Neill Blomkamp won a lot of fans over with his debut feature District 9, which was nominated for four Academy Awards, including Best Picture. His sophomore effort Elysium had a lot of folks thinking maybe he was a one-hit wonder. Even Blomkamp admitted the story wasn’t very good. A few weeks before his latest film Chappie was released, it was announced that he’ll be directing the new Alien movie. Nailing that deal before it was screened was a wise move because Chappie is all over the place. It’s an ambitious, formulaic crowdpleaser that doesn’t know when to end and is crippled by the stunt casting of Blomkamp’s South African pals Die Antwoord.
Much more in the vein of A.I. than RoboCop, Chappie follows the developing consciousness of a sentient robot created by Deon (Dev Patel). He’s done so in secret because the powers that be (Sigourney Weaver) have forbidden him from screwing up the successful “scout” (robot cop) program. Things turn sour when Deon is kidnapped by Ninja, Yolandi, and America, three desperate crooks who need to pull off a major score to pay off a debt. Back at the lab, Deon’s bitter co-worker Vincent (Hugh Jackman with a mullet) is urgently trying to get his massive ED-209 wannabe integrated into the police force.
I mentioned ED-209 because there are a few artistic similarities to RoboCop, particularly the 2014 remake. There have been some obvious Short Circuit jokes buzzing around the net too, but ultimately Blomkamp’s film falls more in line with A.I., as it tracks Chappie’s evolution and how shitty and exploitative humans are to everything under the sun. At first, Chappie is like a puppy, shrinking back at every loud noise and raised voice. He then begins to pick up the Afrikaner street slang of Die Antwoord, “gangster number one” and all a that. Pedantic Deon wants Chappie’s creativity to blossom while Ninja wants to teach him to be a thug. These education scenes drag on and on and only graze the surface of exploring how morality is passed on and what consciousness really is.
The script is filled with moments that range from eye-rolling to just plain silly. There is a lot of humor that works very well, like the car stealing montage for instance, but a lot of it is unintentional as well. How quickly Die Antwoord reach a conclusion about how to deal with the scouts, for instance. Also, after kidnapping Deon, they let him go because he promises to come back the next day. Moments like that serve the story (Deon has his conflict with Vincent to deal with, after all), but they’re such face-palm moments that they distract from rather than propel the film. His writing is so straightforward at times that it makes the story feel dumbed down. When Chappie sees the aftermath of a dog fight, for instance, he learns how the world is literally dog-eat-dog. Get it?!
The biggest distraction of all is Die Antwoord, whose stage personas are thrown right into this sci-fi world in an abrasive way. People unfamiliar with them will probably be baffled. “Why does it say Zef everywhere?” “Why are there dicks drawn all over the walls?” “Why are they wearing shirts with their faces on them?” So many moments feel like plugs for their music, complete with close-ups of Die Antwoord shirts, that it completely takes away any seriousness the plot is supposed to have. How can I take anything in the movie seriously when Ninja is on screen wearing short-shorts and an oversized baby blue sweatshirt with dolphins on it, carrying a bright yellow gun and mugging to the camera like a last-gasp gangsta? On its own it may be a striking image, but in the dramatic world Blomkamp is trying to establish, it’s grating on the eyes. Yolandi is the least silly of the two and her motherly instincts towards Chappie at least come across as genuine.
As for Chappie himself (voiced by Sharlto Copley), Weta did an amazing job with the design and he, unlike Ninja, fits fantastically into Blomkamp’s world. Copley’s motion-capture performance is brilliant. He’s expressive and believably interacts with his environment and other characters. The actions scenes are very well-crafted and excitingly staged. There’s a moment during the climactic rumble where a strong bit of violence is happening behind Deon, but Blomkamp stays focused on Deon rather than the graphic clobbering behind him. That’s a great touch and shows Blomkamp does have some nuance as a director. He knows what shots will pack the emotional punch, the problem is there are SO many slow-mo money shots that they become quickly obvious rather than dramatic.
There’s a lot of heart and ambition in Chappie that are sadly driven down by the silliness of Die Antwoord and the formulaic nature of the script. It certainly is a crowdpleaser (who wouldn’t root for Chappie?) but after the crowd is pleased, the film drags on another 10 minutes or so. There are a couple spots that would have made perfect endings, but Blomkamp keeps Chappie going until he can squeeze another Die Antwoord promo in there. The best science fiction always asks What if the world were like this, wouldn’t that suck? Then it uses that as a backdrop to say something about our society as it is now. Chappie is unconcerned with this and feels like a retread of Blomkamp’s previous films.
Alien fans, hang on to your butts.
Aimee Osbourne, the daughter of legendary metal vocalist Ozzy Osbourne, has released a video for her music project ARO (pronounced “Arrow”) for the track “Raining Gold”. The one-take video, which was directed by Spencer Susser, depicts the aftermath of a horrific accident that sees body parts strewn about a gas station/diner in the middle of the desert. Osbourne sits calmly in the diner only to walk out, calmly strolling through the dismembered bodies, and drive away. The entire video has a strange dreamlike quality, the video subtly stretching and pulling, as though it all takes place behind a thin wall of gently undulating water.
The track is a dreamy and gentle electro-pop tune, showing the influences of Kate Bush and Portishead that Osbourne has stated are influences. A debut EP is in the works, although no title or release date have been set.
Techland has revealed some free DLC for their open-world horror game Dying Light they’re calling the Ultimate Survivor Bundle, and aside from the “outstanding outfits” that let you customize the appearance of the character you can’t actually see, I’m looking forward to the new weapon rarity level and difficulty mode they’re adding to the game as part of a sizable update on March 10.
If you haven’t played Dying Light yet, it’s a hugely entertaining game, so long as you aren’t looking for an even mildly compelling story. Just make sure you bring some friends.
As fond as I am of the idea of returning to developer Machine Games’ surprisingly fantastic reboot of the dormant Wolfenstein series, I had written the game off as a singular experience. That decision, it would seem, was premature, and I couldn’t be happier about it.
Bethesda recently announced Wolfenstein: The Old Blood, a two-part standalone expansion for The New Order that “pits BJ Blazkowicz against a maniacal prison warden as he breaks into Castle Wolfenstein in an attempt to steal the coordinates to General Deathshead’s compound.”
In the second part, the hunt for those coordinates “leads him to the city of Wulfburg where an obsessed Nazi archaeologist is exhuming mysterious artifacts that threaten to unleash a dark and ancient power.” Both parts are included in the $19.99 expansion.
Wolfenstein: The Old Blood infiltrates PC, PS4 and Xbox One on May 5.
If you ever go to GDC in San Francisco, make sure you attend as many panels as you possibly can, because sometimes, you’ll see things that you wouldn’t see anywhere else. During a post-mortem panel for Alien: Isolation, Creative Assembly creative lead Alistair Hope showed off a much different version of the game that (many of us) know and love. Video games change mid-development all the time, and that goes for Isolation, which started out as a third person game.
In this video captured by Destructoid, we’re given an inside look at an early build of the game that plays more like Dead Space.
Alien: Isolation recently received its fifth add-on pack, The Trigger, which is currently the last DLC Creative Assembly has announced for the game.
Crossovers can often become an embarrassment of riches but the “Nailbiter – Hack/Slash’ One Shot offers nuance to both worlds and manages to create a fun albeit throwaway adventure for both worlds. Each creative team appears to be having fun playing in each other’s sandboxes giving an engaging read to satiate the thirst for the beginning of “Nailbiter” volume three.
WRITTEN BY: Joshua Williamson & Tim Seeley
ART BY: Mike Henderson & Emilio Lasso
PUBLISHER: Image Comics
RELEASE: March 5, 2015
The one shot is divided into two separate but equal halves. Although given the same amount of space each of these stories don’t carry the same amount of impact. The Nailbiter team of Williamson and Henderson kick things off to a great start.
Their story centers on Cassie Hack looking for a serial killer with the assistance of a helpful bystander, Edward Charles Warren. Here, we get some insight into Warren before he was the titular killer, and although its mostly stuff we already know, it’s a total treat to see Warren before he was outed as a killer. He’s still the same coy bastard we know and love, but against Cassie Hack he truly shines. The adventure is short and sweet and rather light on the exposition. Plus it features a fantastic villain that Henderson has modeled to look exactly like the most famous boy wizard that ever was. So it’s worth reading just to see that, and his glorious takedown via Cassie’s bat. My only huge gripe comes with a distinct lack of Vlad.
Tim Seeley and Emilio Lasso take over the back half of the one shot in an adventure that sees Cassie trying to take revenge on Warren. Here things feel more than a little forced. The trip to Buckaroo doesn’t really feel organic for the story and most of the narrative is spent spouting exposition. It’s a shame since Seeley is the creator of Hack/Slash I was hoping to see something a little more sinister. But since moving on from the world this chapter just felt a little too forced for my liking.
It’s strange because it begins to undercut exactly what Williamson’s half did so well, otherwise leaving the total package with a bland feel. I wish it was more enjoyable, but sadly the one shot crossover may feel like little more than filler once the main story of Nailbiter kicks back into high gear next month.
If nothing else, make sure to head to your LCS and pick up volume 2 of Nailbiter. And only drop the cash on this one if you’re a die-hard fan of either series, otherwise I’d say wait for it to be collected in a trade.
Simon Roy’s “Tiger Lung” is a visual feast, proving the incredible artist also has a phenomenal talent for imaginative writing.The prehistoric age has never been more weird and compelling, as “Tiger Lung” is an absolute trip – cover to cover.
WRITTEN BY: Simon Roy
ART BY: Simon Roy & Jason Wordie
PUBLISHER: Dark Horse Comics
RELEASE: December 3, 2015
For someone who seemingly takes comfort in the stranger and more surreal corners of science fiction, Roy has absolutely no issue making stories with emotive humans. The facial expressions alone tell a story in “Tiger Lung.”
But here you get a deeply educated look at Paleolithic culture and the three tiered level of existence that seems so foreign to us now. Roy creates a captivating world in each of the three stories within and manages to surprise within each collected short.
In “Under The Ice” we see a hero go against his greatest challenge – the expectations of his forefathers. And, Roy expertly treads the line between the strange and the historic ultimately using unconventional paneling to really lead you into a surreal abyss of insanity by the last few pages, and the entire ride is well worth it.
The “Hyena’s Daughter” is a much more straightforward narrative that still captures that idea of the uncanny in a beautifully different way than what came before. The result is a story about confronting something we don’t or can’t possibly understand and seceding yourself to the larger life stream of the universe. It’s a captivating read set with new challenges entirely brought to life by Roy’s singular black and white water colors. It’s captivating, and when things truly get strange Roy is at his all time best in the book. He can really bring a dead body to life.
Finally, “Song For The Dead” tackles what these people think of the afterlife in a visually dynamic way. Roy has always had a great talent for creating otherworldly creatures and here he uses his sci fi roots to create an earthly equivalent. The result is something I’ve come to say often in this review – it’s uncanny, surreal, and strange. But most of all it’s beautiful.
I’ve ranted about the powerful visuals, but this book is memorable thanks to its emotional core. Each short has its own theme, and within these stories you’ll find a compelling look at how we relate to one another, the world we’re in, and our expectations of what comes after. The metaphors may be different for each person who picks it up, but they won’t be any less powerful.
“Tiger Lung” is crafted with the type of meticulous care that usually comes from a large and dedicated creative team. Here, Simon Roy and Jason Wordie masterfully build an incredible world all by themselves. Inside these pages you’ll find unconventional paneling, emotional storytelling, and things you’ve never seen in a comic.
The time period is strange, the characters are stranger, and the result is nothing short of impressive. The hand made feel of the entire book lends itself to the historical setting. You feel as if you’re holding a comic made from a time gone by. “Tiger Lung” is something crafted by a few artisans at the height of their creative powers, and it’s necessary reading for those of you looking to expand your indie comics collection with some truly extraordinary one of a kind work.
Playing at the upcoming SXSW Film Festival is Karyn Kusama’s taut thriller, The Invitation, which stars Logan Marshall-Green, Tammy Blanchard, Michiel Huisman, Emayatzy Corinealdi, and Lindsay Burdge.
In it, “Will and Eden were once a loving couple. After a tragedy took their son, Eden disappeared. Two years later, out of the blue, she returns with a new husband… and as a different person, eerily changed and eager to reunite with her ex and those she left behind. Over the course of a dinner party in the house that was once his, the haunted Will is gripped by mounting evidence that Eden and her new friends have a mysterious and terrifying agenda. But can we trust Will’s hold on reality? Or will he be the unwitting catalyst of the doom he senses?”
Celebrating its 22nd year, the SXSW Film Conference and Festival will take place March 13 – 21, 2015 in Austin, Texas.
For more information, visit the official website.
Check out more images:
One of the scariest stories/films is about to head to Broadway…with Bruce Willis!
Warner Bros. Theatre Ventures is bringing an adaptation of Stephen King’s novel “Misery” to Broadway and has enlisted Bruce Willis to star, says THR.
Willis will make his Broadway debut opposite stage veteran Elizabeth Marvel (Other Desert Cities, House of Cards) in the play written by two-time Academy Award winner William Goldman (The Princess Bride, Butch Cassidy and the Sundance Kid), who also wrote the screenplay for the 1990 Rob Reiner film that starred Kathy Bates in her Oscar-winning turn as Annie Wilkes.
Willis will play the housebound romance novelist Paul Sheldon, who becomes a prisoner of his unhinged “Number One Fan” Wilkes (Marvel) after she rescues him from a car accident and learns that he plans to kill off her favorite fictional character.
Will Frears (“Omnium Gatherum”) has signed on to direct the play, which is scheduled for a limited run in the fall at a theater to be announced.
Writer-director Michael S. Ojeda’s Avenged (formerly known as Savaged) is a feast of vengeance and he likes it that way. It takes the tried-and-true rape/revenge film and mixes it with the white-man scalping genre of Redsploitation (Native American revenge). The combination makes for one kinetically brutal thriller filled with heaps of graphic violence and sincere heart. Literally, a heart gets eaten in this movie. If you hate racist rednecks as much as I do, then Savaged is one helluva cathartic experience.
After a long wait, Avenged is finally being released in the U.S. this week. We first reviewed it two years ago (here) and we first talked to Ojeda a year before that (here). So this release has been a long time coming. We recently spoke with Ojeda again to discuss that long road to release, the film’s inception, learning a sacred Apache ritual, and all the bloody details in between.
Avenged hits select theaters and VOD March 6!
We first interviewed you back in 2012 when you were editing the film. Could you talk about what the past three years have been like as far as the movie and its journey?
It’s been a roller coaster from the very beginning. It took a long time to get it edited and I handled most of the post-production myself. Finally when it was done and we had premieres around the world. The European premiere was at Stiges and the Asian premiere was in South Korea. So we started off with a bang and then basically for a little over a year it’s been doing festivals just everywhere. Japan, Germany, the UK, Australia. So the official release has been a long time coming and it’s honestly been a little frustrating, almost like working in reverse.
I know you did a lot of TV work before this. Can you talk about the inception of the film and how you managed that transition?
I did a feature actually 10 years ago, it came out in 2004. It was called Lana’s Rain and it did okay but it didn’t propel my career in the direction I wanted it to go. So after that I sort of fell into the television documentary recreation world. The highlight of that was doing Deadliest Warrior in 2009 and 2010. When I moved to LA it was a little bit of a struggle because I’d done a feature but it wasn’t really a big breakthrough so I was struggling to get that next film going.
Years after Deadliest Warrior I had met a lot of different people and I became stronger as a director on a number of different levels. So when I started to think about my next film I wanted to make sure it wouldn’t miss its target audience like my first one did. I love action movies so I was just toying around with this idea of something that could be shot out in the desert. And I like spirit possession movies, I like revenge movies, I like female-driven films, so I put all that together and thought of the idea for Avenged. At the time the I Spit on Your Grave remake hadn’t been done yet, so it was still fresh.
I don’t know if you read my review from two years ago…
Of course, those are the things that keep me going.
Yeah I adored it because it’s a Native American revenge theme, which I love, wrapped around a rape-revenge plot, wrapped around a forbidden love. Can you talk about your approach to the story?
I wanted to do something that I hadn’t seen before. If I’ve seen it, i don’t want to do it, you know? Like when someone like Guy Ritchie got big, everyone wanted to copy his style. I wanted to do something fresh. You put so much work into a movie, so much time and so much effort to just do a movie to appease a wide audience or for the sake of shock value, to make people cringe or to make people squirm in their seats, that wasn’t really my goal. I wanted to do a movie that would touch on a number of emotions. I wanted to make a movie to scare people, of course, but I also wanted them to feel the highs of victory. I wanted them to feel a whole rainbow of emotions from this one movie. So I made this movie with heart. Unfortunately when you do that you get people who want to go see just the horror and they want to keep the romantic elements separate. So I’m glad the audience has been embracing this film that’s trying to accomplish a number of different things.
Your first film, Lana’s Rain, dealt with the immigrant experience. And Avenged deals with inherent racism in the U.S. Is there an explicit statement you’re trying to make?
No but I’m using these issues as a springboard. I like stories about character struggles and underdogs who have to overcome great odds to prevail. Whether it’s the issue of prostitution, which at the time of Lana’s Rain was prevalent, and the fall of Communism, I used those to tell a character-driven story. With Avenged, we’re dealing with the Native American turmoil and the things they’ve gone through in America. I used that as the backdrop.
And I love that you cast actual Native Americans. It shows a lot of respect.
The Native American acting community is actually quite small, which is surprising when you consider the number of movies concerning them. But there isn’t really a big pool of actors, so once you reach out to one group, they sort of tell all their friends. We did a normal casting process and once we started they would tell people and we’d get more recommendations. I was really blessed to have found Joseph Runningfox. If you look at some of his credits he’s done a lot of big movies, including Ravenous. He really brings the character to the surface, I was very fortunate.
And treating their culture with respect was important. We had consultants and Joseph is from a different tribe than the character, so we had to bring someone in from the Apache tribe to make sure what we were doing wasn’t too outlandish. I tried to keep it as authentic as possible, even though it’s a horror fantasy film. But the character’s actions are grounded in reality, to make it feel so much more real and vibrant. So we found a gentleman who specialized in Apache rituals and he met with me and Joseph and we sat together at my place and he showed me the rituals. He told us that you can’t use the actual rituals because it’s forbidden. So he showed us what the actual ritual would be like, but we weren’t allowed to use the wording or prayers. So it was interesting. We tried to be as real as possible without giving away secrets.
The rape in the film is done very tastefully, it’s more implied than anything. How did you prepare Amanda Adrienne for those scenes?
She prepared herself, basically. As far as preparation, we made sure that everyone was respectful and acted very professionally on the set. There wasn’t anyone on set that wasn’t supposed to be there. The actors for that scene, everyone around her, have been in a lot of stuff. There was Rodney Rowland and Ronnie Gene Blevins, who’ve been in a lot of stuff. So they definitely took a large degree of professionalism to the set to make Amanda feel comfortable.
A little aside about the whole rape-revenge thing. It’s funny, you know, because to me that was never what the movie was about. I know that the rape stands out in people’s minds when they see certain movies, like Last House on the Left. But to me as far as the category of rape-revenge film, it has slowed down the process of the U.S. release. It’s slowed down a lot of different things. If I had known that it was going to be such a taboo, I probably would’ve just had them kill her. Honestly, if I could go back and cut out even more I would.
Yeah you don’t see anything.
Because it’s not important and I don’t want to turn people off. It’s the critical action that these villains partake in that sets the story in motion, but there are so many other things too. But this whole rape-revenge category has held us back a bit in regards to getting our U.S. release. A lot of people are afraid of that topic. if I had just had them capture her, tie her up, and kill her, then the movie wouldn’t fall into that category. The movie isn’t about the rape. It’s not what makes this movie great. Besides all they’ve done to her, her body is starting to decay, you know? She’s actually a hero-zombie, is what she is.
The bow and arrow scene is so simple and amazing. I don’t think I’ve ever seen a point blank bow and arrow scene before. How did you come up with that and what kind of training did Amanda have to prepare?
She did take kung-fu for about six months prior to making the film, but I’d say she learned the choreography more like a dance. She worked with the fight coordinators, getting the moves down. Action looks a lot trickier once it’s edited than it is doing it. It’s more of a dance. It’s funny you mentioned the point blank range arrow shooting, it was originally supposed to be something completely different. Originally the character Creed manages to get in his car as she shoots the first arrow. She starts running around the car and he’s shooting through the windows. Eventually what happens is he shoots the gas tank and it blows up. Of course since we were on a low budget we had to come up with a completely different idea. So I thought how I could make it powerful and I took the bow and arrow concept and gave it like this ballet effect. I thought it would be equally as powerful and certainly original.
And then with the chainsaw scene, it’s a common thing in horror and I wanted to do something different with it. I’d never really seen someone combat a chainsaw with a hand weapon. I thought it’d be cool. So Amanda trained a bit with a tomahawk and a hunting knife. She did an amazing job, it was all her, we didn’t use a stunt double in that scene. We shot that last fight over a period of two nights.
Do you know why the distributor changed the name from Savaged to Avenged?
The distributors have their reasons but I’m not quite sure what they are to be honest with you. They paid money for it so it’s up to them if they want to change the name. I don’t necessarily think it was a good idea, but they know what they’re doing. To me it’ll always be Savaged. To me it just makes things more confusing but it is what it is.
The intestine ripping scene in the bar has been featured in a lot of the promos for the film. It’s a great scene, but was there ever a point where you thought maybe you were going to far?
I don’t really have limits, to a point. I do when it comes to innocent people being tortured. Like the scene where we see Amanda being tortured, it’s the scene that sets everything in motion. So she needed to go through a certain level of hell. But I wanted to see the villains go through a much worse hell. When we were shooting it I didn’t think if it was too much because we can always cut it down if there’s a problem. I believe that you should take it to the extreme and then you could always cut it later.
That scene alone was shot a year prior to shooting the movie. That and a few more scenes we shot and then showed them to our associates. They saw those and said Oh my God we could film this in a heartbeat. So yeah the intestine scene may be extreme but it definitely worked.
I’m a fan of Ronnie Gene Blevins, I honestly think he’s one of the best character actor alive. What was it like working with him?
Ronnie’s intense. He was exactly what I envisioned in my mind. He didn’t even have to audition because he was this guy. Every time he came to the set he came prepared and every take he’d do something different. But he’s such a professional and I would work with him again anytime. You know, when you do a low budget film, you don’t have a lot of time to work with your actors. You have to move very quick. So when I bring actors on board, I want them to embody the characters . So thank God I had people like Ronnie on board. And he’s a very intense guy, but he’s really very sweet.
Do you have anything in the works that you can talk about now that Avenged is finally coming out?
Yeah, definitely. Right now we’re in the development phases, a script is done, and I don’t want to give too much away but it’s called Dominique. Basically it’s a female The Professional. A female Russian assassin is the primary lead and there’s a little girl who’s sold into human trafficking. She helps track her down and take down a whole organization in the process.
Thanks for talking to us and I’m wicked excited for people to finally see this movie.
Thanks so much.
“I gave it a cold… I gave it a virus. A computer virus.”
I didn’t bat an eye when it was revealed that Will Smith wouldn’t be returning for Independence Day 2. Why? Because the best character in Roland Emmerich’s 1996 disaster film is clearly David Levinson, played by Jeff Goldblum.
It was announced today that Goldblum will be returning to for alien war alongside “Survivor’s Remorse’s” Jessie Usher and The Hunger Games‘ Liam Hemsworth.
Goldblum has secured by excitement.
Fox hired Carter Blanchard (Glimmer) to rewrite the script. James Vanderbilt wrote the first draft of the film, which Emmerich is producing with Dean Devlin and Harald Kloser.
Independence Day 2 is set for release on June 24, 2016 — almost exactly 20 years from when the first film hit theaters on July 3, 1996.
The new Poltergeist will be haunting theaters sooner than later, shifting from its July date to May 22, 2015.
Sam Rockwell, Rosemarie DeWitt, Saxon Sharbino and Jane Adams star, with Jared Harris playing Carrigan, a larger than life TV personality who left the world of academia behind to become the star host of basic cable TV show “Haunted House Cleaners.”
Legendary filmmaker Sam Raimi (producer) reimagines and contemporizes the classic tale about a family whose suburban home is invaded by angry spirits. When the terrifying apparitions escalate their attacks and hold the youngest daughter captive, the family must come together to rescue her before she disappears forever.
Zachary Quinto is a busy dude. After appearing in the first and second seasons of American Horror Story he’s been consistently working (well, he’s been in a ton of stuff before that too). Now EW is reporting that Quinto has found the time to appear in a guest spot in season 3 of Hannibal.
According to the article, Quinto will appear in at least one episode as a patient of Bedelia (Gillian Anderson). Bryan Fuller and Quinto previously worked together on Heroes, where the actor first showed us how good he is at being bad. Here’s hoping he gets to show off more of his crazy in Hannibal, which returns to NBC this summer.
The “Tales From The Darkside” series has its lead, and he won’t know how to stop the horrific events in the CW anthology.
The anthology series will feature only one regular character, Newman (Kris Lemche), a weathered and tortured young man who is the guide to the unsuspecting who come across The Darkside, says Deadline. Newman – a man with his own desperate, wrenching secrets – knows exactly what’s causing the terrifying Darkside Events that drive the series. What he doesn’t know is how to stop them.
The CW pilot is a remake of the 1980s horror/fantasy/thriller anthology that hails from writer Joe Hill and producers Alex Kurtzman and Roberto Orci.
Hill, Kurtzman and Orci executive produce with Heather Kadin, Mitch Galin and Jerry Golod for CBS TV Studios.
Canadian-born Lemche is recurring on ABC’s Agents Of ‘S.H.I.E.L.D.” His recent feature credits include indies Alter Egos and Legend Of Hell’s Gate.
Tony Moran may not be a household name, but his face is an integral part of horror movie history. Moran portrayed Michael Myers in the final scenes of John Carpenter’s Halloween, including the unmasked sequence. His life hasn’t been the same since the influential film’s release in 1978.
Insomniac Productions and Lock it Down Productions are excited to announce Horror Icon: Inside Michael’s Mask with Tony Moran and release the official poster artwork.
The independent documentary gives viewers a rare look at the life of a genre celebrity. Co-directors David Langill and Jordan Pacheco were given unprecedented access to Moran’s life for the project. From horror conventions to home life and everything in between, nothing was off limits.
The film features special appearances by Ernie Hudson (Ghostbusters), Dee Wallace (E.T. the Extra-Terrestrial), Andrew Bryniarski (The Texas Chainsaw Massacre), Debbie Rochon (Tromeo and Juliet), Jonathan Tiersten (Sleepaway Camp), John Dugan (The Texas Chain Saw Massacre), Timothy Patrick Quill (Army of Darkness), Vernon Wells (Mad Max 2: The Road Warrior), and more.
“I want to show Tony for who he is,” explains Langill. “A father, a friend, an actor, and a horror icon. Tony is a passionate man with a big heart, and like all of us, Tony has his ups and downs. Viewers get to see Tony as most have never seen him before.”
Pacheco adds, “This is a unique chance to see how a hit film can affect an actor years after its release, the relationships a life of acting and traveling doing conventions have made, and what happens after the conventions doors close. Tony has lived an incredible life, and I’m grateful for the chance to share some of it with everyone.”
Mike Pereira raved about Big Game (review) when he caught the World Premiere at this past September’s Toronto International Film Festival.
Said to be like a PG-13 Ambling adventure film, “The fate of the most powerful man in the world lies in the hands of a 13-year old boy. Plunged into a deadly game of cat and mouse with only hours to spare, Oskari and the President must team up to survive the most extraordinary night of their lives.”
Now, a new trailer has been released that’s seriously one of the best in recent memory. In it, Jackson plays the President of the United States, who survives a plane crash. Obviously, this was an assignation attempt, and the killers come to finish the job. Jackson, as the President, must learn to become an American badass with the help of a young boy. It looks fantastic.
It will finally hit U.S. audiences with its June 26th release in select theaters, Digital HD, and on demand,
Directed by Jalmari Helander, the film stars Samuel L. Jackson, Ray Stevenson, Jim Broadbent, Ted Levine, Felicity Huffman, and Victor Garber
Reviewed by Brady Steele. If you’re a fan of Eric Powell’s The Goon, you have an idea of what to expect from this creator’s mind. At least, you think you do. Big Man Plans #1 blows the doors off anything you can imagine. If you thought Powell’s previous work was uninhibited, you have no idea what you’re going to see in this book.
WRITTEN BY: Eric Powell and Tim Wiesch
ART BY: Eric Powell
PUBLISHER: Image Comics
RELEASE: 4 March 2015
These days, I tend to imagine each comic book I read in another medium for more people to consume and see. Comics have become the springboard for movies and TV series in the last fifteen years with no sign of slowing down. I can imagine this book being a hard sell but DANG it would be glorious to see. The scariest little person you’ve ever seen headlines this series from mastermind creators Eric Powell and Tim Wiesch.
One man, the little guy with no name, has been literally beaten into a hardened, bitter and violent threat to anyone and everything around him. TheBig Man no longer suffers fools since his life has taught him how to survive no matter what happens. Powell’s art shows how horrible one man can be treated by the world around him before revenge and grenades seem like obvious solutions.
This book is all kinds of messed up with dark, dark, dark humor and uber-ultraviolence mashed together. Shock and awe do not cover the things seen in these pages. This book is easily one of the more wicked I’ve read and I’m guessing it will make you drop your jaw a few times. Whomever is standing of the way of the Big Man Plans for respect better know how to fight dirtier than dirty. I don’t see how any of this will end well for any involved so enjoy the carnage this little man unleashes for the next three issues.
Mr. Steele enjoys all things comics and imagination-based. Using his lifetime of comic-fu-dom for good, he imparts his knowledge for the universe to enjoy and for you, dear readers, to pass it on.
Reviewed by Brady Steele. The enemy of my enemy of my enemy is my friend…or another enemy? Imperium #2 has plenty of maneuvering and political super-powered intrigue that showcases how unlimited this series can really be. All that from the second issue! It’s impressive to see how ambitious this book is from the get-go.
WRITTEN BY: Joshua Dysart
ART BY: Doug Braithwaite
PUBLISHER: Valiant Entertainment
RELEASE: 4 March 2015
The plans for this title must be staggeringly elaborate. This second chapter by writer Joshua Dysart feels so utterly different from the premiere last month but still oh so very connected at the same time. The main focus of this book, would-be-benevolent leader of the world Psiot Toyo Harada, doesn’t even appear in this issue. Not once. His fingerprints and footsteps, however, are ALL OVER every page. Harada’s Harbinger Foundation is his ears, his eyes and his fists all over this world. Their presence is definitely felt everywhere they appear.
The other side of this conflict is shown to us in the Operation: Rising Spirit’s field team, The H.A.R.D. Corps. They are black-ops, super-powered countermeasure to Harada’s world plans. It’s fascinating to see how the world would react to a superpower threat with actual super powers. Doug Braithwaite`s art compliments the storytelling taking place in this storyline. For example, the harshness and intensity shines through the central character Gravedog`s actions. His actions both on the battlefield and behind closed doors make him captivating to watch. For a series of complete unknowns to a new Valiant Comics like me, it`s completely captivating storytelling.
I cannot recommend the Valiant Entertainment books enough. They really are a hotbed for comics done well month in and month out. Imperium #2 continues to build up this universe with uninhibited ambition and scope. There are moves within moves herein that are worth reading over and over just to imagine what will happen next. Read this.
Mr. Steele enjoys all things comics and imagination-based. Using his lifetime of comic-fu-dom for good, he imparts his knowledge for the universe to enjoy and for you, dear readers, to pass it on.
From Tony Jopia, the director of Deadtime and Crying Wolf, comes the ’80s inspired grisly British comic-horror Cute Little Buggers 3D.
We’ve been reporting on the film for quite some time now, and while a UK release is planned for June, there’s been no official update. Although, the first trailer has been release, and surprisingly doesn’t do anything to get us hyped. In fact, it’s basically a shot of a bunch of no-name cast and none of the “buggers”.
“Will you let them take our women? It’s Gremlins meets Hot Fuzz set in the English countryside. When hostile aliens crash land on local farmland the villagers at the summer ball get suspicious when young women start going missing. The villagers soon band together around our hero Melchoir (Kristofer Dayne) to fend off the invaders and bring back peace to the sleepy English countryside! B-movie laughs in this creature feature from director Tony Jopia.”
It stars Caroline Monroe, Joe Egan, Kristofer Dayne, Gary Martin, John R. Walker, Dani Thompson, Jess Jantschek, Samar Sarila, Jo Price, Sarah Bennett and Leslie Grantham.
Readers with a lot of expendable cash, get your credit card cleared for what could be the greatest horror collectible of all-time.
According to Figures.com, the Hollywood Collectibles Group (HCG) announced that will be releasing a 1:1 scale life-size statue of a Xenomorph Warrior as seen in James Cameron’s 1986 Aliens!
The piece will debut at San Diego Comic-Con this coming July.
Personally, I’d rather one from Ridley Scott’s Alien as you can see the skull through the Xeno’s head, which I always found to be the coolest Alien design feature. Either way I welcome the thought of waking up, turning the corner, and walking face-to-face into one of these monstrosities!