding a smoking gun, something we know Batman isn’t a big fan of.
The new Batman is none other than Detective James Gordon. In the issue he’s sporting a shaved mohawk, no mustache, and spouts negative criticism about the idea right away. Saying “I’d like to go on record as saying this is the dumbest idea in the history of Gotham City.” Which of course isn’t correct. This is a great idea, and fantastic way to contribute an undying legacy to the Batman storyline that’s sure to sell trades and be talked about for a long time to come.
There were clear signs that this Batman was a more police focused unit from the start, but it didn’t really come together until the revelation that Jim Gordon is in this suit. Just what this means for Bruce Wayne remains to be seen, but it can’t be good.
This idea is bonkers, but it just might work. Snyder has had a certain affinity for Gordon since he took over the series in the New 52. He’s a very different type of man than Bruce Wayne, and how this will manifest itself in his time as Batman will make for good if not great storytelling.
I became a huge fan of Onur Tukel after seeing his hilarious micro-indie vampire flick, Summer of Blood (review).
He’s back again with a new horror film, Applesauce, which will have its World Premiere at the upcoming Tribeca Film Festival.
We have the first clip from the film, featuring Tukel and Trick ‘r Treat‘s Dylan Baker, which shows his comedic roots blossoming once again. We never get to hear his horrifying story, although it plays an intricate part to the film’s plot.
“After he confesses the worst thing he’s ever done to a radio talk show host, Ron Welz’s past starts catching up to him and someone starts sending him body parts. Who is tormenting him? There are eight million people in New York City, and everyone’s a suspect.”
Teases the clip’s description: “Take dark comedy, mix it with noir, add a dash of horror and stir in some melodrama, and you have the recipe for one of the most original and unusual movies of the year.”
Trieste Kelly Dunn, Max Casella, and Jennifer Prediger also star.
The highly anticipated Mortal Kombat X arrives today from WB Games and Netherrealm Studios and in the weeks leading up to release DC Comics has published a prequel comic. The prequel is something filled with the guts and glory you know and love from the video games, but has a little more backstory to spare. Bloody-Disgusting recently sat down with comic series writer, Shawn Kittelsen to discuss what it’s like entering into Mortal Kombat.
The first kollection of Kittlesen’s story hits today April 14th as “Mortal Kombat X: Blood Ties.”
Bloody-Disgusting: What’s it like to play in the many realms of “Mortal Kombat?” Were you restricted in any way from telling the story you wanted to tell? What was the most interesting thing you learned about the many realms in your research for writing this book?
Shawn Kittelsen: It’s a lot of fun to play in the Mortal Kombat sandbox! The only restriction I had was to stay compatible with the MK9 and MKX, and I would consider that more of a guideline than a restriction. Blank pages are intimidating, so any kind of boundaries or waypoints are comforting. I could treat the games as a springboard to launch into some really cool stories, like Kotal Kahn’s origin or Cassie Cage looking for thrills at an underground MMA match.
I did a ton of research, and I guess what’s most interesting to me is that so much of the information was a refresher. I’ve played all the games through the years, but I hadn’t really thought about Deadly Alliance or Deception in a long, long time. So coming back to that now was like showing up at a Mortal Kombat reunion and seeing all these old friends who’d been relegated to some shadowy corner of my memory. Characters like Mavado. I used to LOVE Mavado.
Bloody-Disgusting: Previous to the last Mortal Kombat game story was almost irrelevant and now the increasingly complex dynamic of the characters drives the bulk of the story, which rivalry do you find the most interesting, and which of the new characters was your favorite to explore?
SK: Favorites to explore, I’m really torn between Kotal, Cassie, and Takeda. They’re all realized enough in my mind to carry their own solo series. But the rivalry that most interests me, in the comics at least, is between Kotal Kahn and Sonya Blade. He’s the Emperor of Outworld and she’s commanding Earthrealm’s defense for Special Forces. They’ve just been through this horrible Netherrealm War that nearly wiped out Earthrealm, and it’s supposed to be a period of renewed peace, but a lot like Europe between the Great War and World War II, there’s tension everywhere. Kotal has to defend his throne and Sonya is deeply insecure about Earthrealm’s safety, and since the two of them are connected to every other character in the story, their personal issues have far-reaching impact.
Another rivalry that I’ve really enjoyed developing is between Hanzo Hasashi and Raiden. Hanzo’s been traumatized by enough tragedy and lies to fill a Russian novel. Raiden is supposed to protect Earthrealm, but more often than not, he screws that up at the cost of human lives, especially after MK9. And because Hanzo’s seen so much death and sorrow already, he has very little tolerance for Raiden’s missteps. Every scene with them is charged with Hanzo’s resentment and Raiden desperate need for redemption.
Bloody-Disgusting: Most of the comic seems concerned with redeeming Scorpion for his past mistakes, what was it like to explore this character, and what ultimately makes him worth redemption?
SK: Exploring his character is a big responsibility. Here’s this iconic character who’s been around for decades, and this is the first time we get to pull back the curtain and find out if there’s a conscience behind his white eyes. And I think if you asked Hanzo himself what makes him worthy of redemption, he’d tell you he’s NOT worthy. There is no redemption for the things he’s done. And in spite of that, he gets up every morning and tries to do some good in the world. He’s not looking for someone to absolve him of his sins or forgive him because that would be selfish, it’s another form of pity and he’s spent enough time pitying himself. He knows he’s made mistakes but he’s not going to let himself be defined by those past failures anymore. That’s a powerful and empowering message: Seeking forgiveness is less important than just doing the right thing.
Bloody-Disgusting: The book utilizes the talents of many artists, how did you reference your fights scenes and what was the most brutal death you envisioned on the page, and how did the artist make it better?
SK: Whenever there’s an especially action-packed panel, my descriptions switch to ALL CAPS SO YOU KNOW I MEAN BUSINESS. We’ve got some epic brutality coming up in the chapters yet to come, but the first emotionally and viscerally brutal death was Takeda’s first kill at the end of Chapter 3. Dexter Soy put so much detail and nuance into that page, and the horror that you see on Takeda’s face at what he’s been forced to do feels 100% authentic. All of our artists have gone all out to deliver on the brutality factor, adding in those giblets that Mortal Kombat is known for, and colorist Veronica Gandini has gotten used to me asking, “Could we add a little more blood?” to those scenes. It’s what fans expect. They want MK to be bloody disgusting, pun intended.
Bloody-Disgusting: Kotal Kahn really takes a spotlight in these early issues, what was it like to carve out a new piece of the Mortal Kombat mythology on your own? And how did you embody the sheer vulnerability of Kotal’s character?
SK: Setting the stage for Kotal Kahn’s debut in MKX Story Mode was a huge honor. The comics have the advantage of allowing us to focus on the characters and their emotions in a way that there’s just not enough time for in the game, but the groundwork was all there in the earliest concept art and scripts that I got from NetherRealm Studios. They created this barbarian who drinks the blood of his conquered enemies but at the same time lives by a strict code of honor. That code is why Kotal didn’t overthrow Mileena in some macho power play; he overthrew her out of genuine concern for the safety and well being of Outworld and its citizens. And his vulnerability comes from that concern. Unlike Shao Kahn, who happily spent lives like a billionaire spends dollars, Kotal cares about people. It’s not what you expect from a character that looks so outwardly savage. Once I reached that understanding of him, he jumped to the top of the list as one of my all-time favorite MK characters.
Bloody-Disgusting: What is the blood magic that drives most of the story? And will we find out more about it once the game hits?
SK: The blood magik — I like to spell it with the K for impakt — is an element that’s specific to the books, but as readers find out in Chapters 11 and 12, the reason that blood magik is important is driven by in-game events, specifically the Netherrealm War and the revenge of Shinnok. As the comics continue, you’ll find out more about how the blood magik works and see its use culminate in a spectacularly bloody finale. The fallout from that will have a lasting effect on our main characters and set them on the path that leads directly into the events of the game, with sudden twists and shocking turns and stunning surprises along the way.
We scored a really bizarre exclusive clip from The Resurrection of a Bastard, which is now on VOD through Syndicado.
The pic is said to be a richly complex, beautifully executed character piece adapted from his own graphic novel by first time writer-director Guido van Driel.
“Ronnie is a bastard. And not just any bastard. Ronnie is an exceptional bastard. The hardest of the hard men, a gleefully heartless collector of debts and dispenser of violence whose world comes crashing down around him when a taste of his own violence splashes back upon himself. The near-death experience leaves Ronnie questioning the meaning and value of his life up until that point. But not so much that he doesn’t want revenge on the person who left him near-dead.”
The Resurrection of a Bastard stars Yorick van Wageningen.
If you’ve ever found yourself watching some stuffy costume drama or family-friendly adventure movie and thought to yourself, gee, this film sure could use a few more disembowelments, then B-D’s list of “Ten Most Memorably Gory Moments in Non-Horror Movies” is just the ticket for you. It was a shockingly easy lineup to compile, what with the plethora of gruesome war movies and martial arts extravaganzas (not to mention one notorious religious epic) to choose from, and as such narrowing it down to a mere ten picks was no easy task. And while there’s admittedly much more where the following batch of (surprisingly quite mainstream) blood-and-viscera-laced entries came from (perhaps a Part 2 is in order?), this list is a good starting point for any hardcore horror fan looking to expand their gore-loving horizons into other genres.
While scenes of gory mayhem are most often associated with films in the horror genre, the truth is that some of the most gruesome bits in movie history are featured in films that can’t rightly be classified as such. War epics, martial arts movies, adventure flicks, slapstick comedies, and even religious parables have all been known to linger on the morbid details of on-screen deaths, and given this fact Mr. Disgusting thought it would be fun to compile a list of ten of the most memorable gore scenes not associated with the horror genre. While I was more than happy to take on the challenge, I should note that the gags I ended up selecting aren’t necessarily the goriest of all possible choices; if that were the case the list probably would’ve been quite a bit different. What I’ve attempted to highlight here, rather, are those grisly scenes that, regardless of the actual volume of blood shown onscreen, truly stick in the mind long after you’ve left the theater.
Note: I’ve listed the scenes in alphabetical order because the artistic intent behind each of them varies wildly – some seek to elicit laughter, others disgust, others adrenaline, etc. As such, I didn’t feel it was appropriate to rank them on a relative scale.
Set to World Premiere at the upcoming Stanley Film Festival (full lineup here) is Sun Choke, which stars “Freaks and Geeks” fav Sarah Hagan, You’re Next‘s Barbara Crampton and Sara Malakul Lane.
This morning the first trailer has been revealed for the Ben Cresciman-directed psychological thriller that screens Saturday May 2 in Estes Park, CO. It looks phenomenal. In it, Hagan appears to be the product of an overprotective parent, Crampton, who turns out not to be her biological mother. When Hagan’s character is granted access to the outside world, things appear to spin out of control. Don’t get too close to the sun, they say…
Here’s what it’s actually about:
“Janie’s just trying to get well. As she recovers from a violent psychotic break, she’s subjected each day to a bizarre holistic health and wellness regimen designed, and enforced, by her lifelong nanny and caretaker. But when she develops an obsession with a stranger, Janie’s buried demons begin to surface.”
“So much of horror takes place in darkness,” said Cresciman to THR. “I bring that kind of story into the sunlight.”
Yesterday we shared this insanely spoiler-heavy trailer for Terminator Genisys, in theaters July 1, 2015.
Next up is a series of official images from the sequel directed by Alan Taylor (Thor: Dark World).
“When John Connor (Jason Clarke), leader of the human resistance, sends Sgt. Kyle Reese (Jai Courtney) back to 1984 to protect Sarah Connor (Emilia Clarke) and safeguard the future, an unexpected turn of events creates a fractured timeline. Now, Sgt. Reese finds himself in a new and unfamiliar version of the past, where he is faced with unlikely allies, including the Guardian (Arnold Schwarzenegger), dangerous new enemies, and an unexpected new mission: To reset the future…”
The screenplay is by Laeta Kalorgridis (Avatar) & Patrick Lussier (Drive Angry). The film also stars J. K. Simmons, Dayo Okeniyi, Matt Smith, Courtney B. Vance and Byung-Hun Lee.
Bloody-Disgusting has teamed up with metalcore group Now And On Earth to bring you the exclusive music video premiere for “Your Number Is Up”! The video shows us an obsessed man who can’t tell the difference between fantasy and reality. The song comes from their debut full length Blacked Out, which is out today! You can order the album via their Kings Road Merch webstore here. The band is currently getting ready for their first tour, check back here for future updates. Enjoy!