The Final Terror is another ’80s slasher given the HD treatment by the folks at Scream Factory. Despite a sparse amount of remaining prints, they went to great lengths to give it a well done presentation. Bravo for their efforts and their continuing work to restore rare and well-known horror films alike, but within their steady stream of releases, there’s bound to be some stinkers. Case in point, The Final Terror – a 1981 backwoods slasher directed by Andrew Davis, the man who would go on to helm The Fugitive and Above the Law.
During the feature commentary with Davis included on Scream Factory’s Blu-ray, he states that he doesn’t like horror films and never made another one after this (although I’d argue that Holes could be considered horror for making a star of Shia LaBeouf). His disinterest towards the genre shows in the film, but at least Davis’ knows his way around a camera because the film looks really great. Given Davis’ later action classics, it’s no surprise The Final Terror looks more like an action film than horror, but there’s a strong grittiness to the atmosphere that works well in the backwoods setting. The cast includes some actors that would go on to become well-known, such as Daryl Hannah, Joe Pantoliano, and Adrian Zmed (Bachelor Party), so it’s cool to see these future stars cutting their chops.
The film’s story is nothing original. Like a lot of slashers of the decade, the film starts with a couple slaughtered in the woods. This part was apparently tacked on after Davis finished filming to give the story an initial thrust before it settles into 50 minutes of down time. Then it jumps to a group of young campers who head into some thick woods for a weekend trip. You see where this is going. Eventually they’re hunted and some are killed by a wild-woman wearing pelts and no shoes.
The body count is very low for a slasher of this era. My hunch is Davis wanted to avoid having to shoot any more gore than he had to. After those initial two kills in the prologue, it takes another 50 minutes for one more person to die, followed by another in the closing minutes. One person even has their throat slashed, only to be saved by the group. Don’t take my thoughts on the low body count to be a complaint, I’m not bloodthirsty or anything, I just believe it was a sign of Davis’ skittishness towards the genre.
None of the characters are developed and none of them have that much depth to them either. They also seem to absolutely hate each other, which isn’t fun to watch, but does create this steady tension that’s thicker than in scenes that are supposed to be intentionally tense. The only character given any sort of real personality is Zorich, a militant redneck survivalist type. He’s played by John Friedrich, who played Joey Capra in one of my favorite movies of all time, The Wanderers. In that film he’s a wacky, awkward guy who strikes out with the ladies, so it’s really fun to watch him play the drug-absuing scumbag Zorich.
Overall there’s nothing really memorable about The Final Terror - nothing sticks with you after watching it. The look of the killer is fairly striking and there’s a cool booby trap like one you’d see on Endor utilized in the climax. If you’ve never seen it, I highly recommend renting this one first. After you watch it, pop back on here and try to explain to me what the “final terror” is because I have no idea.
The Blu-ray sports a 1080p transfer culled from six remaining prints owned by collectors. There’s a disclaimer in the beginning in which Scream Factory states that the original negatives are lost, so they did what they could with those six prints. For a cut and chop job, it looks fairly decent. The daytime scenes have nice details and there’s not enough print damage to be distracting. If anything, the scratches and other noise add to the film’s grittiness.
Like I mentioned, on the feature commentary with Davis he points out that he doesn’t like horror movies and has never made another one. He doesn’t seem all that enthused about revisiting this film either. He goes a very long time without talking. It’s simply a boring track.
The disc features new interviews with actors Adrian Zmed and Lewis Smith. They discuss how they got involved with the picture, working with Davis, and their acting background (Smith had none going into the film, he didn’t even have a SAG card). There’s also interviews with editor Allan Holzman and composer Susan Justin, both who share the opinion that it’s not a very good film but are still proud of their contributions.
Also included is a misleading trailer.
And yet another Friday has descended upon us! I don’t know about you but I’m pretty damn excited for this weekend. It’s been a long, long week and I could use the break. But I can’t put my feet up just yet as there’s still work to be done!
This week’s Twisted Music Video Of The Week is Djerv‘s “Headstone”! The Norwegian rock/metal group features Agnete Kjølsrud, who you may remember as the guest vocalist on Dimmu Borgir‘s “Gateways”. It’s heavy, it’s catchy, and it’s a damn good time! Check out the video down yonder.
“Ghosted” takes a slight detour this month as Joshua Williamson lays out Anderson’s backstory. Making the undead femme fatale the most complex and compelling supporting character of the series, and firmly cemented her as the secondary protagonist in a thrilling chapter that seamless brings us to the beginning of the third arc.
WRITTEN BY: Joshua Williamson
ART BY: Goran Sudzuka
PUBLISHER: Image Comics
RELEASE: July 9, 2014
It’s been a cold two months without “Ghosted.” I feel warmer already after reading Williamson’s detailed account of Anderson’s past. For a while I wasn’t sure about her deal, I knew she was important, but I didn’t really know why and certainly didn’t know what she wanted. This month Williamson shows us exactly who she is, and why she became the killing machine we met in issue one.
I still take some issue with some of her motivations being a little base level, but the story proved interesting enough to stay compelling. She’s a killing machine, and she’s good at it. She followed the money, and for more reasons than one she should be alive instead of Jackson. Yet, she’s too cocksure. A fault that Williamson hammers home here with her pride getting the best of her in the past, she’s good but she’s not the best.
Goran Sudzuka was sorely missed. His return to the series in this issue is worth the cover price alone. His dark style just pops off the page, and he revels in these unsavory characters. His action is clean and the supernatural elements in his work are simply stunning. The final pages of the issue are absolutely chilling as we see Anderson interacting with a broken and beaten Jackson. Sudzuka’s framing and the way he sets up the shots creates such an uncanny sense of dread, hell the dude could give Argento a run for his money.
Williamson has taken the time to ground his characters in a certain blend of fearlessness and desperation that is unique to his genre blend. The result is a irresistible crime caper that channels a unique type of terror. There is something devilishly charming about virgin blood candles, and something equally unsettling. I’m excited to see how deep the darkness of the series goes now that “Nailbiter” is in full swing.
Truly Williamson has proven himself to be a master of horror, and this issue serves as a reminder that he hasn’t forgotten his compelling characters along the way. It’s a breath of fresh air in horror that never seems to run out of steam. The only thing that saddens me this month is that we didn’t go deeper. I wanted to learn more and really get into the core of what drives Anderson. The answer we got here was that she’s driven by her drive, but I think there is still so much more to the character. In any event, her drive has now made her resolve to haunt Jackson for the rest of his miserable life.
We’ll see how that goes in thirty.
BD’s John Marrone has put together a 70+ hour playlist on Spotify that features soundtracks from many of the biggest movies in the horror genre. There’s music from John Carpenter, Tyler Bates, Goblin, and more. Basically, load up this list and you’ll have enough music to last you for several days!
You can stream the channel below.
There is something alluring about Joshua Hale Fialkov’s new series “The Life After” right from the get go, it might be the gorgeous art from Gabo, a two page spread featuring forty panels, or the breakneck pace of the narrative. Whatever it is, it’s irresistible and confidently introduces you to the strange new world of purgatory.
WRITTEN BY: Joshua Hale Fialkov
ART BY: Gabo
PUBLISHER: Oni Press
RELEASE: July 9, 2014
I have a certain respect for debut issues that can survive solely on the merit of the questions they ask. Servicing their story and their audience plagues most comic series debuts. They offer explanations for literally everything. “The Life After” #1 doesn’t have a single answer on the page. Instead we’re thrown headfirst into the world with our protagonist and taken on a visually immersive adventure that has inklings of something more.
There is an element of control to this chaos. Fialkov makes so much clear within the opening page, but he doesn’t over explain it. In fact these little acts of puppeteering actually make the complexity a little less daunting. Someone or something is behind this insanity, and eventually we’ll get to the bottom of it.
For now Gabo does most of the heavy lifting. The script gives plenty of room for heavy bits of voice over narration but the artwork takes the story to dizzying heights. There is such a clash of worlds going on here that Gabo’s style should be frenzied but it never misses the mark.
Instead he offers a seamless clash of every sort of visual inspiration you can think of, co-existing in a mad world where nothing seems to make sense. His character designs are remarkable and varied. The large panels showing off this purgatory world are as impressive as they are complex.
Fialkov wastes no time pulling the story to a head with the introduction of Ernest Hemmingway. A character I wasn’t expecting in the least, but serves as easily one of the most charming parts of the issue. The adventurer is sure to pull our protagonist into a wild journey of discovery, and while the influential writer does offer a lot of exposition, it’s hardly distracting.
What should be a intense concept hardly ever feels that way. While the comic does have some difficult scenes within it, it never feels over indulgent. Instead we’re given a dose of terror amongst all the wonder on the page. Not everything in this world can be wonderful, and knowing Failkov, there is bound to be a whole lot more horror around the corner.
“The Life After” is equal parts whimsical and haunting. It’s brilliantly paced and expertly communicated. This debut issues shows you a world where anything is possible and teases a near limitless scope for the future of the series. As far as first issues go it’s a total knockout.
The cinematic influences behind Justin Jordan, Kyle Strahm, and Felipe Sobreira’s new series “Spread” are numerous. In the author’s “patented end of issue ramblings,” the Mad Max film series are unapologetically paid homage to. And rightly so. While reading Issue #1, I also picked up on (obvious) references to John Carpenter’s 1982 sci-fi classic The Thing, especially given the icy setting, but also Ron Howard’s 1988 fantasy epic Willow. Both made me very happy.
WRITTEN BY: Justin Jordan
ART BY: Kyle Strahm
PUBLISHER: Image Comics
RELEASE: July 9, 2014
Reviewed by Nick Brehmer
The Spread is a terrible, ravenous, infectious mass with stylistic renderings similar to that of the demonic force from Hayao Miyazaki’s Princess Mononoke. It eats its way through people and animals that don’t run fast enough, and even those with an immunity, like our mysterious protagonist No, may still suffer being ripped to shreds.
The story is propelled by the narration of the (presumably) now older Hope, a baby (at the time of Issue #1) with an incredible gift. She is rescued by No in the inaugural issue from a band of post-Spread-apocalyptic raiders. The hero quickly realizes her importance, but he isn’t the only one with a vested interest in the infant.
The writing flows like pieces of nightmarish memory slowly being put back together. Little is revealed in Issue #1 about the nature of the Spread or how much damage has actually been done to civilization. And, like Issue #1, I’m not inclined to reveal much in this review. I suspect that you’ll be as intrigued as I am during your own read-through.
I found the aforementioned back matter “ramblings” to be very insightful to the creators’ process. Jordan writes “I’ve never been as interested in, say, the first days of a zombie apocalypse as I have in what the world would look like ten or twenty years after.” I share this sentiment. The world of “Spread” has been plagued for some time and the danger is significant. However, given the events of Issue #1, there may be hope (*ahem*) left for humanity.
The colouring of this series is going to be a major draw to some. The coldness of the human world, dominated by blues, greys, and most prominently, white, is cut by the heat of the bright red Spread. It makes for an (at one point literally) eye-popping experience.
Tracking Board – who has been both right and wrong about scoops on occasions – says that Gus Van Sant (Good Will Hunting, Psycho) will direct Death Note, Warner Bros.’ adaptation of the manga written by Tsugumi Ohba and illustrated by Takeshi Obata!!
“The film follows the story of a high school student who finds a mysterious notebook that lets him instantly kill any person by writing their name in the book. As the student’s body count piles up, a nameless FBI agent begins tracking him.”
Van Sant replaces Shane Black, who was attached to direct as recently as 2013. The most recent draft of the script was written by Black, Anthony Bagarozzi, and Charles Mondry.
Dan Lin, Doug Davison, Roy Lee, and Brian Witten are producing through Vertigo Entertainment, Witten Pictures, and Lin Pictures.
The Archon has interrupted the local chaos and mayhem in Arcadia that our one-eyed vigilante is used to. “X” #15 looks to rectify that situation abruptly with lots of bullets and beat downs as a remedy. This issue is nice and tightly paced. All the excess has been trimmed away to keep the throttle down on this escalating story arc. Has X met someone he ultimately can’t take down?
WRITTEN BY: Duane Swierczynski
ART BY: Eric Nguyen
PUBLISHER: Dark Horse Comics
RELEASE: 9 July 2014
Reviewed by: Your Friendly Neighborhood Brady
Rich men and gangsters. Both want what the other has. There’s blood and power on one side and legitimacy and sophistication on the other side. They often meet and almost always never end things well. As it usually happens, one forces the other to give them what they want. In our tale, we have the mobster Tango getting the raw (and bloody) end of the deal from would-be Arcadia real estate savior Peter Winter. The odd part of this equation is what Winter is really after. Writer Duane Swierczynski swerved my expectations there as to the motivations of the new, handsome villain in town.
As always, artist Eric Nguyen keeps the world of Arcadia looking dark and angular and distinctive. The training of our hero coupled with the torturing of X’s prisoner was a nice, off-putting and dynamic change of scenery in rapid succession. The gore and violence are also up to par with Nguyen’s previous work in this bloody series. None of his characters look the same in any way which is always refreshing to see in comics.
Knives, bullets, swords and dog food all go flying in this chapter. The beatings are thorough on both sides as are the double-crosses. The cliffhanger is a pretty good hook to see where the havoc train that is X will go next. Things have escalated rapidly and I’m hoping the creators haven’t painted themselves into a corner with this opponent. I’ve come to enjoy seeing the man called X kill everything in sight in the name of his mission. I hope it doesn’t end anytime soon.
Across the nation people are killing themselves in horribly creative ways for especially disturbing reasons. Detectives Langford and Jensen investigate these strange suicides in an attempt to unravel the mystery popularly known as “The Empty Man Virus”. In “The Empty Man” #2, Jensen and Langford are finally confronted with one of the horrors that haunt the victims of The Empty Man. More players are introduced, and more mysterious are revealed. Trying to put all the pieces together is the real fun of this meticulously plotted horror mini-series, but for the faint of heart, its going to be a bumping ride.
ART BY: Vanesa R. Del Rey
PUBLISHER: BOOM! Studios
RELEASE: July 9, 2014
Reviewed by Epic Switzer
If the creators of “True Detective” on HBO had written the show on acid, they might have come up with something like “The Empty Man”. I’ve written a lot on the horror-noir genre recently, and this book is among the best of the best. It’s really quite impressive that Bunn manages to fill each issue with so many different things.
There is the central mystery of The Empty Man Virus, there’s the concept of psychic disposition or “extrasensory potential” as a scientific study, there at least two religious cults at play, and a host of complex characters with their own agendas and secrets. Its hard to believe in just four more issues all will be said and done, but I have the feeling its going to be extremely satisfying.
Premise is the hook, but character is the heart, and Bunn is building them out with expert pacing. As the plot progresses we learn just enough about what the characters are hiding to keep us intrigued. It doesn’t hurt that Del Rey’s characters emote genuinely without mugging, and are represented uniquely yet familiar. Speaking of the art, the panel work is subtle yet effective, which is something I always appreciate. Like film editing, layout is often best when it is invisible.
By way of critique, I was a little confused at the way Langford reacted to the spider monster. I realize he deals with gruesome death and wanton violence on an almost daily basis, but having never actually seen anything supernatural before, he was suprising casual about the encounter. There were a couple of panels during the fight in which it was difficult to figure out what I looking at at first, but all of this is nitpicky stuff because the bottom line is I really love this book.
It is exactly the kind of mind-fuck horror I’m interested in reading and its being done perfectly. This is going to end up being a gorgeous trade when its finished, so if for some reason you can’t snag issue one today, don’t forget to pick up the collection. “The Empty Man” just got moved to the top of my stack.
Epic Switzer AKA Eric is an aspiring filmmaker and screenplay writer living in Los Angeles. His work tends to focus on the lighter side of entropy, dystopic futures, and man’s innate struggle with his own mortality. He can be found on twitter @epicswitzer or reached via email at email@example.com.
A childhoods worth of fantastical creatures and inventions grow up in a world that’s morals aren’t black and white, but shades of grey. That’s the amazingly creative world of “Shutter.” This month the story takes shape with the seemingly random events from previous issues coming together, but come with heaping spoonfuls of intrigue and mystery.
ART BY: Leila De Duca
RELEASE: July 9, 2014
Reviewed By: Torbin Chimners
Issue four begins with an excellent short story revealing the background of a character introduced last issue. It’s told in a totally different style to the norm, but perfectly fits the story it’s telling. It’s formatted like I imagine comics looked in the 1920’s. Last month’s issue #3 opened in a similar fashion telling the story of issue #2’s cliffhanger, albeit with an absolutely brilliant Busy Town reference. I’m hoping this is a new trend that’ll continue as it’s a marvelous way to open a book.
Shawn and Ekland’s side story stands strong on its own. Ekland brings Shawn to Mikey, a smoking platypus who operates out of an alley with a fax machine. If that’s not something you want to read about, I don’t think we can be friends. In past issues I wasn’t overly interested in their side story. Not that it was bad, I was simply salivating so much for more of Kate’s story that nothing else mattered much. Now I’m equally anticipating both. With the world around Kate being a bit more whimsical and relatively safe for now, I’m genuinely excited to see Shawn and Ekland dig into the exceedingly violent and filthy underbelly of this astonishing world.
Visually you’ve got the whole package and then some here. The sheer amount of detail on each page is staggering. The characters are as expertly rendered as the background. Nothing looks phoned in, it’s a labor of love and you can damn well tell. The more you think about it the more impressive it is. The characters don’t all wear the same tights every issue and most of them are extraordinary creatures but Shutter’s art never suffers.
This is why I read comics. It’s a wondrous story that can only be told through this wonderful medium. If it were a film or television show the cost would be astronomical. That would mean there would be a million fingers in its pie, deluding, twisting and corrupting everything that makes it magical. Do the creativity in your life a favor and read “Shutter.”
Torbin Chimners AKA Torin Chambers is a rad dude from the nineties who does film stuff or something. Thomas the Tank Engine is his favorite transformer. Find him on Twitter@Vulgar_Rhombus
In 2012 a chilling new horror series launched with one of the most alarming covers I’ve ever had the pleasure of collecting. “Colder” was a unique story about the nature of insanity from Paul Tobin and Juan Ferreyra that oozed confidence and chilled to the core. The original work was an incredible look at mental illness that you don’t often find within the pages of comics, it’s not an easy thing to attack and it’s certainly no stranger than the bulk of comic panels. However the raw vulnerability of the first volume made for a book that wasn’t scared to linger on the horror of human perception. So much so we said ourselves “If you aren’t reading Colder, you’re missing out. Hugely. Don’t make that mistake.”
So today we’re happy to have the EXCLUSIVE reveal of “Colder: The Bad Seed.” This is a direct continuation of the first series and brings an entirely new threat into Declan’s world. We we’re lucky enough to sit down with Paul Tobin to talk about mental illness, working with Juan Ferreyra on the horrors in volume two, and his favorite type of fear.
BLOODY DISGUSTING: What interests you most about mental illness? And what sort of research did you do to prepare to dive back into the world of Colder?
PAUL TOBIN: Mental illness to me is all about the perception, and from both sides. It’s secrets that nobody else shares. An insane person can see something that doesn’t exist in “reality,” but at the same time it’s real in THEIR reality, and I find that fascinating. I’ve had a few (ahem) altered states where I’ve had hallucinations, and during them I KNEW that I was seeing something that wasn’t real… but… couldn’t deny my eyes anyway. So, the perception of “crazy” is a knife edge: both sides deny the other. And, from one perspective, both sides are right. As far as what kind of research I’ve done, life experience, mostly. I work in a creative field. Plenty of wonderfully strange people to learn from. I like my friends between a little insane and moderately insane. More interesting that way, right?
BD: What can you tell me about the mysterious Swivel? How could he possibly be any worse than Nimble Jack?
PT: Swivel’s of the same breed as Nimble Jack, in a way, in that they both have a specific goal that’s entirely normal. Nimble Jack was just hungry. Swivel just wants to grow his crops. Nothing wrong with either of them. It’s that perception switch of insanity that I play with, though, that record-scratch moment of, “Oh, he just wants to do this very simple and normal thing, and so there’s no problem, and… wait… THAT’S what you mean. Well, hell. That ain’t good.” That’s what I love about writing Colder, just taking the everyday events and desires and making them horrible things. Floors always seem solid until the earthquake hits, and you never quite feel like you have your balance afterwards. That’s the feeling that artist Juan Ferreyra and I are going for: just that feeling of unbalance, that your equilibrium is forever in danger.
BD: How much time has passed since the events of Colder?
PT: Not long. A couple months. Enough time that Declan and Reece have gotten on with their lives together, though in an odd way, for Declan. He’s still on a quest, and that quest leaves a door opens.
BD: How are you and Juan working to outdo the horrendous and unsightly horrors of the first volume?
PT: We made a very conscious decision NOT to try to outdo the first series. Our primary goal is to create a new work, a solid one. I think creators who feel a conscious need to top a previous work can quickly move their works into parody… losing the subtlety, characterization, and the general feel of what made a work successful in the first place.
BD: Now that Declan has overcome his “insanity” what causes the most conflict in his life?
PT: In a way, what causes the most conflict in Declan’s life is that he HAS overcome his insanity. And when you take away the insanity, you don’t have anything left but the truth. If that truth turns out to be horrible, there’s unfortunately nowhere left to turn.
BD: What excites you most about Bad Seed? What scares you most about it?
PT: Working with Juan is always such a treat. In the beginning I worked with him as per my normal methods: I’m a very “complete” scripter. But now I’ve built so much trust with him that I often will just describe the overall scene, and then know that Juan is going to bring it to life in a better way than I could have conceived. So, I think we constantly surprise each other. That’s a damn fun way of working. As far as what scares me most, it’s losing that knife edge… of starting to lean into cheap horror, the cat jumping from the closet, that sort of thing. It’s important for horror writers to stay true to the fear.
BD: What type of fear/terror/horror are you trying to tap into with this new volume?
PT: I love a lot of the Korean and Japanese horror movies, and works by such artists as Junjo Ito and Toshio Saeki… just anything that slips the carpet out from under reality. When it comes to horror, I don’t want to sit there screaming, I want to wake up sweating.
Colder: The Bad Seed hits in October, and we’ll have all sorts of coverage leading into the launch of #1. For now, here’s what Dark Horse has to say:
Colder: The Bad Seed #1
Writer: Paul Tobin
Artist: Juan Ferreyra
Life goes on for Declan Thomas after his deadly encounter with the psychotic Nimble Jack, but Declan’s strange powers continue to develop, offering him a profound connection with the nature of insanity. Little does he know that the malevolent Swivel wishes to pick up where Nimble Jack left off!
In last month’s Remake vs. Remake segment I pitted Zack Snyder’s 2004 Dawn of the Dead against Chuck Russell’s 1988 remake of The Blob and came out in favor of the latter, which is hands down one of my favorite 80′s movies.
But this week I figured I’d get interesting. I figured I’d pose a neck and neck challenge to myself and to you horror fans. How about John Carpenter’s 1982 masterpiece remake of The Thing pitted against David Cronenberg’s 1986 masterpiece remake of The Fly? Not so easy, is it? Not for me at least.
On one hand, The Thing is a filmmaker at the top of his game (while I love Halloween, The Fog, Big Trouble in Little China, Escape From New York and They Live, Carpenter’s mastery reached its height here). On the other hand, you could say the same thing about Cronenberg and The Fly, which saw his body horror leanings reach delirious new highs and includes an almost career defining performance by Jeff Goldblum (and Geena Davis for that matter).
Both movies have excellent, top notch and incredibly inventive practical gore effects. Both are anchored by an unrelenting sense of escalation and doom, you don’t get the sense that things are going to end well either way. Both films have tight scripts that define character through action and cut all the fat. The Fly perhaps pulls at the heartstrings more (you’re more likely to cry at the sight of Seth Brundle guiding a shotgun to his mutated head than you are at the prospect of Macready freezing to death offscreen). But isn’t it the point of The Thing‘s chilly disposition that you’re slightly numb to the outcome?
Here’s the thing, I can’t categorically say that one film is better than the other. I don’t have an objective statement to make about one’s quality over the other. So I can only go with my personal, subjective preference. The litmus test of “which one do I actually watch more?” The answer there is The Thing, hands down. It’s in my Blu-ray player several times a year, perhaps only because The Fly is an overall more grueling experience.
What about you guys?
UK rock duo Royal Blood have released an official video for their track “Figure It Out”, which is rather inventive and loads of fun. The video opens up with a woman walking through a mall as everything is bathed in red. People keep fleeing from her and it’s uncertain why until suddenly the red turns into blue and reveals that the woman has blood all over her. I won’t spoil the rest but it gets violent and it gets fun!
“Figure It Out” comes from the band’s upcoming self-titled debut album, which comes out August 25th via Warner Bros. Records.
I’ve been championing these guys for a few weeks and I don’t plan on stopping any time soon! They have a raw, unbridled energy about them that is highly infectious.
Netflix just sent us two character posters for “The Killing,” which premieres exclusively on Netflix on August 1.
Joel Kinnaman will return for a final season, along with his partner, Sarah Linden (Mireille Enos).
In the slow-burn series, a police investigation, the saga of a grieving family, and a Seattle mayoral campaign all interlock after the body of 17-year-old Rosie Larsen is found in the trunk of a submerged car.
“The fourth and final season of ‘The Killing’ picks up right after the season 3 finale. As Detective Linden (Mireille Enos) and Detective Holder (Joel Kinnaman) struggle to manage the fallout from their rash actions at the end of last season, they are assigned a new case — a picture perfect family is murdered, survived only by the son, Kyle Stansbury (Tyler Ross), who was shot in the head during the massacre. Joan Allen guest stars this season as Colonel Margaret Rayne, the headmaster of the all-boys military academy where Kyle attends. The new season also stars Gregg Henry, Sterling Beaumon and Levi Meaden.”
Aw c’mon, guys, it wasn’t that bad.
While I admit that Scott Derrickson’s Deliver Us From Evil failed to pack the punch I was hoping for, I’m gobsmacked over the amount of flak it’s getting from critics. The film currently has a 32 percent on Rotten Tomatoes, which bums me out because I feel that although it might not be successful on all fronts, the film is admirable as hell for trying to do something different within the constraints of the exorcism genre. In this article I wanna address some of the arguments critics have made against the film.
(spoilers follow, duh)
As a recovering Catholic, the use of demonic elements will always give me the willies. It never fails. Even though I don’t believe in a Devil, the fear of one is so ingrained in me that exorcism films (even shitty ones like The Devil Inside) will affect me at least a little. What makes Deliver Us From Evil more effective than others is that Derrickson (along with his co-writer Paul Harris Boardman) grounds the supernatural elements strongly in reality. Horror-procedural hybrids have been done before (Angel Heart comes to mind), but this is the first time I can remember recently where one took its supernatural elements so damn seriously. And not since The Exorcist back in 1973 has a possession film felt so much like it existed in the real world. Maybe The Entity, but that was more demonic molestation.
Derrickson has stated in interviews that he is in fact a man of faith, which definitely comes through in this film. Not just because of that preachy bit at the end at Sarchie’s kid’s baptism, but because of the consistently solemn tone in regards to the spiritual battle between good and evil Sarchie and Mendoza embark on. It’s way more absorbing and wholehearted than an exorcism movie needs to be.
Some of the negative reviews I’ve read of the film call its story disjointed and incohesive. That’s an argument I really don’t understand. At first it may feel like Sarchie and his partner Butler are aimlessly driving around the Bronx, taking random calls, but quickly it becomes apparent that it’s all a thread leading up to Sarchie’s spiritual journey. The dead baby in the alley, the domestic dispute, the infant-throwing at the zoo – it’s all connected to help Sarchie come to terms with the “true evil” Mendoza speaks of. Sarchie’s seen so much horrible shit in the “sewer” (as he refers to his job) that it reinforces Mendoza’s argument. He goes from disbelieving in God because of the shit he’s seen to recognizing it all as a sign of true evil. And it all really feels organic thanks in part to Eric Bana’s solid performance (despite that sketchy NY accent).
I’ve also heard critics bitch about the pace, that it takes too long to really have any thrust. This I disagree with too. The story is structured like a police procedural, so it purposefully lacks that aggressive pace in the beginning. We’ve seen the trailer, poster, commercials, etc., so we know what’s going on. Sarchie doesn’t so he’s got to use his detective skills and Popeye muscles to figure shit out. It’s a really interesting way to tell an exorcism story, much more compelling than someone getting possessed, then exorcised, roll credits. One critic I read even complained that the exorcism takes place at the end of the film. Say whaaa? That’s when it goes down in pretty much all of the exorcism films I’ve ever seen, so unless they’re complaining about it being a cliche, I really don’t get it.
Another common complaint was funny man Joel McHale playing a jacked up knife-enthusiast cop “adrenaline junkie.” Okay, with you on this one. It’s really tough to see past McHale, the sarcastic, dry-witted comedian that he is. I didn’t buy him at times either. There’s no denying the bro chemistry between him and Bana on screen though. They were entirely believable as partners, guys who have probably been driving around at night for years, using humor to cope with the sick side of humanity they witness every shift. During his brawl with Santino in the stairwell is the only time I could see past McHale and felt like I was watching the character of Butler. Once he realizes he can’t win, there was some goddamn conviction in McHale’s performance. I felt sorry for the macho bastard.
The one major complaint I wholeheartedly agree with is the use of The Doors as a major plot point. It would’ve been fine to bring up once or twice to help Sarchie connect the case of Jane to the others, but using it during the climactic exorcism scene was miserable. Once Jim Morrison’s heroin-fueled voice rang out, it totally broke the thick supernatural feel of the moment. Speaking of the exorcism scene, holy crap. That was a helluva process. I love that there were stages to it and that both Sarchie and the demon-fighting veteran Mendoza slipped during the incident, almost falling prey to Santino’s manipulation.
People bitched about Olivia Munn too and while I agree she’s not the greatest actress, she wasn’t given all that much to do.
Yes, Deliver Us From Evil is filled with cliches and elements we’ve seen countless times in exorcism and cop films, but Derrickson presents them a truly refreshing and serious way. Even the impossibly tired “your job is consuming your life and your ignoring your family and by the way I’m pregant” trope that seemingly every big screen detective goes through feels imaginative here against the backdrop of the supernatural. Before completely dismissing it based on the wave of negative reviews, I suggest checking it out. Exorcism films with big releases have been pretty lame lately (The Devil Inside, Devil’s Due), but Deliver Us From Evil is definitely a fresh and compelling take with atmosphere so thick you could cut it with a spoon.
Polluted Pictures shared with Bloody the first promotional image featuring Tristan Risk (American Mary) and Francisco Barreiro (Here Comes the Devil) in their roles as the pained couple in the feature film Love Sick.
“Love Sick is the story of Rebecca and Marcus who have been together for 10 years and after much deliberation have decided to part ways. After separating and being with others, they quickly realize how hard it is to disconnect from one another. The pain, lies, and betrayal all begin to manifest physically within the both of them as well as infect the others who have become involved with intimately. They love each other so much that it hurts… some more than others.”
Joining the cast are Bill Moseley (Devil’s Rejects), Barbara Crampton (You’re Next), Augie Duke (Bad Kids Go To Hell), Andrew Sensenig (Upstream Color), Camden Toy (Buffy the Vampire Slayer), and Ruben Pla (Contracted, Big Ass Spider).
Polluted Pictures is presenting the project for the first time to accredited participants at the Frontières International Co-Production Market that takes place during the Industry Rendez-Vous of the Fantasia International Film Festival, from July 24 to 27, 2014.
The film is scheduled to shoot this winter.
Filmax (the [REC] franchise, Summer Camp) tells Bloody Disgusting that shooting begins July 16 on Sweet Home, with Rafa Martinez at the helm.
Sweet Home is described as a realistic and claustrophobic film that keeps track of the scariest side.
Here’s a translation of the film’s plot: “The plot is situated in a daily environment: a couple decides to spend a romantic evening in a floor of a semi-abandoned building that slip because she works as a consultant for the council house and got the keys. During the evening they discover that a hooded murderer is the only tenant left in the building…and they have become the new target.“
Ingrid Garcia Jonsson (Beautiful Youth) stars with Bruno Sevilla (Mindscape).
Martinez co-wrote the screenplay with Teresa of Rosendo and Ángel Agudo.
Sweet Home, produced by Julio Fernandez for Filmax and with the participation of TVE, will shoot in Barcelona and English.
Although I’m sure many of you know this, there was once an Aliens attraction in San Francisco called “Aliens: Ride at the Speed of Fright.”
The ride was similar to Star Tours and featured Re-Animator star Jeffrey Combs in the ride’s introduction.
Here’s a breakdown as described by Xenopedia.
Aliens: Ride at the Speed of Fright was a motion-simulation ride produced by Praxis Films in association with Iwerks Entertainment. It was shown in 1994 in San Francisco at the Pier 39′s TurboRide Simulation Theatre and was also shown in the United Kingdom at the American Adventure theme park. It was still being shown in October of 1995 at American Adventure.
It was an interactive movie ride. The viewer would sit in a chair that would move, vibrate and jolt, all in an effort to simulate the viewer experiencing what was being shown on the screen. The ride consisted of a pre-movie in which the situation and plot. A Colonial Marine from A-sqaud called Hyer has just returned back to his ship, the New Jersey, having narrowly escaped an Alien encounter on the mining colony Tekeah-3.
He recounts the experience to a Marine Captain and B-squad. The mission was supposed to be a routine reconnaissance for A-squad but they encountered the Aliens – hundreds of them. The Marines activated a bomb and tried to escape. During their retreat, the APC crashed and was badly damaged. Many of the Marines were injured, Hyer included but he escaped to find their dropship destroyed. He found a shuttle on the colony and left the planet.
The Captain is determined not to leave the other injured marines behind and others the B-squad and Hyer back to the colony. Their orders are to rescue A-squad before the bomb goes off. The Sergeant tells his marines and the viewer/rider to buckle in (complete with a shot of the chairs belt buckles) and then the ride begins.
The ride starts with the dropship plummeting towards the colony. According to AvPGalaxy user Corporal Hicks, “If I recall correctly the chair shakes to simulate the turbulence until you land and the APC drives out.” From this point on you’re in the APC, as if you’re the driver. The riders “drive” through the interior of the colony complex, avoiding various obstacles and mounting debris (the chair moving to simulate) until the APC arrives at the wreckage of A-squad’s APC.
B-squad gets out and carries the wounded marines into their APC while fending off an Alien attack. The Marines then pull out of the complex in the APC. After crashing down a hole, the APC arrives in the Queen’s lair and using the turret manages to kill her. The APC then uses the turrets again to blast a hole to the outside and escapes, making it back onto the dropship in time. As the dropship heads back into orbit, the bomb detonates, then a Facehugger drops into frame.
Aliens: Ride at the Speed of Fright is roughly 20 minutes long with the pre-movie being 10 minutes and the ride itself being 10 minutes. It’s comprised of stock footage used from Aliens (the ships, some close-ups of the Aliens) and original footage shot with the Marines, and obviously the ride segments.
One actor, Jeffrey Combs, would later go on to have some important recurring roles in the Star Trek franchise. B-squad also has two characters that are very reminiscent of Apone and Vasquez from Aliens.
The Colonial Marine costumes are based loosely on the outfits used in the film, but the camouflage appears to be British DPM as opposed to safarilague used in Aliens. They do seem to use replica or similar armor. The weapons used aren’t the Pulse Rifles. They appear to possibly be some modified version of the Chinese Type-56B.
While I believe this is included on the extra features in the box set, here are videos of both the introduction and the ride to see what you missed out on back in the early 90′s.
One of the most frustrating things a horror movie can do is waste an interesting premise. Such is the case with Karl Mueller’s debut feature Mr. Jones, which blows its promising concept of metaphysical dreamscapes and a monster doubling as an avant-garde artist on boring imagery and tired found footage thrills. It feels like Mueller (who co-wrote 2011′s The Divide) came up with notion for a cool and unique film but wasn’t sure how to pull it off.
The film follows aspiring documentary filmmaker Scott (Jon Foster) and his girlfriend Penny (Sarah Jones), who he’s dragged to an isolated cabin out in the desert somewhere. She left behind her entire life so Scott can fulfill his nature documentary fantasy, so when he begins slipping in his filming efforts, some friction between them sparks resentment. It doesn’t help that Scott’s always filming everything with a very awkward camera rig that films what’s in front of him and his own face at the same time. I’m all for innovative techniques in found footage movies, but Scott’s method just seems uncomfortable.
While he’s filming one of his nature segments (which is actually him whining about filming a nature segment), his backpack is stolen by a mysterious hooded figure. When Penny and him go to investigate the man, they discover that he’s the elusive Mr. Jones – a cult figure of the avant-garde art scene who anonymously leaves skull-ridden totems in various locations. Penny compares him to J.D. Salinger and Banksy, only I don’t think those guys lumbered around the desert in a hooded cloak, carting around bones and twigs. Maybe they did, what do I know?
Here the film jumps to documentary style talking head interviews where experts, art critics, fans, etc. discuss Mr. Jones. Some of the folks urge Scott to avoid contact with Mr. Jones because he may be a guardian-like figure keeping evil from the dream world at bay with his totems. Again, this talking-head segment feels like Mueller may be fluffing out the film because of shortcomings in the story.
Scott and Penny see this is as their chance to make a groundbreaking documentary about Mr. Jones, so they do the most logical thing they can think of: break into his house and go through his shit. Even for a horror film these two are a couple of real knuckleheads.
The film takes a startling turns towards balls-out supernatural horror during its third act. There’s a lot of static and visual noise as scenes from earlier are replayed from a different angle, offering up questions of what really happened. There’s a loose idea of changing identities going on, with Scott and Penny’s dream-alter-egos running about because Mr. Jones’ sanctum was disturbed, but it’s tough to tell what the hell is going on during the visual assault that makes up this segment. It’s a whole lotta noise.
Mueller begins with a promising idea, then pads it out with talking head interviews and a barrage of disorientating images. It’s engaging stuff for about 20 minutes, but by the end of the film it felt like Mueller simply didn’t know what to do with all of his ideas.
Mr. Jones is available now on Blu-ray and DVD. No special features are included.
Giallo Disco Records has opened up pre-orders for a vinyl edition of Volkan Akaalp‘s score to the Turkish short film Baskin, which is currently going through the festival rotation and winning several awards. Horror director Eli Roth has been quoted as saying the film is, “Disgusting. Disorienting. Brilliant”
Giallo Disco journeys further east with the release of BASKIN. Our first original soundtrack written by Turkish composer Volkan Akaalp for the short film by enfant terrible Can Evranol (To My Mother And Father). BASKIN tells the story of four cops discovering a nightmare of Lovecraftian proportions during a routine investigation. This incredible soundtrack is an eastern twist on the works of Fabio Frizzi, industrially corroded by early 90s R&S Records.
The vinyl comes with a full colour sleeve and two exclusive remixes on the b-side by Giallo Disco heads Vercetti Technicolor and Antoni Maiovvi.
The orders will begin shipping at the beginning of August. Head below to stream the album!