Two 16-year-old boys in a New Zealand high school were injured when a prop razor knife that was being used for their production of Sweeney Todd ended up actually slicing them. One boy was seriously injured while another was moderately hurt on the opening night of the musical. Both were taken to the hospital and were released the next day, according to Sky.
The students, who attend Saint Kentigern College in Auckland, were using a real razor that had been blunted by being bound in duct tape. Headteacher Steve Cole told Newstalk ZB, “It had been bound in Cellophane, bound in all sorts of things. It was very non-sharp, blunted, and had been through all sorts of health and safety checks. It was a very unfortunate mishap.
Cole apparently hopes the show would resume Friday, although without that specific prop.
Sweeney Todd: The Demon Barber of Fleet Street is a horror musical written and composed by Stephen Sondheim. It made its debut in 1979 and has since been made into a film in 2007 from Tim Burton with Johnny Depp in the lead role.
The third season of Showtime’s “Penny Dreadful” will be premiering Sunday, May 1st at 10pm EST. And to get the fans hyped up, they’ve released a trailer for the upcoming season, which you can watch above.
“An erotically-charged, profoundly unsettling new saga, ‘Penny Dreadful’ completely reinvents literature’s most iconic and terrifying characters. Dorian Gray, Victor Frankenstein and timeless figures from Dracula join a core of original characters in a dark and brutal quest to save a soul — even as they grapple with their own monstrous temptations.”
“Penny Dreadful” stars Josh Hartnett as “Ethan Chandler”, Eva Green as “Vanessa Ives” and Timothy Dalton as “Sir Malcolm Murray”.
Guest Article By Andrew Robertson.
With another round of “The Walking Dead” wrapping up, what better way to reflect back on six seasons of mangled flesh and dismembered bodies than to chat with one of the show’s original make up and FX artists?
A long time creature artist and eternal horror film devotee, Toby Sells has hacked and sliced out a nice little niche for his company Toby Sells Creature Make Up & FX Shop as a part of Georgia’s booming film industry. We caught up with him because we were just curious, shy of smashing a painted watermelon, how does one pull off a convincing looking head bashing with a baseball bat?
Watch the following headache-inducing clip from the film Refuge, then learn about what goes into a proper head bashing.Anatomy of a Head Bashing
1. Make a mold of your actor’s head, then cast a positive with polyfoam over a fiberglass core.
2. Paint the face and match injuries to the actor in scene.
3. Fill a condom with blood and brains, and put it in the side of the mold.
4. Scuff up a wooden bat and drive some brutal-looking nails through it.
5. Play Ball!
6. Sub in your actor to match the angle and movement of the swing.
7. Edit and add sound design.
Toby Sells knew he wanted to go into FX, creature-building and makeup at age 10, after seeing Planet of the Apes on TV for the first time. His father took him to a hobby shop that week, where they picked up materials, came home and made his first gorilla mask. After a stint in LA, Sells moved back home to Georgia to open his own shop, under the tutelage of make up/FX legend Dick Smith (The Godfather, Amadeus).
You can check out Refuge on iTunes, Amazon, GooglePlay and On Demand through any cable provider.
RLJ Entertainment has announced Jessica Sonneborn’s (Lure) The Haunting of Alice D for release on DVD and Digital Video May 3rd.
The film stars Juan Riedinger (Narcos), Aaron Massey (Refuge from Storm), Megan Hensley (The Crazies), Al Snow (The Witches of Oz), Kane Hodder (Friday the 13th Part VII: The New Blood) and Kristina Page (Penny Dreadful).
“In the late 1890s, Davenport House was a famously successful brothel, ruled with an iron fist by an owner notorious for his cruelty and insatiable greed. Virtually imprisoned inside these walls, young Alice was forced to endure years of brutality and sexual slavery – until she took murderous revenge on her captors and tragically ended her own life. More than a century later, the latest Davenport heir is hosting a decadent bash in the newly renovated mansion – complete with drugs, prostitutes and just one rule: anything goes. But the “fun” has barely begun when strange, terrifying things begin to happen. Suddenly, the legend of Alice’s tormented ghost proves to be very real as the guests discover firsthand that vengeance never rests in peace!”
The Haunting of Alice D is produced by Kristina Page, Christopher Maltauro (Bloody Bloody Bible Camp) and Josh Hammond (Jeepers Creepers 2).
With Hardcore Henry coming out next week and making the most of it’s found-footage filming style, we thought we’d take a look back through some of the better uses of the technique. The sub-genre has received a lot of backlash over the past few years, mostly thanks to the overabundance of found-footage films that were being released after The Blair Witch Project came out in 1999 (they usually involve possession). It also became more and more difficult to defend why exactly the characters kept filming in life-threatening situations. To add insult to injury: found-footage is frequently used as a cheap gimmick to mask crappy filmmaking, so more often than not their quality is subpar (for every Blair Witch we get five Megan is Missings). That being said, every now and then a found-footage film comes along that breathes new life into the sub-genre. The following eight films are some of our favorites!Cannibal Holocaust
Green Inferno Schmeen Inferno. Cannibal Holocaust is where it’s at. Sure, it’s a weird little movie, but it’s got some truly haunting imagery spread throughout its 96 minutes. Though it is famous for the scenes in which animals are killed (they used real animals) and the allegations that it was a snuff film, Cannibal Holocaust really does stick with you afterward even though you know it’s only a movie (save for the aforementioned animal slayings).
Perhaps the most iconic movie monster of all time, Frankenstein first terrified audiences in 1931. Portrayed by legendary actor Boris Karloff as a terrifying yet misunderstood and tormented creature, Universal’s Frankenstein monster has gripped moviegoer’s imaginations ever since.
Cobbled together from corpses stolen from graves and the scaffold; reanimated by lightning, Frankenstein terrorized a small village while seeking vengeance on his creator.
Meticulously developed to capture the terrifying look of the iconic creature and outfitted on a One:12 Collective body, the figure has incredible details. The final product captures the look and spirit of the character as he appeared in the legendary film.
- The One:12 Collective Frankenstein features:
– Accurate real fabric clothing
– Highly articulated body
-Character specific sutured forearms
-Film accurate asphalt spreader boots
- Included with this figure:
-Posing hands with attached forearms (L&R)
-Grasping hands with attached forearms (L&R)
-Functioning shackles with real metal chain
-Display base with posing post
Packaged in a deluxe, fifth panel window box. Designed for collector convenience, the packaging allows for both maximum protection as well as ease of removal for display.
Frankenstein joins the Collective in September / October.
Telltale more or less owns the world of episodic video games right now, thanks to a stellar development model and a continuously growing portfolio that already features The Walking Dead, Fables, Borderlands, Game of Thrones and Minecraft, with more on the way, including Batman later this year and something Marvel-related in 2017.
They’ve dominated their space, and now they’re looking to replicate that success in publishing, starting with The Fun Pimps’ open-world survival horror game, 7 Days to Die.
I’ve spent more than 50 hours in the game since it arrived on Steam Early Access more than two years ago. It’s an amalgam of various genres (FPS, tower defense, zombies, light RPG) and mechanics (crafting, looting, mining, exploring, killing zombies) that I find frighteningly addicting.
When 7 Days to Die comes to the PS4 and Xbox One later this year, it’ll bring even more ways to play it, either locally via split-screen, or online via its PvE/PvP survival mode, which they’ll be expanding with new multiplayer modes that will be unveiled in the near future.
7 Days to Die arrives this summer.
Mike Flanagan’s (Oculus, Absentia) new film Hush had its world premiere at the 30th Annual SXSW Music, Film and Interactive Conferences and Festivals on March 12, 2016, and we had the chance to interview Flanagan, his wife and leading lady Kate Siegel (who also co-wrote the film with him) and producers Trevor Macy & Jason Blum. The interview took place in one of the conference rooms in the Driskill Hotel in Austin, TX. Flanagan and Siegel took the lead in the conversation, while Macy and Blum chimed in occasionally, but I don’t think I can emphasize enough how much of a delight it was to chat with these people. They were incredibly down-to-earth and just lovely to talk to. I hope you enjoy reading the interview!
You can read my review of the film, which tells the story of a deaf-mute woman (Siegel) who is stalked by a psychotic killer (John Gallagher, Jr.) in her secluded home, when it goes up tomorrow (spoiler: I really liked it). You can also read Kalyn’s equally positive review from SXSW here.
Bloody Disgusting: First of all, I really really liked the film a lot. I thought it was great and I like all of your films too.
Mike Flanagan: Thank you! That’s amazing. Thank you.
BD: So I know the film is technically a home invasion thriller but there are obviously lots of aspects of slasher films in there.
Kate Siegel: Yeah.
BD: That’s my favorite sub-genre but–
Jason Blum: What is?
Blum: Oh, slasher.
BD: I think it’s really nice to see a slasher get released today because I feel like that sub-genre has taken a backseat to a lot of other things, specifically supernatural horror and things like that. Do you think labelling something as a slasher film is akin to giving a film a death sentence in Hollywood? Or do you think it hurts your film.
Flanagan: Well when I hear “slasher” I think about the 80s. I think about Jason and Michael Myers. Horror is fascinating because it’s so seasonal and it’s like you’ve got these periods where slasher movies are in and it’s like everyone loves them. Next thing you know zombies are in. Then vampires are acceptable. It changes all the time and we bump into this all the time where we take a project out and someone says “Oh, that’s a zombie movie? That genre is dead.” Then The Walking Dead shows up. So I don’t really think there’s any label within horror that would be a death sentence because it’s like these sub-genres have their moments and they ebb and they flow and they resurge and they’re reinvented or they’re repackaged. Everything is so seasonal so I don’t think there’s any kind of corner of the genre that will ever really be hurting.
BD: I think comparisons to films like The Strangers or Them are inevitable.
BD: But making the lead character death….wait….deaf, is a nice twist on a tried-and-true formula that plays very well in the film without seeming like a gimmick. Where did that idea come from?
Flanagan: [looking at Siegel] Well we talked a lot but it kind of happened because Kate and I were out to dinner and we were talking about movies we liked. One of the ones that we stumbled on that we both really liked was Wait Until Dark. So we talked about that for a little bit and then talked about thrillers in general and the things that she had always wanted to do from an acting point of view and things that I had always wanted to do from a directing point of view.
Flanagan: One of the things I had always wanted to try, which would be so challenging to me as a director, was to try something without dialogue. I coupled that with this idea that Kate was talking about a lot, which was the anxiety of seeing somebody try to get into your house. We thought that if we made the lead character deaf-mute then we would create the potential for really really fascinating version of these movies.
Siegel: At that dinner we were also discussing how the most scary aspect of the films we love was sound design. Sound design really sells a movie so we were discussing ways to make sound design more of a character on a script level. To really make sure that sound design is something that gets the weight it deserves. The opposite of that is to remove sound from the main character, since you have to balance that somewhere else in the movie. So sound design is something we really wanted to play with. I think that at the beginning Maddie being a deaf-mute was something that was more of a script challenge. Then as we started to meet this woman we realized that it was a real benefit to character development, tension and things like that. We could do things that we couldn’t do if your character could speak or hear.
BD: Was there ever an intention to do the entire movie without sound?
Flanagan: It was a discussion, for sure. It very quickly became apparent that that wouldn’t work and the reason is that if you remove all sound, which sounds like this very cool experiment, you’re actually not doing that. You’re forcing everyone to listen to the sounds that are present in the room, which meant the audience isn’t going to be immersed in silence. They’re going to be listening to the audience. They’re going to be listening to popcorn and coughing and shuffling. There was this kind of realization very early where we said “Oh, if we actually remove sound then it would be impossible to build tension.” Modern audiences, having not grown up on silent films, are suddenly going to have to seek out every kind of audio stimulus anywhere else in the environment. Then I thought we wouldn’t even have people watching the movie at that point.
Siegel: They’d be frustrated with the guy next door.
Flanagan: Right! They’ll just be kind of hyper-aware. So that made us think about the parts of the movie that we wanted to pull the sound out and be in Maddie’s perspective, and that we couldn’t do that authentically silently. It was an impossible puzzle. How do we make it feel like there’s no sound while having enough sound to still get rid of all the other ambience and keep everybody focused?
Siegel: An interesting counterpoint to that was their decision to pull out all sound from the logos that open the film, you know? The Blumhouse logo appears and there’s absolutely no sound. It gets you very aware of your ears.
BD: And then that title card just booms on screen.
Flanagan: Yeah.That worked great.
BD: It does!
Trevor Macy: Well if you can sustain it. Those opening logos are about 45 seconds without sound and you start to wonder if something is wrong with the film.
BD: That actually went through my head while I was watching the film.
Macy: Yeah, you think the sound is broken, which I think is so cool.
Siegel: It makes you think about sound from the very beginning.
BD: It’s a very interesting technique. You know, I saw Don’t Breathe Friday night which also uses silence to a considerable degree and there’s a Buffy the Vampire Slayer episode–
Siegel and Flanagan together: “Hush!”
Siegel: Which we watch and love.
BD: Yes! It’s one of the best episodes of that show in one of the worst seasons.
[everyone laughs, but Blum laughs the loudest]
Flanagan: Yeah that’s true. You’re totally right. The whole Riley thing…..yeah. Anyway, yeah, um….yeah.
BD: So with that technique, I’m assuming the film did pose some challenges. [Looking at Siegel] You kind of get put through the wringer.
Macy: And she wrote it!
BD: I know! Did you know you were going to play that part when you were writing it?
Siegel: Yes, [looks at Blum and Macy] well I hoped that they would say yes.
Flanagan: That was the intention pending convincing everyone to do it.
Blum: Obviously, we said yes.
BD: Well I think watching actors and actresses do difficult stunts is really interesting, so was there a particular scene that you were having a rough time with physically.
Siegel: It’s interesting, but I was adamant about doing my own stunts from the beginning because I think I didn’t realize what that actually entailed. I thought it sounded fun because I hadn’t really gone through the whole thing before. There were two things that were rough. One was our amazing stunt coordinator Chuck Borden helped with was the door slam. I had to get my hand slammed in the door multiple times from multiple angles. I thought it meant “Oh I’ll be fine I won’t hurt at all.” No, it just means they safely slam your hand in a door.
Flanagan: So it won’t break anything, basically.
Siegel: Right, but they still need to slam your hand in the door. So what happened after Take 12 or 13 was that I would start flinching before the slam and that just couldn’t happen. We had shot pretty much in order so by that time I had already been through a lot of stuff. I was jumping out of windows, climbing on the roof with a harness and a lot of other things had happened. So I remember a point after some skin accidentally got pinched during the door slam I just went “That’s it! I’m done. We’ve got it!” I took my hand away and Mike’s deep, deep love of actors came in and he was like “Please know that you’re in the right place right now. This is exactly right. This is your talent coming out. Please can we just try this again?” So I tried it one more time and I think that’s the take we ended up using. It was just hard to stay in that place with Maddie because you have to have this deep level of focus since she can’t hear anything so as an actor I was constantly trying to touch things. That’s what my coach was telling me: when you lose the sense of hearing you want to ground yourself in the vibrations that are happening. So Maddie was so frustrated with her situation that my actual frustration with the stunt was the character coming out.
Flanagan: There’s some priceless pictures of her with the shattered, broken hand trying to eat lunch.
Siegel: Well ‘cuz they had tied my hand back!
BD: That’s a really hard thing to look at too. I mean it’s probably the last 20 minutes you’re watching her with this hand that’s been destroyed.
Flanagan: Yeah and two of her fingers were taped down underneath the application and she had to wear it for 12 hours.
Siegel: Plus the three hours to get into it and two hours to get out of it.
Flanagan: And this is toward the end of the shoot so everybody was exhausted, but she didn’t have the use of her dominant hand for the entire day. And she couldn’t take the application off so she was just stuck in it. She had to eat with it and get ready and check herself with it and she also liked to come up behind me and shove the prosthetic pinky into my ear when I wasn’t looking.
[Macy and Blum laugh]
Flanagan: That freaked me out.
Siegel: The whole thing was just Cloud Nine. So here my hand was being slammed in a door but it was like the best way that could ever happen.
BD: If I was ever in a horror movie I would want to die in a really gruesome way but I hate being sticky so I don’t like the idea of having blood on me all the time.
Flanagan: Oh the sticky blood is nasty.
Siegel: It is sticky. Oh you’ve got me right back there. Sticky is the worst. If you ever get a chance to talk to [actor/actress name deleted for the sake of spoilers] about sticky…
Flanagan: Oh God.
Macy: By the way, he/she didn’t have to. He/she sat there all day to be dead on the ground even though we offered him/her a stand-in.
Flanagan: He/she was just like “No! I’m doing it!” Like it was a challenge to overcome.
BD: Something that irks me about horror criticism is that people like to say “Oh, it’s violence against women” or “Horror hates women.” I do think that what happens to the women in Hush is more brutal than what happens to the men. But Kate, from your standpoint, how do you feel about that? I feel like that trait is inherent of the genre, but that criticism is something I feel is thrown around a lot.
Siegel: Yeah, first thing is that I really like that people are sensitive to that. I have at times fallen on that side of the argument where I’m like “How many girls need to run into the woods in their underpants?” The answer is many.
[Everyone laughs, Flanagan and Siegel poke fun at each other and it’s adorable]
Siegel: You bring up Wait Until Dark, but what we really loved was Die Hard. So I didn’t think of Maddie as a girl running in the woods in her underpants. I thought of her as an action hero, and what we love about Die Hard is that our main character is beat to Hell! His teeth are bloody, the whole building is used and he’s vulnerable, but he’s a warrior. So I think that with Maddie, there was never an iota of intention to do anything with sexual violence or rape.
Flanagan: Yeah we did not want to go there at all.
Siegel: But I actually think if you switch the genders you can keep all of the story points. Nothing happens to Maddie because she’s a woman and she doesn’t choose anything because she’s a woman. We could neutralize gender in this movie and you would have the exact same movie. That to me was very important and I wanted to make sure that my female friendship with Samantha [Sloyan, who plays Sarah in the film] wasn’t about about boys. It was about reading a book and talking about books. I wanted to make sure the relationship between the sisters was familial and didn’t need to be girly and giggly. I had a strong eye on that most of the time. A lot of this movie is, with a risk of putting too much into it, a metaphor for feeling unheard. It’s a movie about asserting yourself and of course as a female writer I brought a lot to that.
Macy: I also think if you look at his filmography that he’s pretty equal opportunity.
BD: Oh, absolutely.
Siegel: Mostly children.
Flanagan: Yeah the ones I keep putting in the crosshairs are the kids, but I tend to think that there’s no person who is more or less acceptable to be treated violently than another. Within the genre I think it should be just as horrifying if the victim of violence is a man as opposed to a woman. Although I do think there’s a special kind of discomfort that comes when it’s a child. That puts me in a place of intense discomfort.
Macy: It’s more special if it’s a child.
Flanagan: Or a dog. People go nuts when you try to kill a dog.
Blum: Across the board, people are much more upset about killing a dog as opposed to killing a person.
Macy: Yeah I wouldn’t let him kill the dog in Oculus.
BD: I thought you were going to kill that dog, too. I also though you would kill the cat in Hush.
Blum: Cats are okay. People don’t care as much about cats.
Flanagan: That was the other point we had made. We knew people would be upset if it was a dog but a cat, people would be like “Whatever.”
BD: I think I’m getting the cue to wrap up, so I’ll ask my last question. I think the film plays very well with an audience and will play very differently at home on Netflix. The more I thought about it the more I thought if I was was watching it home alone it may not be as much of a “cheering” movie than I thought it was —
Flanagan: It will be a “hold your breath” kind of movie.
Flanagan: I wish we could put a card up in front of it ahead of the Netflix thing that tells you to turn the volume up. Something like “The producers humbly request that you turn the volume up and turn off the light.” Home is where we’re meant to feel the safest, so it’s kind of a great place to interfere with.
Macy: I mean I would hate to watch The Strangers at home by myself.
Flanagan: Yeah sitting at home alone watching this, sooner or later you’re going to look at the window.
BD: My last little thing, and it’s totally unrelated to Hush, but I know that you have been linked to I Know What You Did Last Summer in the past.
BD: Is that still happening?
Flanagan: My connection to that was strictly writing. We delivered a script to Sony.
BD: Alright, so a script exists?
Flanagan: Oh, yeah. Like fifteen drafts of that script exist. From what I understand with where that project is, is that the producers and the studio were thrilled with the script and they were just getting started trying to figure out how to proceed with it.
Siegel: And finding so many children to murder.
Flanagan: [jokingly] Yeah it’s just killing kids. The whole thing. But that one was always me and Jeff Howard, who have written together so much. It was always just a writing job that we were thrilled to have but there’s never been any conversation about me directing.
BD: I grew up with that book and the movie so I’ve got a special place in my heart for that one.
After the interview, the group showed me a clip from Ouija 2, which Flanagan directed. While I’m not able to give any specifics about the scene that I saw, I can say that it looks promising. Of course, the bar wasn’t set very high with the first Ouija, but with a man like Flanagan behind the lens, I’m confident it will at least turn out decent.
STX, who most recently released The Gift and The Boy, with Hardcore Henry releasing this Friday, is next going to spook audiences with The Bye Bye Man.
The Bye Bye Man recounts a series of terrifying events experienced by three Wisconsin college students, played by Douglas Smith, Cressida Bonas and Lucien Laviscount.
Michael Trucco plays the brother of one the students, whose mind has been invaded by the unstoppable Bye Bye Man (Doug Jones).
The first trailer reminds me of Scott Derrickson’s Sinister, although I’m surprised that they’ve chosen to reveal the title character already. Still, there are some chilling moments as it’s brimming with insanity.
In theaters June 3, 2016, The Bye Bye Man also stars Carrie-Anne Moss and Faye Dunaway.
“Set in 1990s Wisconsin, when three college students move into an old house off campus, they unwittingly unleash a supernatural entity known as The Bye Bye Man, who comes to prey upon them once they discover his name. The friends must try to save each other, all the while keeping The Bye Bye Man’s existence a secret to save others from the same deadly fate.”
Stacy Title directed from Jonathan Penner’s script, based on Robert Damon Schneck’s short story “The Bridge to Body Island.” Trevor Macy produced for Intrepid, and Jeffrey Soros and Simon Horsman produced for Los Angeles Media Fund.
Intrepid is behind the film and has produced a few solid horror films from The Strangers to Safe House, Oculus and Before I Wake, starring Kate Bosworth and Thomas Jane.
A new trailer for the Lucile Hadzihalilovic-directed dramatic horror film Evolution has been released and can be seen above. The film will be coming out via IFC Midnight in the UK this May and a US release will follow.
Personally, I’m in love with trailers like this. Instead of using a ton of lines from the film to try and explain everything to me (and sometimes explaining too much), they focus on sound design and music to raise the level of intrigue. I’m sold here because I want to know what happens.
“In ‘Evolution’, 10-year-old Nicolas lives with his mother in a village on a remote island inhabited solely by women and young boys. In a hospital overlooking the ocean, all the boys are subjected to a mysterious medical treatment. Only Nicolas questions what is happening around him. He senses that his mother is lying to him, and is determined to find out what she does with the other women at night, on the beach. What he discovers is the beginning of a nightmare into which he is helplessly drawn. Max Brebant, Roxane Duran and Julie-Marie Parmentier star.“
The horror genre isn’t exactly what you would call highly regarded, and the legions of fans that support it are no different. As horror fans, we are occasionally looked down upon by the general population, but that’s probably because they’re jealous we have a legitimate passion for something, right? Telling someone you’re a horror fan (especially if you work in an industry that has nothing to do with horror at all like I do) can be a coming out process all on its own. People react strangely to it, and some people react worse than others. I decided to take to Twitter* and ask the horror community what they were tired of hearing from non-horror fans, and boy did I strike a nerve! Here are seven of the most prevalent responses I received from all of you.
*I plan on making this a recurring series of posts where I ask a question on Twitter and post the responses in a post here, so if you would like a chance to be included in a future post start following me on Twitter at @TracedThurman.1. “There’s Too Much Gore!”
Lots of horror movies have gore. I personally love gore, but that doesn’t mean a horror movie has to have it in spades in order for me to like it. These people know what’s up.
— Carolyn Poddig (@SoCalRamen) April 5, 2016
— Alexandr S. (@alexsamocha) April 5, 2016
@TracedThurman when the only thing non-horror fans talk about is the gore. There’s so much more to horror movies than JUST gore.
— Tim Schilling (@timjschilling) April 5, 2016
2. “You Must Like Actual Blood Too!”
I actually get a little faint at the sight of real blood. I’m glad to know I’m not alone!
In 2006, Deftones released Saturday Night Wrist, an album that was met with critical praise but came during a tumultuous time. The album took two years to write and record, during which vocalist Chino Moreno went through a divorce as well as suffering through drug addiction. The band acknowledges that there were strained relationships during this time, although that anger, that discord, ended up fueling the music and creating something really special.
Fast forward to 2016 and the band is now on the verge of releasing their eighth studio album Gore. Much like Saturday Night Wrist, Gore sees a band that is at odds with each other. Guitarist Stephen Carpenter admits in an interview, “…I didn’t want to play on the record to begin with,” later adding, “When we were coming up with ideas and writing the songs, the stuff that was being written, you know, the other guys’ ideas, I wasn’t too interested in it. It wasn’t the style or the sound I was hoping we would take. It wasn’t what I was expecting or wanting.”
Moreno himself stated that there was competition in the studio. “Make records with Stephen. It’s pretty damned competitive. In a way, it’s a lot of this [referring to table tennis game,] back and forth. [Source]”
While both Moreno and Carpenter later explained that these comments may have been taken out of context, it’s impossible to deny that there is a tension on Gore. Alas, it doesn’t have the same powerful effect as it did on Saturday Night Wrist.
Let’s talk about some good aspects, shall we? The album sounds wonderful and there is a plethora of tones that make each song interesting aurally. There was obviously a lot of care and dedication in making each instrument stand out yet blend harmoniously together.
“Hearts/Wires” has beauty and feels honest. It’s a great example of a song that presents great songwriting as each passage flows from one to the other. “(L)MIRL” has a gorgeous, almost sublime opening that slowly and tastefully introduces dissonance. It’s a brilliantly structured song that feels mysterious and haunting. Clearly a lot of effort and thought went into this track, which moves effortlessly from one moment into the next. And “Phantom Bride” is another example of an absolutely fantastic piece that exudes the unique dreamy haze that Deftones are known for. It pushes the boundaries of what the band has done in the past and feels like a wonderful step forward. It also doesn’t hurt that it features a guitar solo from Alice In Chains’ Jerry Cantrell. Unfortunately, these tracks can’t save an album that ultimately feels disjointed.
“Doomed User” is definitely aggressive and presents an almost thrash metal approach during the verse. However, the transitions between passages feels forced and doesn’t sit well. Unfortunately, this jarring feeling becomes a theme throughout much of the album, including “Acid Hologram”, which features moments that made me wonder if pieces of other songs had somehow mistakenly been copied in. And “Geometric Headdress” is especially frustrating because there are moments in that song that are absolutely wonderful but they’re placed in a song that feels like it doesn’t know where it’s going.
Additionally, “Xenon” feels like a B-side thrown on to pad the album’s length, which is a shame because I know the band is capable of writing amazing music. This song really nails that feeling that this album is a mix of them at their peak and of them not caring enough to really put forth the effort.
At the end of the day, Gore didn’t grab me the same way that Koi No Yokan or Diamond Eyes did. Those albums hooked me from the very first listen. I spun Gore multiple times and each spin I found it harder and harder to listen to the full effort. The songs aren’t memorable nor do they grab my heart like the band’s previous material does.
The Final Word: After two absolutely stellar releases in the form of Diamond Eyes and Koi No Yokan, my hopes were high that lightning would strike a third time. Alas, Gore simply isn’t Deftones at their finest. It’s a mediocre release from a stellar band.
I hope you’re sitting down for this announcement…
M3 Creative, the film studio and network marketing company that also produced Don Coscarelli’s indie cult classic John Dies at the End, along with Midnight Alliance, are now in production Applecart, Bloody Disgusting learned exclusively.
Conceived and directed by first-time feature director Brad Baruh, Applecart is told in a dual storyline exploring two very different perspectives about a family’s murderous encounter in the woods.
We are excited to exclusively share the above first shot of genre fav Brea Grant (Rob Zombie’s Halloween and H2, “Dexter,” “Heroes”) in a moment that echoes Shelley Duvall’s very famous scene in Stanley Kubrick’s The Shining.
Grant is just the tip of the iceberg as Applecart also stars 80’s horror icon Barbara Crampton, who starred in From Beyond and Re-Animator before popping back up in modern horror films such as Adam Wingard’s You’re Next and We Are Still Here.
Also starring is AJ Bowen – who broke out in David Bruckner’s festival smash The Signal before toplining A Horrible Way to Die (which I produced), You’re Next, as well as Ti West’s House of the Devil and The Sacrament – with Sophie Dalah (Satanic Unbroken), Elise Luthman and Joshua Hoffman.
Utilizing both a documentary-style news format and a classic, cinematic narrative, the film is said to explore genre themes with a new twist on structure.
Andy Meyers and Baruh are producing the film, with Don Coscarelli (Phantasm, John Dies At the End, Bubba Ho-Tep) serving as executive producer.
Principal photography is now underway in Lake Tahoe and Los Angeles.
Remedy likes connecting their games. Max Payne showed up numerous times in Alan Wake, though you might not have realized it, since they mostly involved obscure voice work and bathroom graffiti. The studio has kept the tradition alive with their time-manipulating thriller Quantum Break, available now, with a decidedly less subtle nod that stars Mr. Wake and his trusty clicker, among other things, in a surprisingly lengthy tribute that’ll leave you aching for a sequel.
In related news, Alan Wake and its pseudo-sequel American Nightmare are now playable on Xbox One. Quantum Break is out on PC and Xbox One.
Columbia Pictures surprised us all with the brilliantly minimalistic trailer for The Shallows, which has been described as a cross between 127 Hours and Jaws.
Blake Lively’s screams are muffled out by the water as the camera takes the POV of a shark swimming in for the kill. Then, it’s revealed that Lively is stranded on a rock, and surrounded by a shark. The tension is so thick you could, well, you know.
A new image, courtesy of EW, gets more terrifying. The shot above shows Lively holding on for her life as, presumably, the Great White is attacking. There are so many nods to Jaws in both the trailer and fresh still from the film directed by Orphan and House of Wax‘s Jaume Collet-Serra.
In the taut thriller The Shallows, penned by Tony Jaswinski, Nancy (Blake Lively) is surfing alone on a secluded beach when she is attacked by a great white shark and stranded just a short distance from shore. Though she is only 200 yards from her survival, getting there proves the ultimate contest of wills.
It turns out that Lively’s husband, Ryan Reynolds, inspired her to take on the emotionally and physically challenging role, she tells EW.
“My husband did a movie called Buried and that was one of the reasons why I wanted to take on this movie so much, because I know how tough that was for him and how rewarding it was,” reveals Lively. “It was terrifying and one of the most vulnerable things you can do but you gotta do it, right?”
The Shallows swims into theaters June 24th.
We broke the news during Toy Fair that Paul Feig’s Ghostbusters would feature a ghost that looks exactly like the logo spook tied to the storied franchise.
His name is Rowan, and “SNL” veteran Neil Casey will be playing the character.
But before he’s full of ectoplasm, Rowan is allegedly HUMAN. According to the press release for new Funko action figures, the character is being referred to as “Rowan’s Ghost.”
Rowan is allegedly a convicted murderer who turns into a ghost after his execution is hit by a supercharged electrical storm. This gives him the power to raise an army of other ghosts, which could be made up of famous villains throughout history.
This idea is echoed in the “Ghostbusters” video game, in which Civil War vets haunt a museum.
In theaters July 15th, Melissa McCarthy, Kate McKinnon, Kristen Wiig and Leslie Jones will be strapping on newly designed proton packs to save New York.
— Funko (@OriginalFunko) April 6, 2016
Now that Twentieth Century Fox has locked down a March 2, 2018 release date for The Predator, casting should be getting underway soon.
Even if a little premature, it appears director Shane Black has some very specific actors in mind.
We already know Black is having lunch with Arnold Schwarzenegger, potentially to reprise his role as Dutch.
Now, Curtis “50 Cent” Jackson is telling people that he’s probably going to star in the Predator followup, being penned by Fred Dekker.
“I’ll be doing some new feature films and stuff like that too. I’ll do Predator,” Jackson told Sirius XM’s Shade 45.
He confirms this in a second interview, this time with 99 Jamz UnCensored: “I’m working on some new projects. You heard of the movie Predator? I might be a part of that project this summer.”
Jackson already has a relationship with Schwarzenegger as he co-starred in Escape Plan with Sylvester Stallone.
Producer John Davis recently exclaimed that the next Predator would reinvent the franchise, while we’ve been told by insiders that it’s a direct sequel to John McTiernan’s 1987 Predator. Most recently, Black stated that The Predator will be an expensive “spectacle”!
[H/T] AVP Galaxy
The latest (full) teaser trailer for Disney and Lucasfilm’s Rogue One: A Star Wars Story is here, and it’s pretty great.
In theaters December 16th, 2016, Rebels are set out on a mission to steal the plans for the Death Star. The set up is pretty great and adds an entirely new dimension to the first Star Wars. I also love the homage to Ridley Scott’s Alien in the trailer’s score!
Pictured at the bottom are Riz Ahmed, Diego Luna, Felicity Jones, Jiang Wen and Donnie Yen in Rogue One, which is directed by Godzilla‘s Gareth Edwards.
Ben Mendelsohn, Jiang Wen, Mads Mikkelsen, Alan Tudyk, and Forest Whitaker also star.
The filmmakers have assembled a stellar cast, including Felicity Jones, nominated for an Academy Award for her leading role in “The Theory of Everything”; Diego Luna, who was featured in 2008’s Oscar-winning “Milk” and the critically acclaimed “Killing Them Softly”; Ben Mendelsohn, recently nominated for an Emmy for his leading role in “Bloodline” and co-starring in the upcoming “Mississippi Grind”; Donnie Yen, Hong Kong action star and martial artist who starred in “Ip Man” and “Blade II”; Jiang Wen, who co-wrote, produced , directed and starred in the award-winning “Let the Bullets Fly” and “Devils on the Doorstep”; Forest Whitaker, recently featured in the critically-acclaimed Lee Daniels’ “The Butler” and winner of an Academy Award® for his leading role in 2006’s “The Last King of Scotland; Mads Mikkelsen, who starred in “The Hunt” and was the memorable villain from 2006’s “Casino Royale”; Alan Tudyk, who plays a performance-capture character in “Rogue One,” stars in the soon-to-be-released “Con Man” series and “Trumbo,” which releases this November; and Riz Ahmed, who was recently featured in “Nightcrawler” and starred in the BAFTA-winning film “Four Lions.”
Veteran ILM visual effects supervisor John Knoll, who shares a long history with the Star Wars movies, dating back to the mid-1990s, originated the idea for the movie. Allison Shearmur (“The Hunger Games: Catching Fire,” “Cinderella”), John Knoll, Simon Emanuel (“The Dark Knight Rises,” “Fast & Furious 6”) and Jason McGatlin (“Tintin,” “War of the Worlds”) are executive producers. Kiri Hart and John Swartz (“Star Wars: The Force Awakens”) are co-producers.
To create the lived-in, realistic feel of “Rogue One,” Edwards chose Greig Fraser (“Zero Dark Thirty,” “Foxcatcher”) to be his director of photography and Neil Corbould (“Black Hawk Down,” “Gladiator,” “Saving Private Ryan”) to be his special effects supervisor. Star Wars and Lucasfilm veteran Doug Chiang (“Star Wars: Episodes I-II,” “Forrest Gump”) and Neil Lamont (supervising art director for the “Harry Potter” series, “Edge of Tomorrow”) will be the production designers. Additional crew members will include stunt coordinator Rob Inch (“World War Z,” Marvel’s “Captain America: The First Avenger”), creature effects supervisor Neal Scanlan (“Prometheus”) and co-costume designers Dave Crossman (costume supervisor for the “Harry Potter” series, “Saving Private Ryan”) and Glyn Dillon (costume concept artist for “Kingsman: The Secret Service,” “Jupiter Ascending”).
“Rogue One takes place before the events of Star Wars: A New Hope and will be a departure from the saga films but have elements that are familiar to the Star Wars universe,” Lucasfilm’s Kathleen Kennedy previously stated. “It goes into new territory, exploring the galactic struggle from a ground-war perspective while maintaining that essential Star Wars feel that fans have come to know. Gareth is such an innovative director and I’m so excited to be working with him and the extraordinary ensemble cast he’s selected for Rogue One.”
Photo Credit: Jonathan Olley
I don’t keep a list of underappreciated horror games on my laptop, because I already have one for cancelled projects, and that’s more than enough sad to keep on one hard drive. I don’t need to be reminded of how unfair this world can often be to our favorite genre; I see it every year as more good, or even great, horror games fail to find the audience they might deserve.
Shadows of the Damned, Alan Wake and Siren deserved better, and so did the short-lived action horror series The Suffering, which managed to find a substantial audience that, unfortunately, didn’t stick around for the sequel. Ties That Bind failed hard enough to kill the franchise for more than a decade, but there may be hope for it yet.
Our friends at Rely On Horror recently sat down with The Suffering series creator Richard Rouse III to chat about his next project, The Church in the Darkness, as well as ask him about The Suffering.
The short of it is yes, Rouse is interested in making another, so long as “the circumstances were right and I felt we were able to make a good game that lived up to the legacy of the series.” The problem is Warner Bros. owns the rights, so they control any future this series might still have.
Would you like to see a third Suffering game?
Mondo announced a new partnership this week with the The-Once-Great-Publisher-That-Must-Not-Be-Named that’ll bring several of gaming’s most aurally accomplished franchises to vinyl. There’ll be licensed prints and collectibles too, but we’re talking about a vinyl release of the OSTs for Castlevania, Silent Hill and Contra here.
Even in the post-Silent Hills world we currently live in, that’s exciting.
A ticket to Emerald City Comicon will get you a first glance at the first wave of merch, including posters for Castlevania and Silent Hill that’ll be shown off for the first time tomorrow at booth #4132, in “The Block”. If Seattle’s too far of a drive for you, what’s left will be made available to purchase on the Mondo store at a “later date.”
At San Diego Comic-Con 2016 in July, Mondo will unveil their limited edition vinyl for the 1986 Castlevania, with artwork by renowned comic artist Becky Cloonan. They’ll also show off a limited edition polystone statue inspired by Ayami Kojima’s work on Castlevania: Symphony of the Night.
There’s plenty more coming later, we just don’t know when yet. Castlevania II: Simon’s Quest, Castlevania III: Dracula’s Curse, Super Castlevania IV and Castlevania: Symphony Of The Night will all get vinyl releases, complete with original artwork for each. Silent Hill and Contra will get the same treatment, eventually.