Principal photography recently got underway in Los Angeles on New Line Cinema’s The Conjuring 2, with James Wan (Saw, Insidious, Dead Silence, Furious 7) once again at the helm.
The supernatural thriller brings to the screen another real case from the files of renowned demonologists Ed and Lorraine Warren.
Reprising their roles, as previously reported, Vera Farmiga (Up In the Air, “Bates Motel”) and Patrick Wilson (the Insidious films), star as Lorraine and Ed Warren, who, in one of their most terrifying paranormal investigations, travel to north London to help a single mother raising four children alone in a house plagued by malicious spirits.
Check out Wan with Farmiga and Wilson with a familiar recording device.
Filming under the title of The Conjuring 2, the sequel will tell of the infamous “Enfield Poltergeist,” which took place at a council house in Brimsdown village, borough of Enfield, England during the late 1970s.
Rounding out the cast are Frances O’Connor (“The Missing”) as the single mom, with Madison Wolfe (“Zoo”) and newcomers Lauren Esposito, Patrick McAuley and Benjamin Haigh as her children; Maria Doyle Kennedy (“Orphan Black”); Simon Delaney (“Roy”); Franka Potente (“The Bridge”); and Simon McBurney (Mission Impossible: Rogue Nation).
In addition to directing the film, Wan wrote the screenplay with Carey Hayes & Chad Hayes, and David Leslie Johnson.
Peter Safran, Wan and Rob Cowan, who previously collaborated on The Conjuring, are producing.
The film is set to haunt theaters on June 10th, 2016.
A channel on YouTube called The Paramount Vault is uploading Paramount films that you can watch for free! Now, this would only be worthy of writing about if there were some horror films on there, right? Well, you’re damn right there are some waiting for you!
In the channel you’ll find films such as In Dreams, The Loved Ones, Beneath, and a fantastic murder thriller called The Reckoning, which stars Paul Bettany, Willem Dafoe, Brian Cox, and Vincent Cassel. If you haven’t watched it, I highly recommend checking it out.
For those of you who want something a little more crazy, how about heading below and watching The Texas Chainsaw Massacre 2? Don’t say I never did nothing for ya.
For more films, just click on the link above and check out the channel!
When Capcom first introduced us to the competitive multiplayer-focused Resident Evil spin-off Umbrella Corps, it was easy for me and many other fans of the series to write it off as another misguided attempt to lure in shooter enthusiasts with guns, explosions and killstreaks. I still have my reservations about it, only they’ve been joined by a general curiosity in this strange experiment.
I can’t tell if this is going to be good, but at least it’s putting in an effort. I just can’t tell if Umbrella Corps has genuinely interesting ideas, or if I just want to brain some fools online…
And here’s a live-action trailer for the game, because you’ve earned it.
A few weeks ago, more of you were curious than upset, so in the interest of science, I’d like to see where you stand after watching this latest video.
It’s been a while since the indie horror game Among the Sleep debuted following a wildly successful crowdfunding campaign that raised nearly a quarter of a million dollars. On December 10, Norwegian developer Krillbite will add the PS4 to its list of platforms, allowing a whole new audience to experience one of the most original titles of the year.
The studio shared the news in an announcement on the PlayStation Blog, along with a few reasons why even current owners of the game may want to consider buying it again.
For starters, Among the Sleep will look better than ever on PS4, thanks to a slew of technical fixes and a full visual/audio upgrade that takes advantage of the latest changes to the Unity engine. Krillbite’s Kristina Halvorsen breaks it down for us.
“One of the coolest things in the PlayStation version of the game is the full audio-visual upgrade — Among the Sleep now has even better graphics and an even better sound experience. We think frame rate is an essential part of a good game experience and have worked hard to get the game to run at a proper 60 frames per second. This was probably the biggest part of the upgrade and it makes for a super smooth experience and does a lot for immersion!”
For more Among the Sleep, I highly recommend you check out Tyler’s excellent post-mortem. It’s a fascinating read even if you’re not that interested in the actual process of making a game. You can also read my review, where I called it “a brave game with uncommon characters, a dazzling art style, and a fantastic, emotional story.”
Vampires are oversaturated, just like zombies, but sometimes we get a decent movie or two resurrecting the old hat and making something interesting from it. Guillermo Amoedo (Aftershock, The Green Inferno) brings us The Stranger which follows Martin who suffers from a blood disease that is highly contagious and causes him to desire blood and flee from the sunlight. Standard vamp stuff but they never say the word “vampire”. He’s hunting his wife who fled from him after finding out she was pregnant and killing a human woman. Martin thrives off the blood of animals and is determined to wipe out his kind to prevent the destruction of the human race. He finds his wife has died but not before giving birth to their baby, Peter, who, miraculously, was born without the curse. After some street thugs, aided by their leader’s father who’s a cop, attempt to kill Martin he is saved by Peter who does not know of his past.
When I first got this movie I was apprehensive given the “Eli Roth Presents” header and Amoedo’s last work with Roth, Aftershock which I thought was utter shit. I’m glad I didn’t skip this one, though. The story of Martin is a tragic one, he is determined to kill himself, as he’s the last of his kind, but is torn between protecting his son Peter from the corrupt town he lives in. It’s revealed the lead gang member is the deputy’s son and pretty much has free run of the town, including murder and arson.
Martin describes the disease as a plague that could wipe out the human race and in a short film (of which the film is based on) included on the disc we learn it’s akin to the Fourth Horseman of the apocalypse, Pestilence. There are heavy undertones of Catholicism within the film, particularly a scene in which Martin heals Peter after a brutal attack. It’s also wrought with complex father and son relationships. Martin and the deputy both have difficult jobs in that they both have sons who are particularly dangerous, one more so than the other, but can’t bring themselves to do what’s necessary. However, the film did fall flat in it’s attempt to make the audience feel guilty for the deputy. It’s revealed early that he’s a recovering alcoholic and widower but neither of which is enough to exempt him from letting his son run amok torturing and hurting people left and right.
The Stranger was filmed in Chile as apart of “Chilewood” a film-making venture from Roth and Amoedo who want to advance the film world in Chile. Amoedo had several successes, and failures, in Chile before Roth and he collaborated on Aftershock but I’m glad to see they took a different turn with The Stranger. It’s a film that battles back and forth with morality, much like any other vamp flick, but it takes the glamorous aspect away which is refreshing. That’s not to say it’s without fault though. In one particular scene Martin uses his blood, which he is constantly telling people to stay way from, to heal Peter. It’s a bit confusing and doesn’t seem to follow it’s own rules until it becomes convenient to the plot. Also, the acting is sort of flat from various characters and tends to lag on repeating itself over and over until the climax. I get it dude, you’re blood is infectious, shut up.
That aside, I was surprised by The Stranger and maybe I can attribute that to my low expectations going in. Is it the greatest vampire film ever made? Not by a long shot, but I appreciate it trying to incorporate the Four Horseman as its explanation and it’s subtle homages to Near Dark. Give it a watch and be thankful Eli Roth doesn’t show his face in it. The cinematography is gorgeous in itself and I made me want to hop the next plane to Chile.
Eli Roth is on a streak this year! After a long delay, The Green Inferno finally hit theaters AND he’s got Knock Knock coming out to limited theaters and VOD this Friday. Considering that his films have dealt with a flesh-eating virus, business men keen on torture, cannibals, and home invaders, it’s a wonder that anyone manages to make it out of his films! I guess the questions is, could you?
Below is a quiz that asks a few basic questions that will then tell you if you could survive an Eli Roth horror film! Now, I know that many of you will assume that I’d come to a gruesome and horrific demise were I to be there…
Well, the joke’s on you! “You’d turn the tables and survive unscathed!“:
Well-done — you’ve outwitted those with sinister intentions, and made it out with barely a scratch on you! For most of your life, people have told you that you were too pessimistic, and always looking for the evil in everyone. Little did they know you were doing the right thing, because who knows if you can really trust the shady hostel owner, talking in another language while smirking at you? Overall, you’re a survivor because you’re brave, bold and know exactly when to make a break for it.
Take the quiz and let us know how you fare!
While doing the usual press tour rounds for any new movie, Danny Boyle, who is currently promoting Steve Jobs, spoke about the possibility of returning to the zombie world he created in 28 Weeks Later
“I’ve got no problem [with ‘28 Months Later‘],” Boyle explains to >IndieWire. “It’s the usual thing, …it’s not about whether people think it’s a good idea that you’re directing. It’s whether you respond to the script or not. It’s just like on [‘Steve Jobs’]. I got the script and I went, ‘That was amazing. I hope I can add to that somehow and it be even better than just the experience of reading it.’ ”
Earlier this year, writer/director Alex Garland spoke about the film, explaining that he offered an idea to producer Andrew Macdonald but he didn’t want to go any further with the series:
About two years ago, Danny started collaborating on the potential to make ‘Trainspotting 2,’ another sequel. In that conversation, an idea for ’28 Months’ arrived. I had a funny idea. I had a sort of weird idea that popped into my head. Partly because of a trip I’d taken. I had this thought, and I suggested it to Andrew and Danny, but I also said I don’t want to work on it. I don’t really want to play a role, and Andrew said, ‘Leave it to me.’ So he’s gone off and is working on it.
Again, nothing is concrete and a third film isn’t even 100% locked down. However, we’re hopeful that something will come of all these discussions. That universe is a great deal of fun!
By Thomas Alexander
Undoubtedly one of the most creative and interesting filmmakers of our time, Guillermo del Toro is the go-to-guy for all things fanciful, mysterious and dark. But his skill set is not limited to the unconventional as Hellboy and more recently Pacific Rim prove. What is strikingly clearly is that Guillermo del Toro’s abilities go beyond producing creatures designed to terrify as his latest film, Crimson Peak, illustrates.
Bloody-Disgusting caught up with del Toro to discuss his new film, the last film that scared him and what made him become a vegetarian for a while.
BD: Crimson Peak is very reminiscent of a silent horror film. Is this something you were going for when writing it?
Some of my favorite horror is silent because it has strength of composition and it has a very strong visual streak.
The way you evaluated silent film I think changed when sound arrived. I think that film is a visual & audio medium and it should be judged in the same way that you judge a painting or a visual art in terms of strokes, colors and shapes.
That sort of abstraction was very much how we read film in the silent era. When the forefront became the lines of dialogue, plot and other things like that it kind of diluted the power of it as a visual creation.
I always think film reached its maximum purity in things like Eric von Stroheim’s Greed, Nosferatu or Vampyr.
These were pure film. Not that I am against lines or stories it’s just that I think that we should not have lost the capacity to discuss film in an arena that goes beyond dramaturgy that becomes purely the audio, visuals and design content element of films.
The house in the film was built for real. How much did that and practical FX add to the film?
I think it was important to build the house for real in the same I felt it was very important to create the costuming with an eye for detail. I think having the ghosts as actors with make-up and not just digital effects was important.
You can enhance the actors digitally but the actors were there.
For example, the ghost that crawls out of the floor; we actually dug the floor. He was in a trench and he came out of the trench – we then added the floor on top.
A lot of modern day horrors and thrillers just don’t compare to the classics that came before it. What is it that seems to go wrong in these films in your opinion?
I think every aesthetic in any genre has good and bad examples. You have perfectly suited lower budget horror like It Follows. You then have others that are just interested in making a splash or using it as a stepping stone.
You then have beautiful movies like The Babadook that was financed originally through Kickstarter.
What I think is important, and I hope Crimson Peak works in the sense that it will help that we can talk about a scary, creepy, movie. It’s not horror, it is gothic romance. Even then you can talk about genre, because it is a genre movie in terms of bigger budgets.
When I was a kid I could see bigger budget genre movies treated as an event. I miss that. Not that I am against anything. I am in favor of returning to a bigger canvas for the genre.
What was it like to be working with Mia Wasikowska?
Fantastic, she is one of the actors that I’ve seen that is more capable of actually being there and making a moment real.
At the same time she is incredible easy to work with, she’s so fresh and so real. The camera just loves her.
If I could do every movie with this cast then I would.
Just a pity Ron Perlman isn’t in the movie as well…
I know. Ron is not period though [laughs]. Ron is very modern, man.
How does working on Crimson Peak compare to a massive film like Pacific Rim?
They are very different. What people need to understand with a movie like Pacific Rim is that part of that operation becomes like a military operation. You are dealing with very huge crowds, 500 or 600 extras.
There’s also motion controlled buildings, hydraulics with explosives – a lot of different things are happening.
Where as in Crimson Peak the biggest effect are the actors, camera and the lights [laughs].
So that must have made a good change in pace for you..?
I love blowing up stuff but you need to sort of rest from the big stuff.
If all you do is that then there comes a point where you need to come up for a breath of fresh air.
That’s what happened with Crimson and I was so thankful. I would arrive to the set super early, eager to see my actors and work with them.
With a script being so dark what did you do to keep things fun on set for yourself and the cast?
I’ve rarely had a difficult or sad set. One of the most difficult sets I’ve ever had was working on Pan’s Labyrinth.
It was really, really tense.
I actually feel it’s easy for me to have a fun set. I make jokes, I am very approachable with the actors and technicians.
I meet with the technical crew all the time so we love each other. I very often break out into singing because I like to serenade the crew. Every few weeks I have a mariachi band to set.
There’s a tradition on film sets that you finish the week in camera truck with a lot of food and a lot of booze so I try have a mariachi there if I can.
How much improv was there in this film and is it something that you encourage?
Oh yes, there was. I created these biographies for the actors that were about eight to ten pages each.
We went at them with great fervor but then on the day, some of the best things in the movie happened on the day. The scene of the silhouette in the park, that happened on the day. We were trying to find a solution to make the scene mysterious.
Another is the scene where Jessica is making breakfast. Originally she was meant to slap Mia but instead she throws the frying pan on the counter then picks up the scrambled egg with her bare hands.
We were always improvising.
We reckon that you don’t scare easily but what was the last film that really got to you?
I really was scared by The Babadook and It Follows. It Follows really freaked me out. I am ultimately very prudish, I am a prude. The movie struck so many repressive chords that were installed in me when I was a catholic boy.
There’s a lot of wacky rumors online about you. Is there any truth to the rumor that The Texas Chainsaw Massacre made you a vegetarian for a while?
It’s true, it made me a vegetarian for four years. I gained a lot of weight because I was into muffins. I saw The Texas Chainsaw Massacre and got so revolted. Everybody after the movie went for tacos and barbecue and I couldn’t do it.
I broke that streak where one day I ate something like three chickens, whole [laughs].
You’ve got The Bleak House where you keep all your memorabilia and other collectibles. What did you take from the set of Crimson Peak to add to your collection?
I really love that place, that house makes me happy. Frankenstein greets me when I enter and then you turn the corner and Hans the dwarf from Freaks is waiting for me there with a razor blade.
I bought the portrait of the mother, which makes me laugh and always cracks me up and I bought the automaton that has the trick with the silver ball.
I bought the mechanical drill. The book with the illustrations is mines to begin with so I have that.
You’ve been on Twitter recently with recommendations of films that should be revisited or discovered [RIGHTING A WRONG]. What films haven’t you seen yet you probably should have?
Films that I haven’t seen? I always end up re-watching stuff I love, more than watching stuff I need to watch.
I’ve not seen enough Antonioni and I am ashamed of that [laughs].
What are you going to recommend next?
I am going to recommend Cronenberg’s Crash because I think it is under appreciated.
Then I want to recommend a movie from Holland called Character, which won an Oscar so it is not undervalued but people need to remember it.
Do you think if films like Deadpool are commercially successful, with its Hellboy-esq quirks, could pave a way for studios softening to the idea of Hellboy 3?
I tell you, I’ve been at it for 20 years or more and cannot figure out how studios think. It’s totally random what can happen.
You cannot strategize for randomness.
When you have time between projects what TV shows are you watching right now?
I watch everything. I watch almost every pilot for every TV show because that’s the way I cast. They need to grab me.
If I am not grabbed by the pilot, I don’t continue. That’s how I got hooked on “Justified,” “The Americans,” “Mr Robot” and obviously “Breaking Bad.” I follow so many programs and keep watching them and got lost in them like “The Knick” where I watch them all at once.
I was very taken by the beginning of “Hell on Wheels” but I didn’t finish it.
Were you a fan at all of “The X-Files”?
You know, it’s curious. I only watched a few. To me the measure of success of that arena was always “Kolchak,” I was a rabid fan. But I think they were beautifully written and realized and obviously Vince Gilligan was involved.
Vince also wrote an episode of the new “Kolchak” that was genuinely scary.
So far your career has been quite varied with some work in video games. Although Silent Hills didn’t work out, what was the experience like?
It was curious.
We had a great experience and had great story sessions with hundreds upon hundreds of designs. Some of the stuff that we were designing for Silent Hills I’ve seen in games that came after, like The Last of Us, which makes me think we were not wrong, we were going in the right direction.
The thing with Kojima and Silent Hills is that I thought we would do a really remarkable game and really go for the jugular.
We were hoping to actually create some sort of panic with some of the devices we were talking about and it is really a shame that it’s not happening. When you ask about how things operate, that makes no fucking sense at all that that game is not happening.
Makes no fucking sense at all. That’s the randomness that I was talking about.
Crimson Peak is out in cinemas on October 16th.
It seems like nearly everyone from the original Ghostbusters film has been confirmed for a cameo appearance in Paul Feig’s upcoming reboot. However, one face that for sure won’t show up is Rick Moranis.
Moranis, speaking to THR, stated, “I wish them well. I hope it’s terrific. But it just makes no sense to me. Why would I do just one day of shooting on something I did 30 years ago?”
The 62-year old actor took an extended hiatus after his wife passed away from breast cancer. He spent his time raising his children, who have since grown up and are young adults themselves. As a result, he’s considering returning to the acting world, although he’s very careful about what projects he’ll take on.
“I took a break, which turned into a longer break. But I’m interested in anything that I would find interesting. I still get the occasional query about a film or television role and as soon as one comes along that piques my interest, I’ll probably do it. [But Ghostbusters] didn’t appeal to me.”
Ghostbusters stars Kristen Wiig, Melissa McCarthy, Leslie Jones, Kate McKinnon and Chris Hemsworth. It hits theaters on July 22, 2016.
As horror fans, we love a good death scene. It’s even better if the death goes beyond just being stabbed to death or a throat slashing. Sometimes a mediocre movie can be raised to “kind of good” by a really awesome death. It is obvious when the filmmakers put some effort into a character’s death, and The below list are some of the most unique kills in horror movies.*
*Technically, this list could be comprised solely of deaths from the Final Destination franchise, so we’ve left that entire franchise off the list to make room for some others.
***SPOILERS TO FOLLOW***
Capcom has become exceedingly good at defying my expectations. For better or worse, they’ve turned being a fan of a series, like Resident Evil, into and exciting and often unpredictable thing. Umbrella Corps is a fantastic example of this, because it’s absolutely the last thing I would’ve expected to see after the steps they’ve made to bring the franchise back to its roots in horror.
I don’t even mean that in a bad way. It’s just unusual.
In celebration of its 600th issue, the fine folks at Dengeki PlayStation sat down with a handful of Japanese game developers to chat about all things video games. I don’t know what they asked the other devs, but when it was Capcom’s turn, the questions they had queued up for Resident Evil producer Masachika Kawata could not have been more perfect.
The gradual shift away from horror has been a point of contention for some time now, and Capcom is, for the most part, aware of it. More than that, Kawata’s response gives the impression that they’re working on remedying it.
“Since there’s been more spinoff titles, I can see how it can be perceived in such a way,” explains Kawata. “And of course I believe that we should produce titles that bring out the horror. I’m thinking about it and also preparing for it.” It’s clearly more than a “perceived” change, as anyone who’s played the last three games in the main series can attest, and it’s not at all exclusive to the mixed bag of spin-offs we’ve seen over the years.
If Kawata says he’s bringing out the horror, I’m going to choose to believe him.
My favorite thing about Dengeki’s Q&A session with Capcom doesn’t have anything to do with the long-awaited reveal of Resident Evil 7 — Kawata wants us to “stay tuned”, as they’re not quite ready to talk about it — but whether or not there are currently any plans to remaster the short-lived Outbreak spin-off series.
“The hurdle is high, but we’d like to respond to as much demand as possible,” says Kawata. A few months ago I would’ve seen that as a non-answer, but they’re obviously listening to the community now. If they weren’t, we would not be getting a Resident Evil 2 remake. I wouldn’t mind seeing the Outbreak games return, even if it’s not in the form of a full-fledged sequel. What about you?
A horror anthology roaring full speed straight out of Deutschland, German Angst is the latest in a growing resurgence of horror movies emerging from the European nation. Although the country is famous for its wave of German Expressionism which went on to influence tons of horror films (most famously Tim Burton’s earlier work) and is even responsible for the 1922 Bram Stoker’s Dracula adaptation Nosferatu, which many recognize as the first official horror film ever made, the genre was brought to a rigorous halt immediately following the second World War as a result of Nazi guilt being so heavily tied to horror films. Even to this day, horror films are difficult to make and distribute from Germany, with decades of remorse demanding dozens of comedies, and rejecting several based around darker subjects, for the fear that they may somehow be connected to the country’s sensitive past. However, promising filmmakers Michal Kosakowski, Andreas Marschall, an Jorg Buttgereit are helping pave the way for genre filmmakers, as they push past censorship and red tape to bring their unique visions to the screen, and prove the importance of self-expression through their artistic skills.
A horror anthology divided into three parts, German Angst is a merciless, bleak, innovative look at the human condition by three men that have been raised in the aftermath of world wars, and doused in the guilt of their fathers. Perhaps this film is a gory masterpiece because the filmmakers behind it sought to push the envelope as far as they could when they were faced with so much resistance. Perhaps it goes back even farther than that, beyond the difficult studios, all the way to their childhood when they were judged harshly for not fitting in with German society as a result of being born elsewhere and moving to the country at a young age, or for fitting in too well, and being regarded as violent racists, despite the fact that they were too young to participate in the crimes they’re supposed to answer for. Regardless of the exact reasoning, one thing’s for sure: German Angst is the explosive, compelling, unforgiving hidden gem of Fantastic Fest 2015, and well worth watching, if not for its gut-punch impact alone.
Here are the segments listed as their own entities:
Final Girl by Jorg Buttgereit
She’s had enough. Torture and murder and torment have clouded her days, but now, it’s time for the cattle to take on the title of the butcher. With her father tied helplessly to his bed, and where the girl sits calmly on his belly, she’s prepared to bring the sharp scissors in her hand down upon his most prized possessions, in a gruesome act of revenge that boldly acts of declaration of her bloody rebirth. Director Jorge Buttgereit takes on a noteworthy look at vengeance with this brutal and unforgiving short, where the story opens in the third act, and plows full steam ahead. In this distinctive perception of payback, Buttgereit not only creates a story that sticks out with such intense visuals, but also provides a rare look at a woman on the path of retribution, where the audience understands that her actions are justified, but never actually sees her as the weak, hopeless victim — only the strong survivor.
Make A Wish by Michal Kosakowski
A deaf Polish couple plays in an abandoned building in Berlin, giggling and running and kissing in the empty old rooms. Their momentary bliss is roughly interrupted when a gang of thugs enter the building and begin harassing the pair, enacting upon these innocent lovers what has been passed down from the previous generation as an accepted form of prejudice in the form of violence, as history repeats itself in the most horrible way. Taught from the start to house an innate hatred of all Polish people, the German bullies resurrect the days of Nazi Germany viciously on these poor subjects, in the closed off confines of this dirty, dreary building, far away from anyone who would dare to step in and save them. Little do they know, but these attackers are about to feel the wrath of their own fists when their victims pull out a special medallion that turns the tables on their torture, and places the prey in the position of predator. In a brilliant display of the curse that comes with being born in the wrong place at the wrong time, director Kosakowski innovatively displays the behavior that stems from the leftover anger from a war that was so characterized by bloodshed, the ground is still stained with crimson. By using the supernatural power of an ancient object that allows people to switch bodies, he not only demonstrates the xenophobia that is still very much alive in German cities, but also forces the audience to root for the oppressor, proving that when placed in charge, power corrupts all people, even those who may have started with good intentions, or are just doomed to the fate of their family line.
Alraune by Andreas Marschall
Petrus is without a doubt Berlin’s best bottle photographer. While this may benefit him enormously financially, it hinders his relationship with Maya, his girlfriend who can’t help but feel that she comes second to his budding career. He loves her deeply, but can’t give her as much time as she demands, which is why when she storms off and leaves him, he decides to drown his sorrows in an online chat room. What starts out as innocent conversation eventually leads him down a dark path of sexual discovery, domination, and death, as Petrus learns first hand the price that comes with an addiction to pornographic, unrealistic expectations of women and sex.
Several months ago, we brought you the United States Map of Horror, which was created by Horror On Screen. Now they’re back but this time we’re going over the pond to Europe to see which horror films took place in each county therein!
Now, they full admit that through their research they were unable to find horror movies that took place in every European country. However, there are more than enough films on this list to make it well worth having been created. In fact, it makes me want to revisit several of these films just to see the scenery and how they utilize the local culture as part of the atmosphere, if at all.
What films would you add to this list and, at the same time, which of these really stand out to you as being some of the best that the genre has to offer?
Many of you might have noticed that there is something missing from Netflix’s streaming version of Curse of Chucky, the 2013 slasher horror that brought back our favorite wisecracking murderous doll. If you finish the movie and let the credits run, you’re not going to see a post credits scene which sets up the movie for what could be an incredibly fun and entertaining sequel, one that brings everything full circle.
However, there’s an explanation for this: the Netflix version of the film is the R-rated cut while the post credits scene only appears with the unrated version. So, don’t take it personally or think that Netflix has it out for you.
That being said, the scene is available to be seen below, although it is a pretty massive spoiler if a sequel is indeed made!
There have been so many public changes to the plans surrounding Ridley Scott’s Alien/Prometheus sequels that it’s starting to make my head spin and the only thing that’s going to be coming out of my chest is puke.
Prometheus, which was originally to bridge as a prequel directly into Alien, was expanded by Damon Lindelof, and ended with Elizabeth Shaw (Noomi Rapace) and David’s android head (Michael Fassbender) taking off for the Engineers’ home planet to make them answer for their crimes against humanity. We know they’ll be back, but what else is planned for this massive new universe?
In an interview with Awards Campaign, Scott confirms a March start date while also revealing a huge story arc for the sequel.
“It’s going to be its own separate thing because they are going to the planet of the Engineers and they are going to see what happened there. It was a disaster,” Scott reveals. “And they will be in that alien craft that takes them there, but with a new group that’s incoming, a new group of travelers in the beginning of the first act.”
Who are they new travelers? Different alien beings? More humans from Earth who Weyland sent as backup? I guess we’ll find out more soon enough.
And for those of you who are worried that this “trilogy” won’t make it to the eventual Alien bridge, Scott can put you at ease.
“There is an evolution to this one so if we can get something down I don’t not see how we go [forward without a third].”
Obviously, Fox holds the key to completing the circle, but Scott’s power in Hollywood is near the top of the list. He can pretty much do whatever he wants…
As for the fans, there’s nothing we can do. With that said, what do you want out of a Prometheus sequel? The fact that it’s now titled Alien: Paradise Lost, I think it’s safe to assume the Engineers’ home planet used to be paradise and is now destroyed by their own creation – you know, another metaphor for our own planet.
The film is slated for release on May 30, 2017.
Readers in the Illinois area will want to head to MB Financial Park this month to experience one of the best haunts in the area.
The acclaimed interactive horror experience “Disturbia: Screams in the Park” has returned to the basement level of the parking garage at MB Financial Park (5501 Park Place)!
The spine-tingling attraction will remain open through Sunday, Nov. 1. Tickets are on sale now.
The haunt features 20,000 square feet of terror with more than 35 rooms where guests determine their own fate based on the choices they make while traversing the inescapable halls of the haunt. New additions to the haunt for 2015 include an unnerving insane asylum managed by murderous clowns who are killing for laughs, along with sinister caverns of darkness. Guests will travel through a maze of underworld passages, unable to rely on their sense of sight to aid them in their escape. As guests reach the end of the bone-chilling caverns, the sum of all their fears will be there to greet them.
“Disturbia: Screams in the Park” is a product of Joseph and Mike Pantano. The attraction’s highly interactive nature and high quality settings help distinguish it from other haunts in the Chicago area. In its debut year, “Disturbia: Screams in the Park” was ranked third by the Chicago Tribune and Haunted Illinois in their lists of top Chicago-area haunted houses.
Tickets and More Information:
“Disturbia: Screams in the Park” is an indoor environment that operates rain or shine. General admission tickets are $25 per person. VIP tickets, which allow ticketholders faster access and less wait time for the haunt, are also available for $45 per person. Discounted tickets are available for groups of 10 or more at www.grouptix.net. Visitors are encouraged to purchase tickets in advance at www.disturbiascreams.com. Tickets can also be purchased on-site.
A minimum age of 13 is recommended for the haunt and parental discretion is advised. The haunt is open from 7 p.m. to 11 p.m. on Wednesdays, Thursdays and Sundays and from 7 p.m. to midnight on Fridays and Saturdays. Below are the days of operation:
– October 2 – 4
– October 9 – 11
– October 15 – 18
– October 21 – 25
– October 27 – November 1
Parking is free with validation from the haunted house ticket booth. After parking in the MB Financial Park parking garage, guests can follow signage directing them to the main elevators located in the middle of the parking garage and take the elevators to “LL” to descend into the underground world of “Disturbia: Screams in the Park.”
“Disturbia: Screams in the Park” guests can have even more Halloween fun with Loews Chicago O’Hare’s “Spooktacular Suites” hotel package. Guests can start their night with some tricks, including two tickets to Disturbia: Screams in the Park, and then unwind after the horror with treats including one in-room spooky movie and trick-or-treat candy. The Halloween overnight package also includes breakfast for two at Loews Chicago O’Hare’s Fresco 21. Pricing starts at $129 per night. For more information, or to book a “Spooktacular Suites” overnight package, visit www.loewshotels.com or call 847-544-5300.
We’ve teamed up with progressive metal band Pseudo/Sentai to bring you the exclusive lyric video premiere of “Classic Tastes of Xenocide”, the 11th track on their upcoming album Bansheeface.
The track is a dissonant syncopation, a near carnival of sounds and melodies that culminates in a carousel of oddities and repetitive messaging. It’s almost like some odd A Clockwork Orange situation.
The band explains:
Humans regard themselves as absolute predators.We do not live with a fear of being manufactured prey. “Classic Tactics of Xenocide” is set in a world where our food chain equals have decided to annihilate us in response to a perceived action, one that we ourselves didn’t even commit. There is little left to do but detach ourselves, escape from the situation and witness it through a safety lens until they finally come to get us. ‘Enjoy being you while you still can.
Bansheeface comes out on October 16th. Pre-order your copy via Bandcamp.
RLJ Entertainment just released the HD trailer and series of imagery from Caliber Media’s Western, Bone Tomahawk, in theaters, VOD and iTunes October 23, 2015.
Written and Directed by S. Craig Zahler, Bone Tomahawk stars Kurt Russell (Tombstone, Hateful Eight), Patrick Wilson (Insidious, TV’s “Fargo”), Matthew Fox (Alex Cross, TV’S “Lost”), Lili Simmons (“True Detective”, “Banshee”), and Richard Jenkins (The Visitor, Olive Kitteridge).
“When a group of cannibal savages kidnaps settlers from the small town of Bright Hope, an unlikely team of gunslingers, led by Sheriff Franklin Hunt (Russell), sets out to bring them home. But their enemy is more ruthless than anyone could have imagined, putting their mission – and survival itself – in serious jeopardy.”
Produced by Dallas Sonnier, Jack Heller, and Gregory Zuk of Caliber Media (Dark Was the Night, Some Kind of Hate) and executive produced by the Fyzz Facility’s Wayne Marc Godfrey (Sin City: A Dame to Kill For), Robert Jones (The Usual Suspects) and David Gilbrey (Red vs. Dead).
XLrator Media has acquired U.S. distribution rights to the edgy Canadian T.V. series “24 Hour Rental” from Reel One Entertainment, Bloody Disgusting learned.
The 13 half-hour episodes will premiere October 30, 2015 exclusively on XLrator Media’s MACABRE Collection on Hulu before going to other platforms in 2016.
“24 Hour Rental” follows former Mafia boss Tracker (Romano Orzari), who having barely avoided early retirement in a shallow grave, now operates a seedy video store. Struggling to stay afloat in the Internet age, Tracker runs his shop as a front for a host of petty crimes, from fencing jewelry to peddling dope cut with Drano and desperation, all in hopes of returning to power.
“24 Hour Rental” was created by Frank Massa, directed by George Mihalka (My Bloody Valentine), co-written by Al Kratina and Mihalka, and stars Romano Orzari (Turbo Kid), Adam Kenneth Wilson, Aaron Berg, Vlasta Vrana, Mike Smith (Trailer Park Boys) and Michael Biehn (The Terminator). It was produced by Reel One Entertainment, Kim Yu and Neil Bregman and executive produced by Tom Berry, George Mihalka and Eris Salvatori.
In addition to “24 Hour Rental”, the XLrator Media’s MACABRE collection on Hulu will add three new genre films in October: Poker Night starring Ron Perlman, Giancarlo Esposito, Titus Welliver and Beau Mirchoff, Feed the Gods and Strange Blood.
Universes are all the rage in Hollywood, which is why it should come as no surprise that there are now plans to expand the one surrounding The Terminator.
The James Cameron-created franchise has spawned several sequels and a television series, but fanfare appears to be diminishing (proof is in the disappointing U.S. box office of only $90 million).
While initially described as “on hold,” the Terminator is once again rising from the grave to spout it’s famous line, “I’ll be back.”
TheWrap recently held a conference in which Skydance Media Chief Creative Officer Dana Goldberg responded to reports that the Terminator franchise was “on hold.”
“I wouldn’t say on hold, so much as re-adjusting,” she explained in regards to the company’s plans to pursue a big-screen trilogy as well as a new TV series announced in late 2013.
“At Skydance, when we talk movies, we talk universes, even more than franchises,” Goldberg said about continuing the sci-fi saga across platforms. “So the idea of a ‘Terminator’ TV show fits into that universe. All the steps have to be taken in unison.”
Genysis only made $90 million here in the States, but pulled in an impressive $350 million overseas. Goldberg explains how international numbers are more important these days (take a look at the James Bond films for a perfect example).
“Happily, we live in the world where the domestic number had a level of importance 10 or 15 years ago — I’m not saying it’s not important, it is — but we have to play to a worldwide market,” she stated. “In terms of Terminator, the worldwide market paid attention, but we’re not taking the domestic number lightly.”
The company plans to use “data and research to do a worldwide study and really talk to audiences about what they loved, and what maybe didn’t work for them, so that the next we take with the franchise is the right one.”
Cameron’s The Terminator was forward thinking and revolutionary, while the idea behind Genysis was so generic that it revolved around a “cloud” that had to wait for its activation time and date. If they want to know what we love, it’s unique, new ideas with refreshing filmmakers who take chances.
Shit, I would love to find out that Abraham Lincoln or John F. Kennedy were assassinated by Terminators. That’s already more interesting than the previous two films…