It’s Friday so why not end the week with some major Friday the 13th news?
“Hannibal” screenwriter Nick Antosca has been working on the script for the next installment of the Friday the 13th franchise. Today, he responded to a fan on Twitter revealing that he’s “turned in a draft a few weeks ago,” further adding that “@bruckmachina & #PlatinumDunes & I all excited to make a great F13 movie. Don’t know schedule.”
David Bruckner (V/H/S, The Signal) is set to direct the latest incarnation of Jason Voorhees, and would have to approve the script, along with the producers at Platinum Dunes. There could (and probably will) be revisions, but it’s exciting to know that progress has ben made, and that things continue to move forward.
This is to be the 13th Friday the 13th, so I expect Bruckner and company to knock this shit out of the park.
We’ve previously reported multiple times that the new Friday the 13th will not be found-footage, and could take place in the 1980’s. In a more recent article, Brad Fuller of Platinum Dunes talked about his hopes for expanding Jason’s mythos and also taking the franchise back to summer camp.
Antosca previously posted an image displaying a series of machetes (implying there’s possibly a new style of machete in the works). He also clarified that the forthcoming Friday the 13th will not be a sequel to the 2009 remake helmed by Marcus Nispel.
Friday the 13th could slash into theaters on May 13, 2016.
Thanks to Bloody reader ‘Francesco’ for the heads up!
One of the coolest short films I saw this year was Gigi Saul Guerrero’s “El Gigante,” a Texas Chain Saw Massacre-esque cannibal slasher with a Luchador wrestler as the centerpiece.
Out of the Frontieres International Co-Production Market at Fantasia, Raven Banner has boarded Luchagore Productions’ feature-film version of El Gigante, which tells the story of a deranged maniac in a Luchador mask named El Gigante who wrestles his prey to the mat in a grisly entertainment ritual of thrill-packed culinary prep for his cannibalistic family.
Here’s the trailer for the short that played the Viscera Film Festival in Los Angeles earlier this year.
Gigi is going to break out with this feature, I guarantee it.
This weekend is gonna be a fucking awesome time, I just know it! I just have one of those sneaking suspicions that I’m going to relax, kick back, and enjoy every second. That’s why I want to showcase a video that’s just as fun and exciting for this edition of Twisted Music Video Of The Week, although it’s far more violent and insane than I hope to experience.
This week, we’re watching Is Tropical‘s “The Greeks”, which comes from their 2011 album Native To. The video, which was directed by Megaforce, shows a bunch of kids playing with toy guns around their neighborhood. However, their active imagination leads these battles to become fucking massive action sequences with ungodly amounts of blood and carnage. Luckily, the difference between the “real world” and their imagination is as easy as identifying what’s real and what’s drawn.
I love this video because you could never get away with something like this in the States. Having kids murder each other in super brutal ways? Showing kids in a “lab” and “making drugs”? Holy shit, our society would descend into the most insane levels of righteous indignation. But what’s great about this video is that kids imagination’s ARE that active and that crazy! All this video is doing is showing that off in a way we can actually see and I find that to be so damn cool.
Alright, enough of me gushing about this video. Go down and watch it!
Revenge never goes out of style. It’s one of cinema’s benchmark themes and as far as reliabilities go, it’s hard not to root for the vigilante. In his new film The Demolisher, Canadian filmmaker Gabriel Carrer takes the vigilante motif and turns it on its head. The story plays with our sympathies and jostles around genre conventions until our moral compass is a bleeding pulp. With sparse dialogue and even slimmer exposition, The Demolisher is a strongly singular genre film that’s as gorgeous as it is remarkable.
Bruce (Ry Barrett) is an Internet repairman by day and riot gear-adorned vigilante by night. What turned him towards a life of revenge was the horrible assault on his wife, Samantha (Tianna Nori), a former cop now confined to a wheelchair. The gang that assaulted Samantha wears giant gorilla faces on their clothing, which is a huge help for Bruce, whose obsession with vengeance begins to consume his life to the point of a complete mental breakdown. Soon his reality and relationship with his wife begin to crumble, leading him to target possibly innocent people on his warpath.
With a slim amount of dialogue, Barrett manages to display the traumatizing thirst for retribution that consumes Bruce. When he’s in his riot gear, Bruce is a god. Without the helmet, Kevlar, and baton, he’s a tortured, broken man that finds no comfort in everyday life. Paralleling his story is Marie (Jessica Vano), a young woman who’s experienced her own fair share of trauma. When their paths cross, Bruce channels his fury on Marie and they begin a devastating cat-and-mouse chase through Toronto.
One of the only moments in a revenge film that I can recall succinctly examining the psychological damage that vigilantism enacts is that scene in Death Wish where Charles Bronson swings the sock full of quarters around in a dizzying rage. The Demolisher is like that scene but 90 minutes long and fucking beautiful. Carrer’s approach to the theme of revenge is astute and wicked visual. Some of the shots (particularly the night ones) are downright stunning and the juxtaposition of a man decked out in riot gear walking down a peaceful, quiet street is jarring. But despite its title, The Demolisher isn’t interested in violence. The moments of brutality are scant, so when they do occur, they’re wicked effective. The film is much more concerned with violence’s consequences and the toll they take on the people.
Almost dream-like in its visuals, The Demolisher is a powerful, jolting entry in the vigilant genre. It’s an unconventional character study that challenges its audience to take sides. We will inevitably root for Marie to escape Bruce’s misplaced rage, of course, but what of the delusional vigilante who the world has stomped all over?
I’m not complaining, but retailers may actually be worse than children at keeping secrets. Yesterday, I wrote about an Amazon listing that teased us with the totally believable idea that we might soon be hearing about a Game of the Year Edition of The Evil Within, and today we have another.
A second listing — this time from South African online retailer Loot — was spotted this week that mentions a Dead Island Definitive Edition for PC, PS4 and Xbox One. If this is true, the game will join a lengthy list of new-gen remasters that already includes Tomb Raider, God of War III, Saints Row IV, State of Decay, Dark Souls II, GTA V, The Last of Us, Sleeping Dogs, Diablo III and Metro Redux, among a dozen or so others.
It’s worth noting that two of the games I mentioned were published by Deep Silver, so they’re clearly interested in this sort of thing.
I enjoyed Dead Island enough that I would almost consider returning to it, especially now that we have no idea when, or if, we’ll actually see Dead Island 2. The problem is I can’t see myself choosing it over something like, oh I don’t know, Dying Light, for example. How about you?
It’s a shame that with a cast that included such talented actors as Djimon Hounsou and Alex Pena that the overall impact of a film could be so lacking in presence, or even in entertainment, but such is the case with The Vatican Tapes. With an exorcism film that centers so heavily around the antichrist, it may have possessed some real potential for a different take on a popular sub genre. However, with its stereotypical plot points and sped up, shallow character development, The Vatican Tapes plays more like a fanboy’s attempt at making an exorcism film, rather than the work of a veteran director who’s capable of so much more.
Angela is celebrating her birthday, and for the first time in as long as she can remember, her military-clad father is actually in attendance. Add that to the fact that her loving boyfriend set up the surprise visit from her pops, and arranged all of the festivities in their entirety, and it looks like this might be her best birthday yet. However, it seems that fate has caught up with Angela, as an evil spirit finds its way inside of her, and rears its ugly head in the midst of all of her happiness. At first, it seems that Angela may be suffering from a psychiatric condition of some kind, but suddenly, It starts to appear that the root of her illness lies not in her head, but deep within the barriers of her skin. A demon has infiltrated her precious puritanical vessel, and despite the efforts of her concerned father and partner, it has claimed her soul as his own.
Although director Mark Neveldine manages to squeeze out momentary impressive aesthetics, his proudest moments mainly exist during the exorcism scenes, well into the third act of the film. Toying with the light, Neveldine establishes the illuminations as bright and pure contrasts to the evil that inhabits them, creating a sense of invasion and unwanted spirits. However, these moments are few and fleeting, and mostly exist as a result of simple backlighting. The POV strangely switches over from hand-held to steadicam inexplicably halfway through the film, with bits of documentary-style scenes scattered sporadically throughout, creating an uneven, choppy vision. Truthfully, in the end, the empty visuals that fill the screen fail to create a distraction from the fact that none of the characters are tangible enough to invest in, making the whole story feel contrived and lackluster.
Even at a brief ninety-one minutes, and a shockingly brisk pacing, the time it takes to get to the big finale somehow still feels drawn out and uneventful. This is probably due to the fact that the speed that served Neveldine so well in the past in films like his adrenaline-fueled Crank has now stood in the way of appropriate character development, preventing s a lack of sympathy for the trials Angela and her entourage endure. The plot points of typical exorcism films are checked off like bullet points in this uninteresting, stereotypical account that we’ve seen far too many times. A seemingly innocent pretty girl is possessed by a demon. Check. She starts speaking in strange ancient languages. Check. She acts violent toward others. Check. Then, of course, the big exorcism scene, where two priests pour holy water on her and at some point, she floats. Check. Sadly, this is just another Exorcism rip-off film.
Nearly every demonic horror film created in this post-Exorcist world is inspired by William Friedkin’s incendiary work in some way, and understandably so, but in this day and age, with the massive wave of his influence, filmmakers simply must bring something new to the table in order to stand out. It’s not enough to go through the motions anymore. One thing that The Vatican Tapes has going for it is that unlike many other exorcism movies wherein the usual majority of the film is spent trying to banish the girl of her demon, this story takes the premise a bit farther, and suggests that the spirit who invades this girl’s body is actually the antichrist himself, come to take over the world — and he stands a good chance of winning. The Vatican Tapes attempted to make its mark by zoning in on the aspect of the son of satan, playing more on the invincibility of the demon, and the inevitability of his victory. However, in the end, the film failed to deliver any sort of deeper impact beyond its pitch.
Taking the worn exorcism plot a few steps further should have given the movie its own identity, and a provided a unique angle that would set it apart from the dozens of others that have come before it, but its shockingly abrupt ending fails to explore the concept any further than the simple idea of the true antichrist; the possibility of his ruthless reign hanging overhead like a baited fish hook, always dangling a few inches higher than the audience can touch. This train of progress screeches to a halt long before it ever truly gains some real momentum. Frustrating and impotent, The Vatican Tapes ends on the brink of its power, long before its ever given a chance to do some real damage. With its speedy pacing, surprisingly poor performances from nearly everyone involved, and illogical, ridiculous portrayals of everyone in the medical community and the church, this is just another horror film that that will merge with the masses that have come before, doomed to blend in and be forgotten.
Retrosynth group Gunship have released their self-titled debut album today and they’ve dropped possibly one of the best album teasers I’ve seen in a long time to promote it! The teaser fully embraces how strongly the 80’s influenced the group, so it’s jam-packed full of clips from iconic 80’s films, like Terminator, The Breakfast Club, Devilman, Angel Cop, Enter The Ninja, The Thing, The Fog, and more! Seriously, any fan of film would do well to watch this and get soaked in the glory of this amazing decade.
The 13-track album features remixes from Carpenter Brut, Miami Nights 1984, and Makeup And Vanity Set.
J.A. Bayona is making some big waves in the film community. His 2012 disaster drama The Impossible led to him directing a few episodes of Showtime’s “Penny Dreadful” and now he’s signed on to tackle World War Z 2. But first he’s got to finish up his film adaptation of A Monster Calls, which is based off the children’s fantasy novel of the same name by Patrick Ness. And now some BTS photos have appeared in the magazine Fotogramas, which show actor Liam Neeson in a mo-cap suit as well as Bayona directing two children on a set that appears to show a street completely broken and upheaved.
The story revolves around a 13-year-old boy named Conor (Lewis MacDougall) who, in an effort to relieve stress brought on by bullying and his mother’s terminal illness, escapes to a fantastical world thanks to a tree monster. Felicity Jones and Toby Kebbell play his parents, Sigourney Weaver fills the role of his grandmother, and in a fantastic bit of casting, Liam Neeson plays the aforementioned monster.
The film is currently in post-production and is set to release October 14th, 2016.
Time to bust out some Huey Lewis And The News and wear a raincoat! American Psycho: The Musical is coming to town!
Duncan Sheik’s musical adaptation of Bret Easton Ellis’ novel American Psycho has confirmed that preview shows will being on February 19th, 2016 and a full opening will occur on March 21st in a Shubert theater that has yet to be determined. It’s pretty much guaranteed that this theater will be in New York City, as that makes the most sense. The Shubert Organization does, however, own theaters in other states across the US.
The role of Patrick Bateman, the story’s anti-hero, will be played by Benjamin Walker (Abraham Lincoln Vampire Hunter). Rupert Goold is directing and choreography will be done by June Page.
Goold talk about Walker:
I’ve been a huge fan of Ben’s work on stage and screen and am really looking forward to working with him on American Psycho. He is an enormous talent and I think audiences will be utterly seduced by his dangerous charisma and extraordinary stage presence. He’ll make a killer Patrick Bateman.
The musical had its premiere late last year in London.
Bloody Disgusting learned that Tales of Halloween will open in limited theaters and on VOD platforms October 16, 2015. It is to World Premiere tonight at the Fantasia Film Festival.
The ten shorts take place in the same small American town whose denizens are terrorized by ghouls, aliens, and killers one Halloween night. Darren Lynn Bousman (Saw II, III and IV), Axelle Carolyn (Soulmate), Adam Gierasch (Night of the Demons), Andrew Kasch (Never Sleep Again: The Elm Street Legacy), Neil Marshall (The Descent), Lucky McKee (All Cheerleaders Die, The Woman), Mike Mendez (Big Ass Spider!), Dave Parker (The Hills Run Red), Ryan Schifrin (Abominable), John Skipp (Stay at Home Dad), and Paul Solet (Grace) are at the helm of Tales of Halloween, which follows in the footsteps of recent horror anthologies like V/H/S and The ABCs of Death.
Rocky Horror Picture Show icon Barry Bostwick, Insidious‘ Lin Shaye and “Heroes’” Greg Grunberg star, while the likes of Joe Dante, John Landis, Mick Garris, Stuart Gordon, Adrienne Barbeau, and Adam Green cameo.
Also featured are Pat Healy (The Innkeepers, Cheap Thrills), Alex Essoe (Starry Eyes), Booboo Stewart (The Twilight Saga), Keir Gilchrist (It Follows), Noah Segan (Looper), Pollyannna McIntosh (The Woman), James Duval (Donnie Darko), Kristina Klebe (Halloween), Marc Senter (The Devil’s Carnival), Jose Pablo Cantillo (The Walking Dead), Grace Phipps (Dark Summer), Sam Witwer (Being Human), and Graham Skipper (Almost Human).
Bloody reader Rob Smith tipped us off to a surprising story over on foreign horror site Aullidos where they break the news on a new vampire film from Fright Night director Tom Holland.
The site reports that Holland has teamed with Extinction writer Juan de Dios Garduño (“And Despite Everything”) on a new vampire pic, Bad Blood, which tells the story of a group of teenage vampires who kidnap a bus driver and his daughter to attend a concert.
He is working with both Holland and Fernando Martin Samper on the screenplay with the aim of creating something in the spirit of eighties-style Lost Boys and Fright Night.
The plot perfectly sets up an 80’s-esque horror drama, but I’m not sure about Holland as a director anymore. The last feature he got behind the camera for was nearly 20 years ago… the 1996 Thinner.
Warner Brothers Home Entertainment has announced the 3D Blu-ray Combo Pack (Blu-ray 3D/Blu-ray/DVD/Digital HD), Blu-ray Combo Pack (Blu-ray/DVD/Digital HD), and two-disc DVD releases of George Miller’s Mad Max: Fury Road, set for release on September 1st.
Available the same day will be the Mad Max 4-Film Blu-ray Anthology, which will include Mad Max (1979), The Road Warrior (1981), Mad Max Beyond Thunderdome (1985), and Mad Max: Fury Road on Blu-ray disc. The anthology also includes the documentary “Madness of Max” on DVD along with Mad Max Anthology trading cards.
“Haunted by his turbulent past, Mad Max believes the best way to survive is to wander alone. Nevertheless, he becomes swept up with a group fleeing across the Wasteland in a War Rig driven by an elite Imperator, Furiosa. They are escaping a Citadel tyrannized by the Immortan Joe, from whom something irreplaceable has been taken. Enraged, the Warlord marshals all his gangs and pursues the rebels ruthlessly in the high-octane Road War that follows.“
Both Blu-ray Combo Packs and the DVD are set to include:
Maximum Fury: Filming Fury Road
Mad Max: Fury on Four Wheels
The Road Warriors: Max and Furiosa
The Tools of the Wasteland
The Five Wives: So Shiny, So Chrome
Fury Road: Crash & Smash
Image/RJL Entertainment shares the following art and insanely boring imagery for Return to Sender, which features an all-star ensemble cast including Academy Award nominee Rosamund Pike (Gone Girl), Academy Award nominee Nick Nolte (Warrior, The Prince of Tides), Shiloh Fernandez (Evil Dead), Camryn Manheim (“The Practice”) and Rumer Willis (Sorority Row, “Dancing with the Stars”).
Return to Sender opens in limited theaters and on VOD August 14, 2015.
“In this intense psychological thriller, Rosamund Pike stars as Miranda, a small town nurse who gets attacked during a home invasion by a mysterious stranger (Shiloh Fernandez). Following his arrest, Miranda starts to regularly visit him in jail and build a relationship with her attacker. But everything may not be as it appears.”
Return to Sender was directed by Fouad Mikati and co-written by Patricia Beauchamp and Joe Gossett.
Summer heat is in full effect y’all, and I’m dying. Not literally, of course, but here in Austin we’ve just begun to enter 100 degree weather. It sucks. So sometimes I like to pop in a horror movie with a cold setting to torture myself even more. Below is a list of some cold-set horror films that I like to watch. What are some of yours?
Wild Eye Releasing, the distribution company responsible for unleashing films such as Blood Slaughter Massacre and Raiders of the Lost Shark onto the masses, have released the trailer and key art for the upcoming anthology The Horror Network. This first volume in what is a planned series of tales was created by Brian Dorton and Douglas Conner, featuring segments directed by Dorton, Conner, Joseph Graham, Manuel Marín, Lee Matthews and Ignacio Martín Lerma. A DVD with exclusive special features is scheduled for an October release.
Generally speaking, I’m usually a fan of anthologies and I’ve quite enjoyed some of Wild Eye’s releases in the past, so this is something I’m looking forward to. Whatever that creature-person-thing is from the poster that is also seen crawling and screaming in the trailer ranks pretty high on the creepy scale. This could be fun.
Serial killers, ghostly phone calls, inner demons, otherworld monsters and creepy stalkers collide in this frightening anthology. Five of horror’s most promising new directing talents join forces to pay homage to classic horror like Creepshow, Tales From the Crypt, V/H/S and The ABCs of Death, and weave an unforgettable, disturbing tapestry of terror.
Writer/director Bret Wood’s The Unwanted is the story of Carmilla (Christen Orr), a young drifter on the hunt to find out more information about her mother (Kylie Brown). Carmilla doesn’t have much to work with, but she does have an address that her mother supposedly lived at previously. The address leads her to a small mural town and the home of Laura (Hannah Fierman) and her father, Troy (William Katt). The address appears to be a dead end as Troy explains to Carmilla that no one else has lived at that home. Carmilla heads to the local diner to contemplate her next move.
At the diner Carmilla runs into Laura once more. Laura is a little tough to judge at first. At times she seems like she’s a bit emotionally unstable, but then it could be she’s just a small town girl looking to break out into the outside world. Whatever Laura’s deal is, she’s fascinated by Carmilla. The two begin to talk and Laura explains that while her father technically didn’t lie to her, he wasn’t completely honest. Turns out Carmilla’s mother stayed on a trailer located on Troy’s property for about 6 months.
From here on out we learn that everyone has some deep, dark secret they’ve been trying to keep hidden for years. As Carmilla begins to dig deeper to discover the truth about her mother, her and Laura begin to grow closer. This budding relationship greatly angers Troy, who believes he lost his wife to Carmilla’s mother years ago in a similar fashion and does not want to have the same thing happen with Laura.
If you’re familiar with Joseph Sheridan Le Fanu’s “Carmilla,” you kind of know where this story is going once you meet a character named Carmilla. At some point, it’s going to get to lesbian vampires. We eventually get that with Carmilla and Laura as they have a few blood-soaked intimate moments. Overall Wood takes a very loose approach to adapting Sheridan Le Fanu’s tale, giving it a more contemporary, Southern gothic feel. It just never all really comes together.
The story is a little slow, taking a bit before we actually get into it. Once we’re there, it doesn’t really make sense. Carmilla and Laura don’t have much chemistry. Laura certainly seems to have an interest in Carmilla, but none of it feels natural. And I suppose that’s part of the point, it shouldn’t feel natural, but there should be something that clicks.
The performances are iffy across the board. Fierman is far and away the highlight of the film. She seems to have a real knack for playing these adorable, but oddball characters that have a very sinister and dark side to them. With that said she tends to be a little uneven at times. I’m not sure if that blame falls on her or the script. Either way it would have been fun to see her take it up a notch. I’d love to see a director just let her loose for 80 minutes.
I have to talk about the music of The Unwanted. I don’t want to, but I can’t let it go. A few times throughout the movie a very generic rock music plays. I don’t know what it is. I don’t think it’s anything from an actual band, but rather something created by the film’s composer Paul Mercer. Whatever it is, it’s just not very good. The few times I was actually starting to get into the movie this music would play and totally take me out of it, so that was a bummer.
The Unwanted does manage to go out on a bang. The last 10 minutes or so are actually quite tense, despite that music rearing it’s ugly head once more. Part of it is even shockingly brutal. This is where Wood showcases his talents as a director and this is what I’d like to see more of. The overall idea presented here is pretty solid. Despite it having multiple adaptations, the story of “Carmilla” still lends itself well to the world of film. It’s possible with a bit more fine tuning, and much better music, Wood could deliver a piece of work that is more comparable to the likes of The Vampire Lovers or The Blood Splattered Bride. Unfortunately The Unwanted is not that movie.
The Unwanted is available now on Blu-ray from Kino Lorber with special features that include a making of documentary and a short film from director Wood.
I have a confession to make: I LOVE hearing about a horror fan’s favorite kills! People get so passionate talking about their favorite scenes and it’s so exciting to see them get fired up about them!
That’s why I’m excited to host Richy Nix‘s Top 5 Kills In Horror, which showcase some really unconventional choices, ones that normally don’t get chosen.
Nix opens up by saying:
Compiling a list of my favorite horror film kills is super tough. My thoughts start to race as I think of 100s…if not 1000s of scenes.
I had to really sit down and talk with a childhood friend who has watched a lot of the films with me. Some of my favorite kills are when the kills are ultra-gory or make me laugh my ass off!
Check out his list in the pages ahead!
You might have seen horrifically trippy images flooding your newsfeeds on social media over the last few weeks thanks to dreamdeeply.com tinkering with some mad science out of Google HQ.
Do computers dream? Of course they do. Have you ever wondered how that might look? Thanks to Google Deep Dream that just went open source, we can all now use our own photos and see for ourselves. Have fun!
With dreams involved naturally turned to the most sinister of sandmen, Freddy Krueger, to see if his slumber world distortions could be abstracted to cause even more nightmares. Grab a coffee and take a look at the results below.
After last week’s major character death, it shouldn’t come as a surprise that “Aftermath” slowed things down a bit and allowed the characters to actually deal with a good friend’s death. Scream has been criticized for having unlikable characters, and “Aftermath” was a step forward in making some previously unlikable characters (Brooke) somewhat relatable. Unfortunately, it didn’t work for all of the characters (Jake and Will, again), so the episode was sort of a mixed bag.
“Aftermath” marks the first episode of Scream where no one was killed off. This isn’t necessarily a bad thing, as it means that we do get to spend more time with these characters. The downside of this is that there wasn’t a lot of suspense to the episode. The teen soap opera feel was in full effect this week. It was an exposition-heavy episode that slowly built the mythology of the series and gave us some insight into the Brandon James story. It was nice to get an explanation on the masks design as well (it was used to protect Brandon’s face after his facial surgeries).
I want to take a moment to talk about Brooke. Based on the comments over the previous weeks, many people seem to loathe her. I can kind of understand this, as she has been portrayed as a selfish bitch. This episode is pushing her into “misunderstood and damaged” selfish bitch territory, which is kind of predictable, but if it gets more people on her side then I’m all for it. It was nice to see that Brooke wasn’t a robot and actually felt something over Riley’s death. Her breakdown was something we didn’t see when Nina died (though to be fair, no one really seemed to care when Nina died), and it was important to instill some humanity in her. You can see the series gears at work to make Brooke a likable character. I suspect it will be some time before we see her get killed off, especially since a blackmailing subplot with her dad just came up.
The less said about this subplot this better, as it is undoubtedly the weakest part of the episode. I have no doubt that will and Jake are behind the blackmailing, which makes it even less interesting. Why is Brooke’s dad even getting his own subplot? It seems counterproductive to take more screen time away from the central cast of characters, so we will just have to see how it pans out in future episodes, but my hopes are not high.
Faring slightly better is Piper, who gets a bit more to do this week, albeit not much. Her screen time is mostly devoted to her eavesdropping on other characters. She does get some interation with Emma (and shows some brains when she tells Emma that she can tell the police aren’t confident), but other than that nothing really happens with Ms. Shay. With only six episodes left this season, Scream would be smart to start giving her more to do.
The main focus on the episode was on Emma, Noah and Audrey, as they followed clues sent by the killer to a very creepy section of the hospital. After following a trail of blood to a room with a pig corpse (the same pig whose heart was sent to Maggie in the pilot) they stumble upon Nina’s laptop with a bunch of video files with people’s names on them. This is obviously an attempt to link the main Emma arc with the super boring Jake/Will blackmail subplot, so hopefully that works out into everyone’s favor. Poor Emma was caught in the crossfire as Noah and Audrey accidentally uploaded a video of her first time with Will to a Listserv comprised of all of her classmates. Way to go, guys!
“Aftermath” was a necessary, if unexciting, episode of Scream. More time was spent establishing these characters and we gained some more insight into the Brandon James mystery. This is all well and good, but let’s kill someone next week, shall we?
- So Brandon James is clearly still alive, yes? I’m assuming he just got a new face since there were so many mentions of the mask being for his face post-surgery.
- The killer uses a voice changer app. That’s so Scream 4.
- Um, the police didn’t “get Tyler.” His car crashed and they happened upon it. There’s a difference. There’s a difference.
- “Emma, maybe you should take your friend to see one of those grief counselors.” -Sheriff Hudson is a terrible sheriff.
- I’m not a girl, so I’m very intrigued: do girls stress out about picking funeral nail polish? Or is that just a Brooke thing?
- “My friends are dead and everyone hates me.” -I know I mentioned it above, but I really liked all of Brooke’s scenes tonight.
- “That’s sketchy logic.” – Audrey, when Emma explains why the killer might not kill her. Audrey is quickly becoming my favorite character on the show. Her and Noah are supposed to be the audience surrogates, but I find myself more in tune with Audrey. Noah’s monologues still feel a little forced to me.
- “Maybe we should split up.” “Hey that is not even remotely funny!” -Audrey, again. See what I mean?
- Maybe this is just me, but I really hate the “character waiting on something to download/upload before someone walks in the room” trope. It’s so overdone.
- “Too obvious.” -Audrey, when “Thunderbitch” doesn’t work as Nina’s password. Times like this make me wish Scream was on a premium channel so they could have just said “Thundercunt.”
Remember the incredible U.S. Map of Horror Movies?
Well, now we’re taking you to Europe with the “European Map of Horror Movies,” which comes courtesy of Horror On Screen.
Andrew Brick delivers the following graphic that displays about 200 horror movies for 44 countries of geographical Europe!
While I expected certain countries to carry more horror than others, I was surprised to learn that it’s pretty evenly spread about.
France has a killer collection – including High Tension, Martyrs, Inside and Frontier(s) – while England is brimming with classics such as An American Werewolf In London to Shaun of the Dead.
If you could only pick one batch of films to watch, which would you choose and why?