Six Entertainment Company
WHAT THE F**K?!
The Human Centipede trilogy director Tom Six releases one of his earlier Dutch films for the international market.
Tom Six is a director that people generally seem to have pretty strong opinions on. I can’t judge him as a director because I’ve yet to see any of his movies. I do think I have a pretty decent understanding of his personality, however. And with that I think can safely say he’s whole thing is trying to shock folks. The trailer for What the F**k?! certainly seems to suggest as much.
What the F**k?! doesn’t appear to be a horror film in anyway, but it does look like it could be pretty dark. Given that it’s an early film from a director who has made a bit of noise in the horror scene these last few years, it could very well be worth your time. Or maybe it’s not your cup of tea. Watch the trailer and decide for yourself!
“What The F**k?!” is a hilarious pitch black comedy about famous Dutch singer ‘Dries Roelvink’ who is kidnapped by his two biggest fans to their trailer in the middle of nowhere. Not for an autograph but something completely different. The fat couple’s biggest wish is to have a baby of their own but the husband is infertile. Dries is forced to live with this gruesome couple until he gets the woman pregnant.
The DVD of What the F**k!?, now available, is very limited and comes with the signature of director Tom Six. The movie has English subtitles.
What the F**k?! is currently available at Six Entertainment Company Webshop.
Jack Goes Home comes to us courtesy of actor Thomas Dekker, who wrote the film 10 months ago over the course of three weeks. The film had its premiere at The SXSW Music, Film and Interactive Conferences and Festivals on Sunday night. Dekker uses the kitchen sink approach with Jack Goes Home, throwing as many tropes and other genre devices into the mix and sees what works. Most of it doesn’t work, but when it does it shows an enormous amount of potential from Dekker as a director. However, his skills as a writer that need some fine-tuning.
Jack (Rory Culkin), a magazine editor and soon-to-be-father living in Los Angeles, learns that a car crash has killed his father and left his mother Teresa (Lin Shaye) with multiple physical and emotional wounds. He returns to his home in Denver, Colorado to care for his mother as she recuperates from the traumatic incident. While there, he begins uncovering long-buried secrets about his childhood kept from him by his parents. With the emotional support of his best friend Shanda (a barely recognizable Daveigh Chase), Jack must deal with the repercussions of going home.
Dekker has rounded up quote an impressive cast for Jack Goes Home. In addition to Culkin, Shaye and Chase, the film also boasts the impressive talents of Natasha Lyonne, Britt Robertson and a blink-and-you’ll-miss-her Nikki Reed. There isn’t a weak link in the bunch, save for maybe Louis Hunter as Jack’s flirtatious neighbor Duncan, who seems think he is acting in a soap opera. All of the other actors do their best with the material they are given (particularly Shaye, who has never been more fun), but they can only do so much with Dekker’s script, which unfortunately does them no favors.
Culkin, who is in nearly every scene, carries the film with a considerable amount of ease. He imbues Jack with just enough endearing qualities that you will find yourself easily empathizing with his plight, The problem is that after a certain point in the film Jack becomes an unreliable narrator, and many viewers may find it difficult to connect with a lead character that they cannot trust.
As mentioned before, the script was written over the course of three weeks, and it shows. Had a little bit more time been spent trimming the fat and polishing the dialogue, Jack Goes Home could have easily been a much better film. There isn’t a lot of motivation for many of the things that characters do, and while a third act twist does explain the reasoning for this, it’s too little, too late. Much of the dialogue comes off as incredibly pretentious and the quality of the writing does not merit pretension. That being said, understanding that Dekker wrote the film about his depression following his father’s death in 2010 helps to put the film in a better context: this is Dekker’s depressed state of mind represented on film.
Nothing about the film is subtle. There is no subtext in Jack Goes Home. It’s just text. Nothing is left to the imagination. Dekker chooses to hit you over the head repeatedly with all of his themes of depravity, sexual abuse and depression. In his hands, it’s all handled rather clumsily. This may be the intent since it is supposed to be a journey into the mind of a mentally disturbed man, but it doesn’t feel intentional and the film grows tedious quickly.
Jack Goes Home is a bold move for Dekker and you have to admire the sheer ambition of the project. It certainly creates interest for whatever it is that Dekker has in store for us next. There probably are some people that will enjoy Jack Goes Home, I’m just not one of them. Who knows, maybe I just didn’t get it? It is worth a watch just for the talent involved and the bizarreness of the whole thing. Just understand what you’re getting yourself into.
There’s been a handful of times where I’ve been asked what it is that I find so appealing about the slasher genre. The question usually comes up immediately after someone has learned that I write about spooky scary things for something called Bloody Disgusting, which, I guess, brings to mind the genre’s many cliches, stereotypical characters, predictable plots and penchant for cheese.
The answer I give varies depending on my mood. I might answer them sincerely, or I could go dead-eyed and creep into their personal bubble so they can hear every word as I describe, in gruesome detail, the immense satisfaction I get from watching the light leave a stranger’s eyes when Michael ventilates their abdomen with a kitchen knife.
“It’s just not the same when you use a gun,” I’ll whisper to the empty spot they had occupied a few seconds earlier. Then I pop the Starburst back in my mouth and smile.
If you’re here, you probably don’t need me to explain why slasher films have remained relevant, for the most part, for the better part of a century. I suspect it’d also be unnecessary to let you in on on all the reasons why I’m so thrilled that this genre is finally making its way to video games.
Of the handful of stab ’em ups we’re anticipating in the coming year, Behaviour Digital’s asymmetrical multiplayer horror game Dead By Daylight may be the most unpredictable. It’s too early to say for sure, but it appears to be putting more of an emphasis on randomized objectives and environments than Friday the 13th: The Game or Last Year.
Dead By Daylight is expected to release this fall for PC.
The upcoming POV action film Hardcore Henry is a film we’ve been championing for a while (read our review) and we absolutely cannot wait for it to hit theaters on April 8th so all of you can see what we’re talking about.
Hailed as “the world’s first POV action movie”, Hardcore Henry looks like it’s basically a fast-paced action FPS video game, one that would get loads of awards from all the gaming communities and websites. After all, a super powered human that can take loads of damage going around and fucking everything up left and right all to save his lady? It’s basically “Double Dragon” meets “Advanced Warfare” and it’s exactly the kinda game I’d want to play.
According to director Ilya Naishuller, that desire is going to become a reality. Answering a question on Twitter, Naishuller confirmed that the movie was going to be turned into a video game of some sorts, although there’s literally no other information, such as what kind of game (one would assume FPS), what platform it’ll be one, a release date, etc… Considering his answer regarding the usage of VR, I’m kinda hoping that the game has VR capabilities as that seems just 100% appropriate and perfect.
Now, if you’ll excuse me, I’m going to watch the FPS scene from Doom over and over until Hardcore Henry comes out.
We love Joe Lynch here at Bloody Disgusting. Not only was he behind the super fun Wrong Turn sequel, but he directed Salma Hayek in the Die Hard-esque Everly, and went LARPing with Knights of Badassdom.
Next up is Mayhem, which pairs Lynch with “The Walking Dead” star Steven Yeun, pictured above, and Samara Weaving, an Australian actress who toplines McG’s upcoming horror movie The Babysitter, reports Heat Vision.
The script by Matias Caruso tells of a virus capable of making people act out their wildest impulses that infects a corporate law office on the very day attorney Derek Saunders (Yeun) is framed by a co-worker and wrongfully fired. Trapped in the quarantined building, our hero is forced to savagely fight tooth and nail for not only his job, but also his life.
Said Lynch: “It’s not every day you get to throw action, sci-fi, horror, drama and even satire in the genre blender and hit puree, but Matias’ script, combined with a gung-ho cast and crew – especially Steven and Samara – will make for a deliciously dangerous and exciting cinematic smoothie…with a hell of a kick.”
Mayhem is due to begin principal photography later this month on location in Belgrade, Serbia.
British rock/metal band Bring Me The Horizon‘s latest album That’s the Spirit is a polarizing effort. While many claim it to be a new path for the band, there are those who lament the change in style, seeing the band as “going softer” and “losing their edge”. While I think their new material is fun, I can’t deny that it’s a different sound from their previous efforts.
Still, that doesn’t mean the band can’t have fun and show that they are still heavy in other ways, such as their music videos. And that’s where their latest clip for “Follow You” comes into play as it’s one violent, gruesome, and chaotic piece of work that evokes comparisons to The Purge and the opening sequence to Zack Snyder’s Dawn of the Dead remake. I’m going to warn you right now that it’s packed full of gore, so watch this at work at your own peril.
Check it out above and rock the fuck on!
We’ve teamed up with South Florida hardcore/metal band Pathways to bring you the exclusive music video premiere for “Miserae”, which comes from their upcoming EP Dies Irae. The band, who signed to Tragic Hero Records, have released a video that is sparse yet dark, mixing footage of the band performing against a beautiful woman who seems to bring destruction to everything she nears, from setting a tree on fire to shattering a mirror simply by looking at it.
The track surprised me in that it isn’t the typical metalcore fare that I thought it was going to be. There’s definitely some technical aptitude to be found and there are dashes of classical influence sprinkled throughout. I definitely recommend checking it out and giving it a shot!
Guitarist Jon Rose tells Bloody-Disgusting:
The entire EP is a concept about the four horsemen of the apocalypse. With each rider symbolizing conquest, war, famine, and death. “Miserae” takes us on the menacing journey of the pale horse, death.
The folks over at Tragic Hero Records have showed us nothing, but support so far. It’s been a truly pleasant experience in every way possible. We have high hopes for the future.
Relativity’s remake of The Crow is continuing to have issues getting off the ground. In a new move, the Edward R. Pressman Film Corporation, who produced the original 1994 film, has lodged papers to deny the studio from any rights to sequels, prequels, or remakes. This is a reaction to Relativity Media studio head Dana Brunetti’s decision to remove Corin Hardy (The Hallow) as director of the project, a move that Pressman says it was not consulted on.
Let’s break this down, shall we? In 2009, Pressman and Relativity decided they were going to move forward on rebooting The Crow by giving an option for three films. In 2014, Relativity exercised those rights and they then had three years to begin principal photography, something that still hasn’t happened.
However, as with any contract, there are rules and stipulations that must be adhered to lest a breach occurs. And that’s what Pressman is alleging happened when Brunetti removed Hardy as director of the film. The director, Pressman explains, “…is known for his visual flair, having a penchant for horror and dark subject matter. The parties believed that Mr. Hardy was particularly suited to re-invigorate The Crow, which is based on a dark tale of revenge told originally in graphic novel form.”
Because Hardy was removed without consultation, Pressman is claiming that this is a violation of the contract and, therefore, it wants to end all opportunities for moving forward. Pressman and Relativity already came to a holding deal for Hardy that amounted to $150,000, not to mention all the time it must’ve taken to lock things down, so it’s understandable that there is some frustration.
From the sounds of things, it looks like Pressman is basically done with Relativity and that this may very well signal the end of The Crow unless a new studio can step up to the plate and play ball.
The French horror Martyrs made Inside look like Disneyland.
Since then, director Pascal Laugier was attached to the Hellraiser remake, and went on to helm The Tall Man, starring Jessica Biel. He hasn’t directed a feature since.
Now, Bloody Disgusting has exclusively learned that Laugier is aiming a summer start on Incident In a Ghost Land from Radar Films.
Laugier penned the script, which we’re told follows a mother of two who inherits a home from her Aunt. On the first night in the new home she is confronted with murderous intruders and fights for her daughters’ lives.
When the girls suffer this terrible childhood trauma, their disparate personalities diverge even further. One is said to become a famous horror author, with a perfect family and life in Los Angeles, while the other can’t cope, and loses her mind.
The movie takes place 16 years later when the daughters reunite at the house, and that’s when things get strange.
Clement Miserez and Jean-Charles Levy produce.
Robert Shaye and Michael Lynne of New Line Cinema are teaming up together to produce Gifted, a new mystery thriller that will mark the third feature-length film that Shaye will direct.
Shaye tells Deadline that the film is, “…about a young aspiring musician preparing for a competition and is incredibly confidant and gets herself involved in a frightening trap that she has to find her way out of. It raises the question, if an insane person is telling a story, is it real? The audience will have to decide.”
The film stars John Kroft, Katherine Hughes, Giles Matthey, Kyanna Simone Simpson, Dylan McNamara and Sonoya Mizuno.
Shaye’s New Line Cinema is the “House that Freddy built”, thanks to the massive success of the A Nightmare on Elm Street films. Shaye himself has appeared in several of the films in small bit parts. For example, he played himself in Wes Craven’s New Nightmare.
Underworld: the Awakening actress India Eisley stars in The Curse of Sleeping Beauty, about a young man inherits a mysterious estate that holds a legendary secret within its walls. Eisley will play the role of Sleeping Beauty, aka Briar Rose.
Check out some colorful imagery from the film based on the Brothers Grimm classic, but with a dark, modern twist. The posters are exclusive to Bloody Disgusting with the news that the film will be world premiering at the Brussels IFFF next month.
Pearry Teo directs the Bleiberg Entertainment production, which was acquired by XLrator Media out of the AFM market in November.
“Thomas Kaiser (Ethan Peck, “Eden”) inherits an ancestral mansion that has been in his family for generations — only to learn that he has also inherited an ancient curse stemming back to the Crusades. Forced into his new role as “protector” — the guardian appointed to keep the evil demons in the house at bay — Thomas teams with an ambitious local realtor (Natalie Hall, “True Blood”) and paranormal cleric (Academy Award nominee Bruce Davison, “X-Men”) to unravel the mystery of the house, while struggling to awaken the beautiful Briar Rose (India Eisley, “Underworld: Awakening”), held captive in a terrifying netherworld seen previously in his dreams.”
“When working on creating this specific vision of Sleeping Beauty, it’s always been my intention to try something that’s never been seen before,” Teo told THR when the project was announced. “We’re drawing on varied things like Silent Hill, Pan’s Labyrinth, The Cell and Insidious for inspiration, but we are creating something that will be very unique, both visually and in terms of storytelling.”
Curse of Sleeping Beauty was produced by Ehud Bleiberg and executive produced by Nicholas Donnermeyer.
AMC announced the other day from the SXSW Festival that the highly-anticipated new series “Preacher” will premiere Sunday, May 22nd, and now they’re kicking off the hype with a look behind the scenes with Seth Rogen and Evan Goldberg (This Is the End, Superbad, Neighbors).
“Preacher,” which is based on Garth Ennis and Steve Dillon’s popular ‘90’s comic book franchise of the same name, is a Sony Pictures Television and AMC Studios co-production. The ten-episode season was developed for television by executive producers Rogen & Goldberg, as well as executive producer and showrunner Sam Catlin (“Breaking Bad”).
“Preacher” is the story of Jesse Custer (Dominic Cooper) a conflicted Preacher in a small Texas town who is inhabited by a mysterious entity that allows him to develop a highly unconventional power. Jesse, his ex-girlfriend, Tulip (Ruth Negga), and an Irish vampire named Cassidy (Joseph Gilgun) embark on a journey to, literally, find God.
The trio are thrust into a crazy world populated by a cast of characters from Heaven, Hell and everywhere in between.
A Nightmare On Elm Street‘s Jackie Earle Haley was recently cast as Haley Odin, a member of the local KKK branch and clashes multiple times with Jesse.
Other cast includes W. Earl Brown as ‘Sheriff Hugo Root’, the mean-hearted father of Eugene Root aka Arseface (Ian Colletti), a flinty-eyed, conspiracy-credulous redneck who is not a fool and has a vulnerability to him.
Jamie Anne Allman will play Betsy Schenck, a meek wife who appears to suffer beatings by the hand of her husband, Donny. When the Preacher checks up on her, though, she tells a different story. Derek Wilson is Donny Schenck, a Civil War re-enactor and abusive thug who gets into altercations with Jesse Custer but nevertheless shows up to church on Sundays.
We just told you guys that Vertical Entertainment and XYZ Films have partnered to acquire the global distribution of the horror anthology Holidays ahead of its world premiere at the 2016 Tribeca Film Festival on April 14th.
The companies will coordinate a global day-and-date release, which will begin the next day on April 15th with worldwide digital and VOD platforms followed by a targeted U.S. theatrical release on April 22nd.
Now, we’re celebrating “St. Patrick’s Day” with an exclusive sneak peak at the story from Dracula Untold director Gary Shore, which features Ruth Bradley (In Her Skin) and Isolt McCaffrey.
In “St. Patrick’s Day,” after accepting a cursed trinket from a student, Elizabeth discovers she is pregnant with a something not human. Despite her initial horror, Elizabeth decides to give birth, even if it kills her.
Holidays is an anthology feature film that puts a uniquely dark and original spin on some of the most iconic and beloved Holidays of all time. The film challenges our folklore, traditions and assumptions, making Holidays a celebration of the horror on those same special days’ year after year. A collaboration of some of Hollywood’s most distinct voices, the directors include Kevin Smith (Tusk), Gary Shore (Dracula Untold), Scott Stewart (Dark Skies), Kevin Kolsch and Dennis Widmyer (Starry Eyes), Sarah Adina Smith (The Midnight Swim), Nicholas McCarthy (The Pact) Adam Egypt Mortimer (Some Kind of Hate) and Anthony Scott Burns (Darknet).
“Because it was necessary.”
This is the haunting reply 12-year-old Morgan Geyser gives when she is asked why she and 12-year-old Anissa Weier stabbed their best friend, Payton “Bella” Leutner, 19 times and left her for dead in the woods of Waukesha, Wisconsin. This was done in an attempt to appease the internet meme and Creepypasta character Slenderman, an elusive Boogeyman who has no face, wears a black suit and can stand at an intimidating 14′ tall. Leutner survived, while Geyser and Weier were sent to prison after being found on the side of the road walking the 331-mile distance to Nicolet National Forest (the forest has since been cleared).
Director Irene Taylor Broddsky attempts to discover the reasoning behinds the attempted murder, and also study the influence that internet memes can have on society, specifically those of a younger age, in her new documentary Beware the Slenderman. The film will be broadcast on HBO at some point in the near future, but one almost hopes they wait longer to continue documenting this fascinating story and the not-yet-concluded trial (the final verdict of the two girls is schedule to be determined next month). Shot over 18 months with heartbreaking access to the families of both Anissa and Morgan (but not Payton), the film plunges deep down the rabbit hole of their crime, a Boogeyman and our society’s most impressionable consumers of media: children.
Beware the Slenderman is best watched knowing as little as possible before going in. It will undoubtedly be more effective if you don’t know too much about the trial since the film hinges on the judgment as to whether Geyser and Weier will be tried as adults, so I will keep my review brief and to the point.
Broddsky delves into the childhoods of both Geyser and Weier, as well as the lives/opinions of their parents. It doesn’t take a stance on their abilities as parents, though even the most judgmental viewer will walk out with a glimmer of understanding. It is lamentable that Leutner’s parents are not included in the documentary. While it is understandable that they did not want their grief documented for 18 months, it would have been nice if the film had made a mention as to why they were not included as a part of the documentary.
At nearly two hours, the film does seem to be padding its runtime with certain digressions, though this may be a consequence of airing on HBO, which likely has runtime quotas that must be met. One almost wishes that the film had spent a little less time debating the morality of requiring children to have iPads as part of their school supplies, and more time into the influences of the internet and phenomenons/trends like Creepypastas. Even the fan art devoted to Geyser and Weier is shown quickly but never focused on, and
People may start watching Beware the Slenderman expecting a film that is more about Slenderman himself, but the film is a truly terrifying look at the influence the internet can have on today’s youth. It ends up posing more questions than it answers, but that is forgivable. Can one truly understand why these two girls believed in Slenderman to the point that they would kill for him? The film tries to answer this, but since the story is technically still happening, there are no concrete answers. That doesn’t diminish the impact of the film, but rather make it even more disturbing. It’s difficult to review the film without going into specifics about the case, so I will just leave you with this: watch Beware the Slenderman when it eventually airs on HBO. You won’t regret it.
The Witch, the ground-breaking horror film “Certified Fresh” by Rotten Tomatoes and winner of the 2015 Sundance Film Festival Directing Award, will be available on May 17th on Blu-ray (plus Digital HD) and DVD (plus Digital) from Lionsgate.
A Puritan family banished to the edge of the known wilderness suspects an unseen, unspeakable evil is at work after the disappearance of one of their five children. Drawing from actual accounts of witchcraft and possession in New England, the critically acclaimed film features authentic settings and a creepy atmosphere.
From debut writer-director Robert Eggers and theatrically released by A24 Films, The Witch stars Anya Taylor-Joy (Viking Quest), Ralph Ineson (Kingsman: The Secret Service) and Katie Dickie (TV’s “Game of Thrones”).
“New England, 1630: William and Katherine lead a devout Christian life with their five children, homesteading on the edge of an impassible wilderness. When their newborn son mysteriously vanishes and their crops fail, the family begins to turn on one another. The Witch is a chilling portrait of a family unraveling within their own fears and anxieties, leaving them prey to an inescapable evil.”
Featuring audio commentary with the director, a behind-the-scenes featurette and more, The Witch will be available on Blu-ray (plus Digital HD) and DVD (plus digital).
Thrash metal titans Slayer have never been known to go light on their aesthetic. They’re an “in-your-face, don’t fuck with us” kinda band and that’s what has made them so successful and notorious over the years. And today, with the release of “You Against You”, their newest music video, the band is showing that they’re still all about violence and havoc.
Directed by BJ McDonnell, the video takes place one week before the prison riots seen in the “Repentless” video (also directed by McDonnell). Jason Trost (Hatchet III) reprises his role as the eyepatched rebel inmate, and the video, “…tells the story of the circumstances that led to Wyatt’s erroneous arrest and imprisonment.”
When it comes to gore, this video does not skimp one tiny bit. The whole video is basically one gigantic shootout sequence and there’s enough blood and viscera to satisfy even the most bloodthirsty of gore hounds! But don’t take my word for it. Watch the video above (courtesy of Rolling Stone) and revel in the explosion of carnage!
Upcoming tour dates:
Mar 17 REVOLUTION CENTER Garden City, ID
Mar 19 Paramount Theater Seattle, WA
Mar 20 Roseland Theater Portland, OR
Mar 22 Warfield Theater San Francisco, CA
Mar 23 The Warfield San Francisco, CA
Mar 25 Rabobank Theater Bakersfield, CA
Mar 26 The Joint Las Vegas, NV
May 28 Dortmund Westfalenhalle Arena Dortmund, Germany
May 29 Rockavaria Munich, Germany
May 31 Sofia Winter Sports Palace Sofia, Bulgaria
Jun 03 Rock In Vienna Vienna, Austria
Jun 04 Sonisphere Festival Luzern, Switzerland
Jun 09 Sweden Rock Festival Solvesborg, Sweden
Jun 10 South Park Festival Tampere, Finland
Jun 14 Olympia Theatre Dublin, Ireland
Jun 15 Live ar the Marquee Cork, Ireland
Jun 17 Hellfest (June 17 – 19) Clisson, France
Jun 19 Hellfest Clisson, France
Jun 24 Den Atelier Luxembourg, Luxembourg
Jun 27 Konzertfabrik Z7 Pratteln, Switzerland
Jul 01 With Full Force Open Air Roitzschjora, Germany
Jul 02 Volt Festival Sopron, Hungary
Jul 07 Jarocin Festiwal Jarocin, Poland
Jul 14 Bang Your Head Festival Balingen, Germany
Jul 15 Masters Of Rock Vizovice, Czech Republic
Jul 17 Barcelona Rock Fest Barcelona, Spain
Aug 12 Into the Grave Festival Leeuwarden, Netherlands
Aug 14 Bloodstock Catton, United Kingdom
Aug 19 Summer Breeze Festival Wilburgstetten, Germany
Aug 20 Elb-Riot Festival Hamburg, Germany
‘Hellraiser: Judgment’ Interview: Gary Tunnicliffe Talks Genesis, New Pinhead, and Sequels Being Rushed Into Development!
Ever since A Nightmare On Elm Street‘s Heather Langenkamp revealed she was starring in a new Hellraiser, the questions have been mounting exponentially.
We’ve learned quite a bit over the past month, including that special effects artist Gary Tunnicliffe (who worked on several of the Hellraiser films) was behind the camera on Hellraiser: Judgment for Dimension Films, and that Paul T. Taylor is your new Pinhead. We’ve also discovered a heavy portion of the cast: Damon Carney, Randy Wayne, Alexandra Harris, John Gulagher, Mike Jay Regan, Diane Goldner, Andi Powers, Jeff Fenter, Helena Grace Donald, and Grace Montie (read about their roles).
The biggest question mark, however, was how Tunnicliffe’s Judgment screenplay fit into the world created by Clive Barker all of those years ago. I had originally thought that Judgment was a stand alone project, while Tunnicliffe tells us it was the other way around:
“Judgment was always a Hellraiser project (concept), but I didn’t think I would have a shot at directing a Hellraiser movie,” he explained, “so I removed the Hellraiser elements and tried to get Judgment made independently. I met with several producers but they found the material SO outlandish and disturbing they always balked…and usually asked if I would instead be interested in directing a movie about some teens being chased by a masked killer (yawn).
“Some friends suggested I try Kickstarter…we put the site up and then I was told I had to contact everyone on my email list basically ‘begging’ for money…it didn’t sit well with me, so I decided to pull it,” he continues. “I only ever had a pitch, no script was ever written; Revelations was very much a traditional Hellraiser tale with a lot of ‘nods’ to the original and I got reamed for that, so I figured I would ‘swing for the fences’ and make Judgment.”
On how Judgment will fit into the Hellraiser universe:
“This is very much a Hellraiser movie connected at the very core. It wasn’t a script that was adapted in anyway; this script was conceived, written and re-written as a Hellraiser movie. It is different from Hellraiser movies before, since it involves a new mechanism in conjunction with the box for the gathering of souls, and that introduces us to these new characters. But it still very much operates within the mythos of a ‘world within our world’ that I have always felt is the mainstay of Clive’s (Barker) work.”
Speaking of new characters, not all of the cool new creations are Cenobites.
“Actually some of the characters aren’t really ‘Cenobites’ per se – they aren’t the members of the ‘order of the gash’ we are used to,” he explained, revealing some of the new plot. “I don’t want to say too much at this point but we discover that Hell actually has several factions and all have different looks. The Cenobites we have in the movie (Pinhead, Chatterer and the Stitch Twins) are the ‘sharp end of the spear,’ so to speak.”
We’ve been advocating that Pinhead isn’t necessary in making a good Hellraiser movie. Tunnicliffe compares him to the special sauce on a burger.
“I think Pinhead has undoubtedly become the face and centerpiece of the franchise, but I think it’s foolish to let him try to carry the franchise or a movie on his own. To me he’s the special sauce on a great burger; too much special sauce and it makes you sick, not enough and you’re left wanting more.
“What I can reveal is this is a very no nonsense Pinhead,” he continues, “no glib one-liners, he’s a little leaner and a little meaner. We especially tried to incorporate this into the make-up and costume; the cuts are deeper, the pins a little longer, his eyes are completely black and wardrobe is a little sleeker and more visceral. Someone on set described him as the ‘bad ass’ version of Pinhead. Paul (Taylor) certainly relished the role and gave him an icy demeanor.”
In regards to make-up and special effects, Tunnicliffe talks about balancing both directing and overseeing the FX work.
“It’s tricky. It’s even trickier when you write, direct, handle the make-up FX, key props and character costumes! The trick, I think, is to have a great team and amazing support. I had that from both the FX crew that I bought from LA (Mike Regan, Mike Measimer and Adrienne Lynn Booth) and from the incredible shooting crew in Oklahoma…they all worked above and beyond my expectations and were always understanding when I grabbed a brush and joined in or ‘tweaked’ stuff.
The make-up effects and gore were so much, at times, that one of the leads almost passed out.
“Our lead actress almost passed out during one particularly traumatic scene,” he revealed. “Three people left set during one sequence because they were going to throw up (my DP Sam made the strangest noise I have ever heard from a human being with an expression of panic/joy/revulsion) during one of the ‘Cleaner’ sequences.
“I don’t think it’s so much the quantity of blood (or whatever fluid you’re mimicking) but more the nature of the effects, the content and the context. I think some of our blood gags are actually quite beautiful; when you see blood raining down on a naked girl with a skinned face at 300 frames per second you can’t help but be mesmerized by the fluid dynamics.”
As cool as everything sounds, the hardest question to ask was about the perception of the Hellraiser franchise, which has become about rights issues and rushing sequels into production. Tunnicliffe was incredibly candid, talking to the internal dialogue at Dimension, and how Judgment is very different.
“I think there has been a huge gap since Dimension are actually trying to do their best by the franchise,” he stated when asked about the time between each Hellraiser film. “You know everyone sticks it to those guys for the poorer quality sequels but there isn’t any magic formula for making great horror films. If there were, everyone would be making amazing horror flicks, right?! I think [The Weinstein Company is] well aware that Hellworld was rushed into production and suffered for it, and Revelations suffered a similar set of problems (when the rights issue came up fast and furious without anyone knowing). [Revelations] was very much a ‘band-aid’ or field dressing.
Speaking frankly: “Judgment IS a rights issue movie, but has been made with the sensibilities and input given to a regular budgeted Dimension feature. The executives (all the way to the very TOP of Dimension) and producers involved didn’t just say, “Bang this out”; there was an intense development stage, several re-writes and amazing input and guidance on casting, etc. Initially I pitched two concepts: Hellraiser: Judgment and a second idea called Hellraiser: Enter Darkness (I still love that title!). The latter of which was a much more linear, ‘Hollywood’-style horror movie. [Dimension] was very cool and extremely supportive about going with the riskier ‘Gilliamesque, del Toro, Barker, Cronenberg, Fincher’ tone, instead of the more mainstream idea. I have to give them props for that!”
In Hellraiser: Judgment, Detectives Sean and David Carter are on the case to find a gruesome serial killer terrorizing the city. Joining forces with Detective Christine Egerton, they dig deeper into a spiraling maze of horror that may not be of this world.
“We tried to make the main story (the serial killer story) as compelling as the Hellraiser/Hell elements. If we can make a film that will horrify and shock without all the Hell stuff…then hopefully we’re on to a winner.
“Our mantra has become Se7en meets The Cell, whilst trying to innovate, not replicate.”
Here’s your exclusive look at Paul Taylor as the new Pinhead.
Tripwire Interactive shared more of their plans for Killing Floor 2 with the recent reveal of a new versus mode that’ll pit a team of trigger-happy commandos against a gaggle of player-controlled Zeds in a gruesome fight to the death.
A competitive mode like this brings inevitable and obvious comparisons to Left 4 Dead — or less obvious comparisons to that one time Dead Space 2 tried to be like Left 4 Dead — especially since it’s rumored the Patriarch and Hans end-game bosses will also be playable.
According to Tripwire’s own end-game boss, John Gibson, the Crawler, Stalker, Slasher and Clot will be assuming the role of the Special Infected, each with unique abilities. The Crawlers are skilled hoppers, Stalkers have Predator cloaking technology, Slashers can come frighteningly close to flying, and the Clots can enlist other Zeds to fight with them.
The mode does not yet have an ETA, but it doesn’t appear to be too far off.
In other news, accessing community-created content in Killing Floor 2 got way easier this week thanks to the implementation of full Steam Workshop support. If any of the above bothers you, a steady torrent of custom content should make a competitive mode less troubling.
It’s almost 28 years to the day since Tim Burton’s wildly imaginative and bitingly witty horror/comedy Beetlejuice hit theaters and fans have been craving more of “the ghost with the most” ever since. From the brilliant score by Danny Elfman to the Oscar-worthy performance of Michael Keaton as the title character, the movie has become a beloved classic that still deserves all the praise heaped upon it.
While rumblings have been going for a while about a sequel, including a supposed confirmation from Winona Ryder, there hasn’t been a serious green light. That all changes today as Tim Burton has confirmed himself that not only is Beetlejuice 2 confirmed to move ahead, it’s also bringing back Ryder AND Keaton!
Burton tells Showbizspy the following:
The film is a go and has been approved by the Warner Bros. team, we have talked with the cast members we wanted for the film and they are all on board, this includes both Winona and Michael. We have the script in hand everything is in place all we need to do now is get ready to start filming.
No further details were released but this is AMAZING news and I’m beyond excited! If it’s even half as charming as the original, I’ll be happy! I just seriously hope that they keep the practical FX that they did in the first film. To this day, all those visuals make me smile and feel totally immersed in that supernatural phantasmagoria!
Watching 10 Cloverfield Lane can be likened to running through a field with bombs being dropped all around. The field is open and clear, yet the bombs keep forcing you to zig-zag to avoid being hit.
We’ve seen 10 Cloverfield Lane on many occasions. In fact, the idea of being trapped in a bomb shelter for the duration of a film sounds awful to me, which is probably why I never really jumped aboard the hype train. Shit, I even started preparing myself for complete and utter disappointment. Yet, after my initial viewing of Dan Trachtenberg’s claustrophobic thriller, I find myself bowing to the new masters of tension.
Josh Campbell and Matthew Stuecken’s story (Damien Chazelle co-wrote the screenplay with the duo) takes a tired concept and zig-zags. With Trachtenberg’s masterful directing and explosive performances by John Goodman, Mary Elizabeth Winstead, and John Gallagher Jr., 10 Cloverfield Lane becomes an unrelenting thriller for the ages.
Forget the Cloverfield connection, what we have here in a masterclass in suspense that can only be described as Alfred Hitchcock and Richard Matheson’s lovechild.
10 Cloverfield Lane opens with Michelle (Winstead) leaving her boyfriend. As she hits the road, she’s blindsided by a truck and wakes up chained to a bed. Howard (John Goodman) enters the room, offering little explanation, but providing some food. Michelle acts quick, thinking she’s been kidnapped, and attempts to escape. The film’s pace in unrelenting, never taking a real moment to breathe. It’s told through Michelle’s perspective, and the audience almost immediately learns the “truth.” What’s so surprising is how quick Trachtenberg and the writers drop a reveal, and how often they continue to shift the narrative.
Trachtenberg biggest feat, though, is his ability to show a story, keeping the exposition to the bare minimum. 10 Cloverfield Lane is carried by an explosive score and vicious sound design, letting the viewer experience Michelle’s paranoia to the fullest extent.
Speaking of, whether or not the world has ended is only one layer; Michelle must confront the reality that she may be trapped in a bomb shelter with a psychopath.
John Gallagher Jr. and Winstead’s outstanding performances will unfortunately be overlooked because Goodman hits God-level. Goodman is having a renaissance career; his character walks a fine line between sympathetic and terrifying in what could be his coup de grâce. A mic-drop if you will. The early Oscar chatter? Fully warranted.
Whether or not 10 Cloverfield Lane was pigeon-holed into the Clover-verse is inconsequential. Forget all about Cloverfield and just soak in the immense claustrophobia and paranoia that’s so unrelenting you’ll have to dig your nails out of the theater’s armrests.