Monster news broke late last night as it was reported that Sony Pictures Entertainment and Marvel Studios are joining forces on the next iteration of Spider-Man.
This is huge news considering Sony has been lost with the Amazing Spider-Man films, and Marvel has been on an absolute tear. Sony teaming with Marvel can only mean one thing: GOOD “Spider-Man” movies!
Deadline reports that under the deal, Spider-Man will appear in his film Marvel film that is part of Marvel’s Cinematic Universe, and then Sony Pictures will thereafter release the next installment of its $4 billion Spider-Man franchise, on July 28, 2017!
In addition, Disney has shifted Thor: Ragnarok to November 3, 2017. Black Panther, starring Chadwick Boseman, had been in that slot, so it is retreating eight months to July 6, 2018. That date belonged to Captain Marvel, so that pic has been pushed back to November 2, 2018. Rounding out the dominoes game, that is when Inhumans was set to arrive, so that one now is set for release July 12, 2019.
This is all fine and dandy, so long as they figure out how to do Venom justice, and get me some MAXIMUM CARNAGE!
Techland has confirmed they’ll soon be bringing an official toolset for aspiring modders to do what they want with the open-world zombie survival game Dying Light. This announcement comes a week after the latest patch caused a bit of an uproar among the modding community when it removed mod support from the game.
That, it seems, was a mistake, and it’s one the studio will soon rectify with another patch.
“Modders were a massive part of our gaming community since Call of Juarez 2 and Dead Island — and we wish to continue that with Dying Light,” explains Techland in an official statement. “This invitation is only the first stage of our cooperation with the gaming community. After the modding tools are released, we plan to actively support the coolest mods created by players.”
This toolset will be released as a free update soon. If you have an idea for a mod you’d like to share, the studio has established a modding forum where the Dying Light community can come together to share and discuss such things.
Dying Light is available now for PC, PS4 and Xbox One.
Boston horror punk band The Mangled Dead have released a 4-track EP entitled Revenge Is At Hand! and it’s available for free download! With track titles like “Asylum of Satan”, “Shriek Of The Mutilated”, “Wanna Watch You Die”, this is the perfect album for washing away the remnants of the Mondays.
Revenge Is At Hand! is the first release of length from the group since their 2013 EP Hate Humans, which is also available for free.
Stream the album below and then head to the group’s Bandcamp to download the album.
We finally have a release date for the second act in developer Digital Happiness’ supernatural thriller DreadOut, with its freaky man-boars and wall-running, googly-eyed monster ladies. The game’s second act will be released as a free update on Valentine’s Day — that’s this Saturday — to anyone who owns a copy of the original game.
DreadOut Act I is available now on Steam.
This is going to be a crazy exciting year for us horror fans, so rather than accrue every spooky game that’s on the way and toss them at you all at once, I thought I’d make things easier with a monthly list of the goings on in our favorite genre. January has been great, and that momentum doesn’t seem to be slowing down at all as we roll into February.Evolve
Okay, yes, I know this isn’t really a horror game in the traditional sense, but it is a game about giant monsters from the studio that brought us Left 4 Dead and I’ve decided that’s more than enough for it to qualify for a mention here.
I can’t wait to unleash the Kraken.
Release Date: Feb 10 (Xbox One, PS4, PC)Lucius II: The Prophecy
The pint-sized Antichrist is back and he’s ready to use his demonic powers to mercilessly and brutally end the lives of any and all adults who would dare to place him in timeout.
Release Date: Feb 13 (PC)DreadOut Act II
The supernatural horror game takes us out for another round of ghost hunting with DreadOut Act II, which will release as a free update for those who already own the game on Steam.
Release Date: Feb 14 (PC)The Order: 1886
If using an array of steampunk weapons and gadgets to hunt down werewolves in a beautifully realized version of Victorian-era London doesn’t sound appealing to you, I’m afraid we can no longer be friends.
Release Date: Feb 20 (PS4)Hektor
The indie psychological horror game Hektor is one I’ve only recently discovered. The game follows a test subject at a secret research facility hidden under Greenland. There are few things that are as terrifying as trying to escape from a labyrinthine series of long-abandoned corridors while you’re being hunted by something.
Making things a little more difficult is the fact that its world is procedurally generated, so there’s no memorizing an escape route.
Release Date: Feb 20 (PC)Resident Evil Revelations 2, Episode 1
Capcom’s taking a page out of Telltale’s book by breaking up the follow-up to one of the best Resident Evil games in years into four episodes. The first two will arrive in February, with the other two hitting in March, and they’re all releasing a week apart, so you won’t need to wait long to see what happens to Claire and friends.
Release Date: Feb 24 (PC, PS3, PS4, Xbox 360, Xbox One)
Capcom has announced that the Resident Evil HD remaster that hit last month and promptly blew my mind with its majesty, has become the company’s fastest-selling digital title across North America and Europe. As if that wasn’t impressive enough, the game is also the best-selling day one digital title on the PlayStation Store.
Capcom put the future of the series in our hands by giving us the chance to show them — not just say in tweets or posts on forums and blogs — that this is what we want. This is proof that there’s still an audience for this kind of game.
Resident Evil is available now on PC, PS3, PS4, Xbox 360 and Xbox One.
Earlier this evening we learned that Michael Myers isn’t dead, and will be resurrected with the mighty pens of Patrick Melton and Marcus Dunstan, the duo behind various Saw sequels, as well as Pacific Rim, Feast, The Collector and The Collection.
The only information to come out of the announcement was that the next Halloween is not a remake, not a reboot, nor is it a re-imagining. In fact, it’s being called a “recalibration.”
While we don’t have any information on what that means, we did get some inside info answering a few questions that have been weighing on the minds of Halloween fans.
Bloody Disgusting can exclusively report that the next Halloween is NOT a remake, and it WON’T follow Rob Zombie’s 2007 remake and its 2009 sequel.
We have also confirmed that it will NOT be in 3-D, as Patrick Lussier (My Bloody Valentine) and Todd Farmer had originally been developing.
Personally, I’m happy The Weinstein Company/Dimension isn’t forcing a 3-D aspect because it would have been post-converted. And I definitely didn’t want it to follow Rob Zombie’s vision, and would prefer something new. I’m hoping they don’t reference any of the Halloween sequels, and just do their own thing, which is what I think “recalibration” could mean…
We’ve been on pins and needles waiting for fresh Michael Myers news since the last story that broke was immediately debunked.
Official word comes in this Monday evening, via THR, who breaks the news that Patrick Melton and Marcus Dunstan, the writers behind various Saw sequels, have been tapped to pen the latest entry of the Halloween horror franchise for Dimension Films!
Sources say it’s not a remake, not a reboot, and not a re-imagining. One source said the project is a “recalibration.”
UPDATE: EXCLUSIVE NEW DETAILS HERE ON BLOODY DISGUSTING.
Malek Akkad, who has been associated with the franchise since the mid-1990s and producing the movies since the 2007 reboot, is producing with Matt Stein. He is the son of Moustapha Akkad, the man who executive produced the original batch of movies.
Rob Zombie directed the reboot and its 2009 follow-up but no director is attached to the new installment, which has been in development for several years now. Patrick Lussier (My Bloody Valentine) and Todd Farmer were at one point working on a Halloween 3D but since they departed years ago it’s been quieter than a night Haddonfield, Illinois.
With that said, what do they mean by “recalibration”? Is it just another excuse to avoid using the term “remake”?
I know that I’m late to the party for some of you, but sometimes I wonder about the stuff I get to review. For example: The Two Faces of January. Based on another of Patricia Highsmith’s works, the film doesn’t quite fall into the types of films we review. Sure, we have Viggo Mortensen, who is no stranger to genre films and horror. And Kirsten Dunst was in The Crow: Salvation before she hit it big with Spider-Man. As for Oscar Isaac? Well okay, Inside Llewyn Davis isn’t horror, no matter how acclaimed it is. But enough of the rigamarole, what’s exactly are we getting with The Two Faces of January?
It’s 1962. Rydal (Oscar Isaac) is an American expatriate working as a tour guide in Greece. He’s also a con-man, taking advantage of tourists being unable to distinguish foreign bills apart and pocketing the money. After skipping the opportunity to go home to attend the funeral of his father, he spots one Chester MacFarland (Viggo Mortensen) and his wife Colette (Kirsten Dunst). The couple are on vacation in Greece, but that doesn’t stop Rydal from trying to schmooze. Rydal is unaware that Chester is a con-man himself, and knows what Rydal is up to. Things take a twist when an American PI shows up looking to collect the cash Chester squeezed out of his clients. Unfortunately, the PI ends up dead, and now Chester and Colette are on the run, turning to Rydal for help in escaping the country.
The Two Faces Of January marks Hossein Amini’s directorial debut. Prior to this, he wrote the screenplay for Drive, and takes a few tidbits from that experience, incorporating them with this film. Amini, who also wrote the screenplay for this film, brings the film back to the days of a lesser complex story. It’s not one of those overly-detailed thrillers that we get today. Rather, Amini goes with a minimal approach, relying on dialogue with straightforward storytelling and plot. That’s certainly not a negative, as the film moves along at a fairly quick pace once things are settled. It also avoids getting bogged down with overtly detailed plotlines and a multitude of characters struggling for development.
In spite of that minimalist approach, the camerawork by cinematographer Marcel Zyskind is gorgeous. Greece looks stunning. Not only with the locales, but the vintage fashions and décor. It really looks and feels like something out of the 60s. Even more, as the film progresses, the sun-drenched locales slowly take on a more threatening feeling. Of course, this all heightens the already-growing tension that exists not only between our main protagonists, but also the tension from the law closing in on the trio. Coupling that with excellent performances by all three main actors, it’s hard not to get wrapped up in the Hitchcock-like suspense.
If the film falters, it would be for certain aspects of the character study that are left unexplored. While Amini’s screenplay does go into the morally-ambiguous aspects of the trio, it doesn’t quite go into the reasons for their actions beyond greed. There’s a father-son dynamic between Chester and Rydal that doesn’t get enough attention, especially with the aspect of Rydal no longer having a father figure in his life. Then there’s Dunst, who despite turning in an equally as good a performance as her co-stars, still isn’t given as much attention in terms of her character. Colette is seemingly along for the ride, and only when she turns her attentions towards Rydal as a substitute for her husband’s increasing untrustworthiness do we get that character exploration. Of course, the relationship itself isn’t explored enough, either.
Still, there’s certainly a lot to like about The Two Faces Of January. The presentation is solid, with some great attention to detail in the locations and costumes. The film is a break from the at-times overtly complex storylines, and does provide some good character study, flawed as it might be. It’s not quite the darker thriller that readers to this site would normally look for, but it still provides some good entertainment value.
The 1080p AVC-encoded 2.39:1 widescreen transfer looks excellent. Colours are strong with great details. In fact, the details are consistent throughout the film, whether it’s a sun-drenched day scene or a darker scene at night. Black levels are deep and inky. Overall, a great-looking transfer.
The accompanying 5.1 DTS-HD MA track is also quite good. Wonderfully balanced between dialogue and sountrack, there’s also good attention paid towards the ambient effects that add some great depth and immersion. The score comes through nicely, as well.
Extras are pretty pithy for this one. First up are six minutes of Deleted Scenes, which provide a bit more development for Mortensen’s and Dunst’s characters. It looks as though they were trimmed for pacing purposes.
Following that are four minutes of bloopers, which admittedly is kind of odd to have for a film like this, but whatever. It’s the usual actors corpsing during serious moments thing.
Next up are three featurettes, each running under four minutes. “Traveling in Style” focuses on Steven Noble’s costume design work, who was aiming for a 60′s style. “Shooting the Odyssey” has director Hossein Amini and the cast talking about filming in Greece. Finally, “A Twist on the Classic Thriller” has Amini and the cast talking about the characters and plot.
We also get an AXS TV fluff piece entitled “A Look at The Two Faces of January”, which has been frankensteined using interviews from the previous featurette, and the film’s theatrical trailer.
Speaking of which, the last extra is the film’s Theatrical Trailer.
Bloody-Disgusting has teamed up with Portuguese electronic group Beatbender to bring you the exclusive music video premiere for “Elevate”, the title track off their upcoming album, which comes out February 23rd via Jet Set Trash. To give you an idea of what you’re going to hear, the group has performed with such acts as Cyberpunkers, Dirtyphonics, Boys Noize, Loadstar, Killsonik, and more.
Talking about the “Elevate” video, Beatbender states:
Elevate was all about freedom to express ourselves the way we wanted to. No rules, no boundaries. 2014 was a difficult year for us so this album was a way of letting out some of those emotions and things we just couldn’t say in words.
Director/photographer Hugo Magalhães adds:
The act of interpreting music through images by nature is a subjective, enriching experience. In the Elevate project, due to the conceptual and aesthetic complicity shared with Beatbender the creative process was both natural and spontaneous. This communion resulted in a photo/videographic work, which rather than being limited by its two dimensional nature, feeds from the idiosyncrasies of the beholder while listening.
Alien Outpost is shot as a documentary following the events of soldiers fighting straggling aliens who attacked Earth 10 years prior. Specifically we follow Outpost 37 which is one of the few Outposts left standing. It’s undermanned and fear is high but somehow the men manage to stay as positive as possible and are even endearing. I don’t think it’s accurate to call Alien Outpost a horror movie per se, but there are some sci-fi horrific moments.
The performances in Alien Outpost are really what struck me with this indie flick. Each soldier is Reiley McClendon (The Kid) as Andros. I really felt for the guy! And that’s a big bonus for me with genre movies because most of the time I don’t give a flying fuck about the characters. Which is a significant and continuous failure in the genre presently. It’s always fun to see some asshat get theirs but it’s much more gripping if you actually want the characters to live. And that’s what each of these guys bring, with them. Hell, even Adrian “Duncan MacLeod” Paul himself did a fine job…but who doesn’t love Highlander?
Alien Outpost is the first feature length directorial debut for Jabbar Raisani who previously worked as an SFX designer on Predators, Fright Night (2011), Machete, and also on HBO’s Game of Thrones. His skill in SFX shines bright all throughout Alien Outpost. The aliens, referred to as The Heavies, are hulking beasts that are covered from head to toe in seemingly impenetrable armor. From the start of the movie, we are bombarded with images of the invasion. The first 5 minutes of Alien Outpost shows some of the best SFX I’ve seen in an indie movie in quite a while, hell even in bigger budget features.
Writer, Blake Clifton, is another breakout involved with this film. Like Raisani, he has behind the scenes experiences but in cinematography instead of SFX. Clifton worked on the same films as Raisani and evidently became good friends with the same passion: Science Fiction. Both of these guys are great at what they do, but a script supervisor and an assistant director who were familiar with the job would have benefited the movie greatly.
Performances and SFX aside though, the story does tend to drag, in the same way, that all found-footage/faux-documentaries tend to drag. There’s a whole lot of build up to the end result because that’s the only way these things work. Luckily we have likable and more importantly tolerable characters to help us through to that point.
Alien Outpost would have thrived as a short film, even as a 45-minute film. For a first feature though, Raisani and Clifton have made a path for themselves. With some future script development, the two could really break into the genre and make some really cool sci-fi horror. A genre that always needs some love.
AMC’s “The Walking Dead” returned last night with a shocker – read our review.
The survivors must continue on in next Sunday’s episode 5.10, ‘Them,’ in which “The group feels beaten after living life on the road, but must continue to trudge along in spite of the changes they have incurred.”
Not only do we have ourselves a sneak peak clip, but you’ll also find the promo setting up Sunday night’s return.
“Games of Thrones” beauty Emilia Clarke is having quite a year as she’ll not only be starring in Terminator: Genisys, but also the new supernatural thriller Voice From the Stone.
13 Films, who is handling the pic at the ongoing EFM in Berlin, shared with Bloody Disgusting the first ever pic of Clarke in the pic helmed by Eric D. Howell.
Marton Csokas (The Equalizer, The Debt, The Bourne Supremacy) and Caterina Murino (Casino Royale) also star in the “Haunting story of Verena (Clarke), a solemn nurse drawn to aid a young boy named Jakob who has fallen silent since the untimely death of his mother nearly a year ago. Living with his father (Csokas) in a massive stone manor in Tuscany, Jakob not only refuses to speak, he seems to be under the spell of a malevolent force trapped within the stone walls. As Verena’s relationship with the father and son grow, she becomes ensnared and consumed by Malvina’s severe force. If she is to save the boy, and free herself, she must face the phantom hidden inside the stone.“
Based upon the 2009 web series of the same name, the feature-length version of Fear Clinic comes to us after a rather long wait. Was the wait worth it? Well, yes and no. Overall the pros definitely outweigh the cons, but the film certainly isn’t flawless. Some strong performances and inspired ideas with the story elevate this film above its low-budget constraints. The end result is a film that is worth watching, but doesn’t fully deliver on what it promises. Warning, some minor spoilers about the film’s plot are mentioned below.
I have never watched the web series that Fear Clinic is based on, but that didn’t hamper my enjoyment of the film. You don’t need any knowledge of the web series to understand everything that is going on here. We are first introduced to Dr. Andover (Robert Englund), who is attempting to cure individuals of their worst phobias using his fear chamber. The fear chamber is essentially a large metal sarcophagus that he places his patients into and forces them to face their worst fears. We are then presented with a group of friends (among which is the lovely Fiona Dourif) hanging out in a diner when a masked man walks in and starts shooting up the place. Flash forward one year and these friends, who were supposedly cured of their phobias after the shooting incident, are experiencing their fears again. Only now their phobias seem stronger than ever and are affecting them in the form of physical manifestations. Thus, they return to Dr. Andover in an attempt to learn why their fears won’t go away. On top of all this, new patient Blake (Thomas Dekker), who was rendered mute and confined to a wheelchair after the shooting, is brought to the good doctor in an attempt to repair his ability to speak.
The ideas presented in the script are what make the film stand out. It is an ambitious concept, albeit one that the film doesn’t fully deliver on (or explain). I have no problem when a film doesn’t explain everything, but the rules of this universe are never made even a little bit clear. This doesn’t make the film hard to follow, it will just make you ask “Why is this happening?” on more than one occasion. More often than not, there is no answer to that question. Things happen just because they can, and that can make the viewing experience slightly frustrating. The idea presented to us (and this isn’t much of a spoiler seeing as how it is on the cover art) is that fear itself has become a sentient being, taking the form of a viscous black goo that hunts down the main characters of the film. It all leads to a climax that is very reminiscent of the ending to the House on Haunted Hill remake. It doesn’t make a lot of sense, but it’s still fun to watch. By the way, here is that box art I mentioned:
There are a few plot holes in the film as well (Why is Robert Englund the only person who can operate the fear chamber?) and poor dialogue (“I can’t tell you anything…I’ve already said too much”), but overall it’s nothing that is detrimental to the film. The actors are certainly up to the challenge and help elevate the quality of the writing. At the forefront we have Robert Englund, who by now can sleepwalk through a role and pretty much does just that here. Fiona Dourif, proving once again that she can be the saving grace in a film, is great with the material she has been given. Her role ultimately serves as a stand-in for the audience as she finds out the answers to her (and our) questions. Thomas Dekker is also great in his limited screen time (and limited dialogue). Randomly, Slipknot lead singer Corey Taylor is also in the film as the comic relief, and he’s actually pretty good! His scenes don’t come off as forced and are pretty humorous. There is a scene with him and another orderly that reminded me of the ambulance driver dialogue in Rob Zombie’s Halloween II, which isn’t good, but other than that Taylor is fairly entertaining.
With the exception of a few shoddy CGI effects (the CGI spiders look awful), the effect are top notch. Director Robert Hall got his start as a makeup artist, eventually leading him to write and direct the two Laid to Rest films (both of which I love). Based on that alone, it shouldn’t come as a surprise that the gore effects look great. The aforementioned spider scene has a particularly gross moment involving a boil, and the black goo fear monster with Englund’s face on it (again, not a spoiler since this is the cover art) looks great and is pretty disturbing. Hall is a competent director and films quite a few interesting shots. The guy certainly knows how to film a horror film. That being said, flickering lights are overused way too much in the film. To the point where it started hurting my eyes (that may just be me, though).
All in all, Fear Clinic is at least worth a watch. It isn’t an amazing film, but it has enough interesting ideas going on with some pretty great practical effects that make it a slightly above average film.
Fear Clinic is currently available on select VOD Services and iTunes and will be released on DVD and Blu-Ray on February 10th.
The fifth heart-pounding installment in the action-packed sci-fi comedy-adventure franchise, Tremors 5: Bloodline, is set to release this October on Blu-Ray Hi-Def, DVD and Digital HD. Today, we get new looks at the key cast members, Michael Gross, who returns for his fifth appearance in the Tremors films, as well as new cast member, Scream film series star Jamie Kennedy.
With even more deadly creatures on the loose, Tremors 5 continues the films’ hallmark combination of adrenaline-laced suspense, explosive action and tongue-in-cheek humor.
The film is directed by Don Michael Paul (Jarhead 2: Field of Fire, Sniper: Legacy) from a script by John Whelpley (Tremors 3: Back to Perfection) and produced by Ogden Gavanski (The Scorpion King 4: Quest for Fire, Warm Bodies).
Michael Gross (“Anger Management,” “Suits,” “How I Met Your Mother,” “Curb Your Enthusiasm,” “Family Ties,” Tremors franchise) returns as weapons enthusiast and expert subterranean creature hunter Burt Gummer with Jamie Kennedy (“The Cleveland Show,” “Ghost Whisperer,” Scream series) as his new right hand man, tech-savvy Travis. The pair are joined by an international cast as they mount a battle against the deadly creatures that turns out to be far more than they bargained for.
“The theatrical release of the original Tremors in 1990 combined suspense-filled action, sci-fi imagination and witty humor in the tale of a tiny Nevada town terrorized by giant man-eating worms known as Graboids. The Graboids eventually morphed into even more deadly creatures known as Ass Blasters. In this all-new adventure that travels halfway around the world to South Africa, the Graboids and the Ass Blasters are not only bigger and badder but Tremors 5 introduces an additional unexpected surprise that raises the stakes in the battle for survival.“
“In Hell everyone loves popcorn…”
This summer Rob Zombie will be embarking on a new nationwide tour.
Pre-sale tickets for all of the dates listed below are only available at RZ-31 until February 13 when they will be widely available.
Last year Rob Zombie broke boundaries and hosted a hugely successful crowdfunding campaign for his upcoming feature length film 31. The campaign is being re-launched this month due to popular demand.
“After wrapping up our first campaign we were bombarded with late requests to be part of the 31 action,” said Zombie. “So here we go again! Time to join the bloody clown mayhem! Filming starts in March so get ready for tons of exciting updates on what promises to be the most fucked up film of the year.”
31 is in part, a crowdfunded endeavor that will allow Zombie’s legions of fans to be involved from the ground up with his latest project. “I wish something like this had existed when I was a kid,” Zombie explained. “I would have killed to be part of so many movies. Even being involved in the smallest way would have been awesome.”
Fans will have access to exclusive VIP experiences involving the film and Zombie’s music career. In addition to the wide range of VIP experiences fans can also get their hands on exclusive merch and original props from Zombie’s films. Be on the look out for the new campaign, which will be hosted once again at RZ-31.
Not only does this month mark the beginning of the second leg of online crowdfunding, but it will also mark the release of Rob Zombie’s first live album in over eight years. SPOOKSHOW INTERNATIONAL LIVE is filled with nineteen tracks from the highlights of Rob’s critically acclaimed US tour of 2014. Digital preorder for the album is live everywhere now and the full album will be released on February 24.
Besides working on his highly anticipated new film, Rob was also able to find time to hit the studio and his new full-length album is coming soon. About the new album Rob said, “The new studio album is done! The last mixes were put to bed and the studio is back in storage. Can’t give you much info yet… but I can easily say this is my favorite album yet… no joke. Yeah I know every fucking asshole says that. But it is seriously our heaviest most fuck up musical monster to date. One song entitled “Well, Everybody’s Fucking In a UFO” is sure to be an instant Zombie classic! Not since ‘Hellbilly Deluxe’ have I spent this long putting an album together. It was worth it.”
Pre-sale tickets for Rob Zombie’s upcoming tour dates will go on sale February 9 only at RZ-31 where fans can also pick up exclusive Meet & Greet offers or an array of new 31 merch. Be sure to stay tuned for more information on his upcoming live album and his newest full-length studio release.
June 2 in New Orleans, LA at Civic Theatre
June 4 in Simpsonville, SC at Charter Amphitheatre
June 5 in Portsmouth, BA at nTelos Wireless Pavilion
June 6 in Sayreville, NJ at Starland Ballroom
June 8 in Warren, OH at Packard Music Hall
June 9 in Cincinnati, OH at Riverbend Music Hall
June 10 in Milwaukee, WI at Eagles Ballroom
June 12 in Sylvania, OH at Centennial Terrace
June 14 in Indianapolis, IN at Farm Bureau Insurance Lawn
June 16 in Pittsburgh, PA at Stage AE
June 18 in Uncasville, CT at Mohegan Sun Arena
June 19 in Big Flats, NY at Tags Summerstage
June 28 in Grand Junction, CO at Loudwire Music Festival
In addition to Blood Ransom, Devilworks is at EFM with a new horror anthology – and we have some first ever stills!
Afterimages is a fantasy horror shot in 4K, and is said to be paired with a graphic novel and an app that complements the film (ScreenDaily).
Tony Kern directs this anthology of ghost legends from Hell!
It’s said to be about a group of students, who burn effigies of cameras, for the wandering spirits, during ghost month in Singapore. They receive a collection of horror movies in return, which will become their fateful reality.
Marvel’s second Star Wars series “Darth Vader” #1 proves the eponymous villain is worth the wait as his commanding presence can be felt on every page, and while the debut issue isn’t as exciting as it could be, it still stands strong on the merits of the character.
WRITTEN BY: Kieron Gillen
ART BY: Salvador Larocca
PUBLISHER: Marvel Comics
RELEASE: February 11, 2015
Knowing what we know now, there is nothing quite like seeing Darth Vader return to Tatooine to take care of business. His disdain for the planet can be felt with every panel. And throughout the entire first issue Kieron Gillen playfully reminds the reader of the character’s past. He roots the motivation of the story in something we already know but will now play out a different way.
Through the previews at the back of “Star Wars” #1 we already know that Vader comes face to face with Jabba The Hutt in this issue, and their showdown is a welcome one. I couldn’t think of two better characters to go head to head, and no one has proved a more formidable force against the gigantic Hutt.
Salvador Larocca’s art is impeccable at every single turn. His work is cinematic and detailed. Every character has layers to their appearance that speak volumes of the worth they live in. His framing choices make Vader look imposing and without question put the character in control. He compliments John Cassaday’s super realistic style and helps build out Marvel’s Star Wars universe in a unique and bold way.
The storytelling on display here is admirable, because it shows that everyone who was given a chance to play in this galaxy were at the same meetings. It’s a tightly crafted tale that had me pretty giddy in the first ten pages.
Only to stumble a little toward the back half thanks to some truly confusing jumps in time that don’t really add to the story but instead pull us out of what is going on only to remind the reader of what they already knew. Laying the groundwork of the original trilogy is something anyone picking up this comic should be spared of.
Consequently Vader’s plan is a little interesting knowing where the story is supposed to go. It’s interesting to see the character play against The Emperor for his own means and push his own agenda so hard. But, again, Vader is so unquestionably evil by this point that its hard not to have a one-dimensional character. Many stories have handled this well in the past, but here Gillen reduces himself down to retreading old ground.
For a first issue it’s a understandable but ultimately problematic choice. We’re treated to a whole assortment of things we already know, and are forced to see the character exactly as we have in the past. I learned nothing knew about Darth Vader through these pages, and I can’t help but long for something else more compelling to get me to return to issue #2.
Check out this EFM sales art for The Hoarder, which is being sold at the ongoing market in Berlin.
Matt Winn directs from a script he co-wrote with James Handel and Chris Denne
“When Ella (Mischa Barton) discovers her Wall Street banker boyfriend is renting a secret storage unit, she suspects he’s using it to hide an affair. Enlisting the help of her best friend, Molly (Emily Atack), she breaks into the facility only to discover something more terrifying instead. Now trapped in a darkened building with a group of neurotic strangers who start disappearing one by one, Ella soon uncovers even worse horror in the dank depths. Her life or death battle to escape eternal enslavement is about to begin.“
The film wants you to unlock the secret…
An official trailer has been released for Goddess of Love, the latest genre film from Jack Brooks: Monster Slayer director Jon Knautz.
In it, “An emotionally unstable woman begins a volatile descent into madness when she suspects her lover has left her for another woman.”
Rachel Alig, Alexis Kendra and Elizabeth Sandy star.
Keep up with the film over on Facebook.