Huge Friday the 13th news this Wednesday morning as “Hannibal” screenwriter Nick Antosca will be penning the new incarnation for director David Bruckner, Platinum Dunes and Paramount Pictures!
The new Friday the 13th will not be found-footage, but could clear up some unanswered questions about Jason Voorhees’ mythology.
Previously, it had been reported that the new Friday the 13th could take place in the 1980′s. In a more recent article, Brad Fuller of Platinum Dunes talked about his hopes for expanding Jason’s mythos and also taking the franchise back to summer camp.
It’s already exciting that it’s to be helmed by Bruckner, best known for The Signal and for one of the more popular V/H/S segments, ‘Amateur Night’, but to get a solid screenwriter in Antosca is beyond exciting. “Hannibal” is one of the best genre network series ever, and took what could have been one of the worst ideas and turned it into a television revelation. I’m not exactly sure how much credit Antosca gets for “Hannibal”, but he’s part of a team that did something unique and special, which is all I want from the next Friday the 13th.
Michael Bay, Andrew Form and Brad Fuller of Platinum Dunes are producing.
Friday the 13th aims for release on May 13, 2016.
By Brady Steele / twitter: @mrbradysteele. This week’s episode did a few different things than previous ones. It showed how things can change and stay the same at the same time. There’s been a steady growth of people who want The Flash (Grant Gustin) gone, just like I remember in the comics. What’s interesting here is how they achieve the same thing but in a clever way for TV viewers to accept as TV-plausible.
The Flash / Barry Allen accidentally time travelled last week (Doh! I hate when that happens) and is now reliving the last day’s events. Having the knowledge and memories of how things turned out, Flash is determined to do things differently so there are happy endings all around. Nipping the Weather Wizard (Liam McIntyre) in the bud before he unleashes a tsunami is just the beginning of the changes Barry makes. There are more personal moments Barry tries to implement but things still don’t work out perfectly for him or his friends. Having prior knowledge doesn’t seem to be enough for what Barry wants to change.
It’s always stimulating to see how the show runners tackle time travel as a concept in this series. Comic book logic notwithstanding, it’s always a fun and tricky idea to play around with in any medium. Revelations from the last episode are reset and lives are saved which shocked viewers a week ago. Our villain-in-hiding, Dr. Harrison Wells / Reverse-Flash(Tom Cavanagh), continues to slyly manipulate people and events to achieve his goals.
It’s great to see that things are unravelling at a satisfying pace. My only hope is that they do not pull this time travel trick often. I understand that because Barry changed the sequence of events of the previous day. My concern is that if they use this plot device more that it will diminish the drama unfolding. If Flash can just run back in time and fix things, then nothing seem permanent which would be a shame.
The other cool moments of this week include the growing of the Rogues. Captain Cold (Wentworth Miller, Heatwave (Dominic Purcell) and now Golden Glider (Peyton List) all make their presence felt in a big way. The way Flash deals with them is truly refreshing for an action show: giving them a code of conduct. This is one of the key differences between The Flash’s enemies and other heroes. Yes, they’re all a little crazy BUT they operate like proper criminals, not just powered lunatics. The game is getting set up for hopefully a long, long time.
It all adds up to another thoroughly enjoyable installment of this series. Here’s hoping for more good stuff (and Grodd finally) next week.
SCORE: 8 / 10 BOLTS
Not one but two creature features came out this just past weekend: Zombeavers, about a bunch of zombified beavers attacking college kids on Spring Break, and Backcountry, about a camping couple being stalked by a bear. I’ve seen Zombeavers and I can tell you that it’s hilariously awesome. I’ll be seeking out Backcountry to watch very soon. Creature features are my favorite sub-genre of horror after slasher films (with my soft spot being for aquatic horror…I love those!), so I got to thinking about how creature features are pretty much the least-liked out of all horror genres (mostly thanks to Asylum films and SyFy Original Movies). After a rather extensive search through Wikipedia’s list of “Natural Horror” films (clearly, I’m very thorough with my research), I came across some that I’ve seen that I either a) completely forgot existed and remembered liking or b) really like and feel like I don’t see enough people talk about. Let’s see what made the cut!
I love when a motion poster actually does something other than make sounds. The new animated one-sheet for Terminator Genisys, in theaters July 1, 2015, is pretty badass, and explodes in an homage to T2‘s doomsday sequence.
“When John Connor (Jason Clarke), leader of the human resistance, sends Sgt. Kyle Reese (Jai Courtney) back to 1984 to protect Sarah Connor (Emilia Clarke) and safeguard the future, an unexpected turn of events creates a fractured timeline. Now, Sgt. Reese finds himself in a new and unfamiliar version of the past, where he is faced with unlikely allies, including the Guardian (Arnold Schwarzenegger), dangerous new enemies, and an unexpected new mission: To reset the future…“
Terminator Genisys is directed by Alan Taylor (Thor: Dark World) and is produced by David Ellison and Dana Goldberg of Skydance Productions. The screenplay is by Laeta Kalorgridis (Avatar) & Patrick Lussier (Drive Angry). The film also stars J. K. Simmons, Dayo Okeniyi, Matt Smith, Courtney B. Vance and Byung-Hun Lee.
I fell like we’ve been waiting for this movie forever. At first it sounded like Henry Hobson’s Maggie might be a joke- Schwarzenegger protecting his zombie daughter. Now after this first trailer, ain’t nobody laughing.
The tone is somber and solemn, with Schwarzenegger saying only a few lines. The quarantine premise sets it up for him to do some serious old-fashioned Arnie ass kicking, sure, but it seems to be taking that violence and its stakes very seriously. This looks like a dramatic turn for Schwarzenegger and it gets me all kinds of excited.
“A Midwestern farmer stays by the side of his beloved teenage daughter even as she slowly turns into a cannibalistic zombie, in this daring, genre-bending debut feature.”
The film also stars also stars Abigail Breslin, Joely Richardson, Laura Cayouette and J.D. Evermore.
Maggie will be making its world premiere at the Tribeca FilmFestival on April 22 and hits theaters and VOD on May 8.
It’s time for another announcement from horror fans’ favorite home video distributor, Scream! Factory. This May the cult hit from across the ocean, Gun Woman, will arrive to bring its bloody vengeance upon thee!
From The Press Release:
Brace yourself for a mind-blowing thriller that delivers high-octane action, blood-soaked violence and a riveting tale of revenge in equal measure. From director Kurando Mitsutake, who dazed genre fans with his Samurai Avenger: The Blind Wolf, comes GUN WOMAN, a dark postmodern film-noir starring Japanese gore queen Asami (The Machine Girl, Dead Sushi). Watch crazy meet crazier in this no-holds-barred revenge flick when GUN WOMAN arrives on Blu-ray™ and DVD on May 26, 2015 from SCREAM FACTORY™.
A brilliant doctor vows revenge on a crazy sadistic killer following the murder of his wife… and devises the perfect assassination plan by turning a young woman into the most lethal assassin the world has ever seen. This outrageous plan will unfold in the killer’s heavily fortified underground lair. The lethal assassin will be placed into a temporal state of death and send into the facility as a dead body… but when she wakes, it is everyone else in the compound who will be deprived of their lives.
But there is one catch. What will she use as a weapon? The staff of the underground facility is armed with weapons that have fingerprint authentication systems so it’s impossible for her to use their weapons. The doctor’s genius plan is to surgically hide the gun parts into the woman’s body, so she can rip off her stitches when she wakes, take out the parts, assemble the gun and become the ultimate Gun Woman.
- Audio Commentary with Writer/Director Kurando Mitsutake and Actress Asami (In Japanese with English subtitles)
- Audio Commentary with Writer/Director Kurando Mitsutake (In English)
- Theatrical Trailers
David Robert Mitchell’s It Follows has been a wild success, both critically and financially. It’s one of the best reviewed films of the year so far and on Friday the 13th earned $160,089 on only four screens. Now Radius has announced It Follows will be getting a wide release nationwide this Friday on 1,200 screens, confirming our exclusive scoop last week. The photography in this film is absolutely stunning, so you really will want to see it on the big screen. From the press release:
One of the best-reviewed films of the year will expand to 1,200 theaters on Friday. Bolstered by strong word of mouth and critical acclaim, audiences came in droves on opening weekend - Friday, 13th – earning the film $160,089 in just four locations for a per theater average of $40,022. IT FOLLOWS had the best limited opening for a horror film since PARANORMAL ACTVITY, boasting 94% on Rotten Tomatoes and garnering over $600,000 in box office to date. IT FOLLOWS was written and directed by David Robert Mitchell and features an up and coming ensemble cast that includes Maika Monroe (THE GUEST, THE 5th WAVE) in the lead role.
AMC’s Preacher series has added another lead actor: Joseph Gilgun. The British actor, best known overseas for his work on the series Misfits, has been cast as Cassidy, an Irish vampire who accompanies Preacher Jesse Custer as he embarks on a journey to literally find God.
According to Deadline, Jesse is described as:
…the most wild-ass, bestest “bro” you’d ever want to meet. He may be 100 years dead but no one’s more boisterously alive than Proinsias Cassidy. An incorrigible mischief-maker, Cassidy’s up for anything — joyriding, bungee-jumping, bank robbing, peyote dropping. He’s also a relentless conversationalist with opinions on everything from religion to politics to pop culture to theories on why people are better able to tolerate the odor of their own flatulence.
Sounds like someone I’d like to have a drink with.
Cassidy (who is amazing in This Is England) joins Ruth Negga (Tulip) in the cast. Will the next announcement be Preacher himself? I damn sure hope so.
On May 19th, the ever eccentric and wildly unpredictable rock band Faith No More will return with Sol Invictus, their first new studio album in 18 years. This announcement shocked and delighted the music community, surging a renewed interest in a band that once dominated headlines and commanded attention.
With this new album coming out, I wanted to look back at this band and recognize the important role they played for many listeners. This wasn’t just another band to enjoy for a while and then put to the side. No, Faith No More was something that always offered more and they should be recognized as such.
In order to demonstrate the importance of the band’s return with Sol Invictus, I’m going to focus specifically on their 1992 album Angel Dust. I’m doing this for a few reasons:
- It’s the first album where vocalist Mike Patton had a significant impact on the writing of the material. That’s why there’s a rather noticeable difference between the sound of The Real Thing and Angel Dust.
- It’s the last album that had guitarist Jim Martin, so there was still that sound that brought them acclaim and popularity.
- Because it’s a great fucking album.
Now, before I dive into the amazing qualities of Angel Dust, you’ve got to remember that The Real Thing was incredibly popular, reaching Platinum status in the US and selling over 4 million copies worldwide. This was the band that made a metal song wildly popular with “Epic” and they knew exactly what it took to make that kind of music, which they could’ve easily done again. Instead, they eschewed that path, creating what might be one of the best anti-sellout albums.
Angel Dust was an album that mystified yet delighted critics upon its release. Most hailed it as a wildly original and fascinating album, one that demanded focus and an open mind. Lyrically, musically, and visually, it was nothing that anyone expected.
If you look at the lyrics for Angel Dust, you’ll see that this is not your normal fare. They are poetic and are wasted on anyone who doesn’t take a closer look, belying the playful, carnivalesque nature of the music. They are often delivered with a Tom Waits-styled swagger, pouring forth with strange rhythms that are as unexpected as they are delightful.
Look for example at the opening track, “Land Of Sunshine”. It’s an amalgamation of Chinese fortune cookie fortunes and questions that are asked by the Church of Scientology. However, it fully embraces this nonsensical approach and instead twists and turns the lyrics into a scathing commentary on how happiness can only be found when properly “ordered”.
Vocalist Mike Patton has always been able to do unbelievable things with his voice and Faith No More never held him back from allowing him to showcase those talents. A stellar example would be “Smaller And Smaller”, where he chants almost like some Gregorian monk, hitting dissonant notes that manage to fit in perfectly. Suddenly, he is screaming like some horrific reptilian monster only to fall back to a growling rasp, a creature whispering and seducing from the shadows.
Musically, this album, like other releases, was all over the place. Each member contributed greatly to the overall sound, creating a landscape that never repeated itself, always offering something new and enrapturing. From the exciting chants in “Be Aggressive” to the gothic and sinister “Malpractice”, from the odd surfer rock ballad “RV” to the chaotic “Jizzlobber”, there is always something unique.
At the end of the day, Faith No More never really gave a shit what people thought about them and that’s precisely what made them so appealing. They did their own thing and it just so happened to resonate with enough people to make its mark.
Drummer Mike Bordin perhaps said it best, when he stated:
…we made our record, we produced it our way, we wrote our songs, we played them our way, it sounds like us. [Source]
After years away, with each member doing their own thing, they’re back with that same irreverent attitude. And in a society that’s so concerned and paranoid with what people think of them, this is the breath of fresh air that is desperately needed.
Be sure to pre-order Sol Invictus through Amazon.
Mulder and Scully are officially returning to television.
After months of will-they won’t-they, it’s been announced today that Fox has officially greenlit a new chapter of The X-Files. The six episode event will be directed by creator/executive producer Chris Carter and David Duchovny and Gillian Anderson are reprising their roles as Mulder and Scully.
The announcement was made today by Fox CEOs Dana Walden and Gary Newman. Production is set to begin this summer. Carter had this to say:
“Think of it as a 13-year commercial break. The good news is the world has only gotten that much stranger, a perfect time to tell these six stories.”
“We had the privilege of working with Chris on all nine seasons of THE X-FILES – one of the most rewarding creative experiences of our careers – and we couldn’t be more excited to explore that incredible world with him again,” remarked Newman and Walden. “THE X-FILES was not only a seminal show for both the studio and the network, it was a worldwide phenomenon that shaped pop culture – yet remained a true gem for the legions of fans who embraced it from the beginning. Few shows on television have drawn such dedicated fans as THE X-FILES, and we’re ecstatic to give them the next thrilling chapter of Mulder and Scully they’ve been waiting for.”
Ever since the Iron Curtain was lifted all those years ago, it’s scary hearing some of the stuff that went on in the Soviet States. I’m not talking about the regime (which was plenty scary), I’m talking about their own social incidents like serial killers: Anatoly Onoprienko, Gennady Mikhasevich, and of course, Andrei Chikatilo. Chikatilo, aka the Butcher of Rostov, was executed in 1994 after years of murdering and raping 52 women and children (though he claimed to have committed more than that). It’s always treading a fine line when you create and base a film on a person’s crimes, but Czech writer/director Petr Jákl has taken a swing with his film, Ghoul.
A trio of American documentarians with their local translator travel to a Ukranian village to shoot the first episode of a proposed documentary series on the cannibalism epidemic that swept through the country during the famine of 1932. Eventually, the group manages to interview a man named Boris Glaskov, who was convicted of killing a co-worker and eating him. Boris agrees to take the crew to the farmhouse where he committed the deed. Cameras are set up around the farmhouse to capture any creepy happenings. Boris suddenly disappears, and the group finds a strange carving of a pentagram/Ouija board on a table. After messing around with the board, the group unknowingly summons the spirit of Andrei Chikatilo, who begins possessing individual crewmembers, goading them into eating one another.
As you’ve probably guessed, the film borrows heavily from The Blair Witch Project, but there are attempts to try and carve out some creepy vibes, starting with the location photography. Jákl was able to film in a Ukrainian village, as well as grab some of the older locals for some of the “interviews”, which added to the feeling of authenticity. And while there are plenty of the predictable shaky-cam shots, there are also a couple of dynamic shots that director of photography Jan Šuster make count. I know, this flies in the face of the “found footage” motif, but we’re being honest here.
As far as the acting goes, Jennifer Armour stood out from the bunch. While she wasn’t obsessed with the documentary as Heather Donahue was in The Blair Witch (that position goes to Paul S. Tracey’s Ryan), having the most acting experience of the cast translated into one of the more convincing performances. On a whole, however, it was difficult to identify with the characters, as they spent more time bickering amongst themselves instead of using opportunities to escape their situation. Predictably, they end up paying for it, and we as the audience turn on them. Something I don’t think was intended.
You’re probably wondering how Chikatilo factors into this film. Frustratingly, it looks as if Jákl simply threw Chikatilo’s name into this along with several other ideas and put it up against a Blair Witch backdrop. Really, Chikatilo barely has any connection to the Ukrainian 1930′s famine other than being born in 1936. The film relies on nothing more than picking and choosing depending on the scene what it wants to use, and as a result there’s no cohesiveness. Further frustrating is the above-mentioned use of editing found footage from a variety of cameras, which defeats the entire idea of this being a documentary that was seemingly found in the Ukraine! Ghoul also falls back on the use of quick scares that do nothing to stimulate the tension, and off-screen violence that further betrays the whole use of cannibalism. Again, if you’re going to life ideas from anywhere and everywhere, use them and use them coherently!
Despite it being a hit in it’s native Czech Republic, Ghoul fails at being nothing more than a rip-off of the films that have come before it (and have done it MUCH better). The idea of using Andrei Chikatilo is wasted, lost in this mire of other wasted ideas that could’ve been used so much more effectively to create a creepy experience. You’d be better left to watching The Blair Witch Project again (how many times have I suggested that in the past when it comes to these types of films?). Or, if you’d keen on seeing a film with Andrei Chikatilo better utilized, go check out 2004′s Evilenko or wait for Daniel Espinosa’s Child 44.
Before the hit film starring Susan Sarandon and Tim Curry created a massive cult following in America, Richard O’Brien, an out of work actor in London, England, kept his hands busy by writing a rock musical. It was only supposed to be a way to pass the time, but after O’Brien played some of the songs he had written for his theater friend Jim Sharman, the two began to work on the play, it took on a life of its own, and that life strapped on platform heels and stomped its way across London’s stages. Starting at Royal Court’s Theatre Upstairs,”They Came From Denton High”, changed at the last minute to “The Rocky Horror Show”, went on to become the longest running stage production in history. On March 24th, 1974, the States were rocked by O’Brien and Sharman’s sexy, hysterical rock n roll party, as The Rocky Horror Show made its U.S. premiere at the Roxy on Sunset Blvd, and in 1975, the world was lucky enough to receive a feature film adaptation. The story, originally titled “Rocky Horroar”, that Richard O’Brien unleashed unto the world in 1973, may just seem like a simple spoof on the fun, delightfully strange nature of horror and sci-fi B-movies of the 1940s, but behind the charade of fishnets and nods to classic Universal monsters lies a greater motivation: the freedom of self-expression. In honor of the anniversary of America’s introduction to this fabulous play, let’s take a look back at the legacy of The Rocky Horror Picture Show.
Without a doubt, this musical is easily one of the most odd, other-wordly, hysterical tales ever put on film. Nods to films like Frankenstein, It Came From Outer Space, Forbidden Planet, The Mummy, Night of the Demon, King Kong, and more are scattered throughout the feature like shimmering bits of confetti in a floor show. When Brad and Janet’s car gets a flat tire and they are forced to walk through the rain seeking assistance, they spot a beacon of hope off in the distance. A tiny glow emitted from a gloomy castle seems like the answer to their prayers, but soon, they will find that it’s only the start of a frightening introduction into a dark world that squares like them have never dared venture. They begin to sing “There’s A Light (Over At the Frankenstein Place)”, a sweet song that shows just how naive they really are, and provides a hilarious spoof on the situation that has happened so many times in horror movies, when a young couple looks for help on a dark night and winds up walking right into the arms of their assassins. Later, one of the not-quite-human creatures in the castle brings a man in his laboratory, Rocky, to life. Little does Rocky know, he’s only been awoken from his deep slumber to play the part of a sex toy in Frank-N-Furter’s life, but he soon catches on, and takes off running, much to Rocky’s dismay as he chases Rocky around the lab screaming and stumbling in his six inch heels. This hilarious moment obviously parallels 1931’s Frankenstein, and offers up an amusing notion that perhaps Dr. Frankenstein only made his monster for pleasurable personal uses. To make it even funnier, O’Brien throws in homages to Charles Atlas and muscle men of the 1950s, making it clear that Frank-N-Furter’s type of man is one that can lift a barbell with ease. Of course, this film is as much a love letter to horror and sci-fi B-movies of the 1930, ’40s, and ’50s as it is poking fun at them. When O’Brien originally wrote the script, he simply included his interests, and threw in his wickedly splendid sense of humor for taste. However, whether intentional or not, in the end what he cooked up was an unprecedented, brilliant blending of genres that was ahead of its time, both for film and for society’s approved ideas of sexuality.
As said before, Frank-N-Furter brings Rocky to life in his laboratory in front of Brad, Janet, and all of the transexual transvestites from Transylvania. However, what makes this scene both ironic and a strong commentary on homosexuality and the perception of sexual orientation during the 1970s is the design of the set. The lab is a bright pink, round vessel, filled with a plethora of penis handles and levers, where a transvestite metaphorically gives birth to a man in a rainbow-colored tank, from whence he emerges, shows off his muscles, and proceeds to enter the bedroom with his new sire. Also, if you look at the attire, aside from Brad and Janet’s lack of clothing, Frank-N-Furter dons a green surgical apron with a pink triangle on it. During World War II, German Nazis identified homosexuals in their concentration camps by forcing them to wear a pink triangle, pointed downward. Later, gay men reclaimed this badge and made it their own by pointing it upward, as a symbol of gay pride. In the film, Frank can be seen sporting the pink triangle on his apron, pointing up. Also, to add to this theory, later when Doctor Scott enters the castle, Frank-N-Furter reveals not only a hatred for the man, but a secret that Scott is actually a German. Why would Frank have such an issue with Germans? Perhaps it’s because they were the ones that oppressed his people in such a cruel fashion many years prior. However, at the end of the day, I’d still argue that this film isn’t necessarily one big pro-gay film, but just a picture that urges people to accept themselves for who they are, and give others the same courtesy. Rocky Horror plays with sexuality, tests the limits of your tolerance, and doesn’t care much for being politically correct. Yes, it’s a silly film, but in the way that it deals with such out of the mainstream sexuality with such light heartedness, it says that it’s okay to have sexual preferences that might not be heterosexual. You should be who you want to be, sleep with whoever you desire, and never feel ashamed, because the only person who could be at fault in such a scenario is the person that tries to shame you.
Rocky Horror shoves you out of your comfort zone and forces you to explore yourself, and your sexuality, through shocking, provocative behavior that plays with your emotions and toys with your sense of normality. Do you find that you’re attracted to Frank? It’s okay! Believe it or not, lots of people are, as O’Brien admits in an interview years later. If you are surprised by how open you are to the unusual nature of this film, that just means that the feature is doing its job, because this isn’t a movie that you sit back and quietly observe. This is a film that reaches out and touch-a-touch-a-touch-a-touches you, and makes you question the limits of your morality, and forces you to expand your vision of the world, leaving you with a more open perspective, and a more light-hearted, honest acceptance of others. The Rocky Horror Picture Show lives on all these years later, both on stage and on film, sometimes combining both with midnight screenings and yelling, interactive audiences, because it’s wild, and fun, and welcoming. Rocky reaches out to the loner in you and offers you a crowd of misfit toys to hang with, especially at the midnight screenings, which offer a sense of community. As the years go by, the cult following only grows stronger, because back in 1973, Richard O’Brien wrote a revolutionary little story that unabashedly declares “I am” — a message that still holds an important place in society, even all of these years later.
Insidious 3 Set Visit
By Alyse Wax
Sequels get a bad rap. Not quite as bad as remakes (where the hatred is usually well-deserved) but it seems like people look down on sequels. And of course, the returns diminish as the sequels increase. Insidious seems to be one of the few franchises where the second one held up to the first, and after spending a day on the set of Insidious Chapter 3, I am excited that it looks like the tradition will continue.
Tucked into a dusty town far north of Hollywood, with nary a trendy cafe or boutique in sight, is the small cluster of soundstages that Insidious 3 has made its home. Quite a difference from Insidious 2, which filmed in the infamous (and some say haunted) Linda Vista Hospital. But once inside, we are transported into a new and disturbing vision of The Further.
Chapter 3 is set in 2008, making it a “prequel” to the original Insidious. But the Lambert family does not make an appearance in this film. “I didn’t think there was much left to tell with the Lambert family,” admits writer/director Leigh Whannell (who will also reprise his role of Specs). “I think it would have been weird for the trailer to be like, ‘They’re back. And they’re being haunted. Again.’ If you put Rose Byrne and Patrick Wilson in this movie, and a teacup moves, their response is ‘Oh shit, it’s a ghost again.’”
Unit publicist James Ferrera gives us a vague idea of the plot: “The protagonist is a young girl named Quinn who has just lost her mother. She has a brother and a father, and the whole family is feeling the loss. It particularly touches her. She is trying to communicate with her mother, and in doing so, she unwittingly disturbs something in The Further. That is what sets off the events of this film.”
“When we took [the Lamberts] out of the picture, I started thinking about what the connective tissue would be,” Whannell says. “If it is a new family, who would be familiar? And of course, Elise, Tucker and Specs came up. The thing is, James [Wan] and I wrote ourselves into a corner in that Elise dies in the first film! I really wanted Elise back, but I didn’t want to deal with ‘ghost Elise’ – I want her alive! So then I started thinking about an origin story for her, a prequel set before the first film.”
Whannell promises there will be “little strands” that connect Chapter 3 to the first Insidious film, but promises that audiences can walk into Chapter 3 and enjoy it without having seen the first two. “I liked that slate-wiping aspect of it, but I think there is room between this film and the first film [for more stories].”
Getting Whannell to direct Insidious Chapter 3 was not a slam dunk. “We were begging Leigh to direct it, but he just wanted to write the script,” states producer Jason Blum. “There was a two-minute window where I was like, ‘I don’t want to direct part three of anything,’” admits Whannell. “Not even The Godfather made a decent part three. But after that two-minute window passed, I told myself I was an idiot, that I have to do this. This was before I wrote it. Once I started to write it, I fell in love with it. I do remember saying, ‘I don’t know if I want someone else to fuck this up. I want to fuck it up!’”
Into The Further we go. The scene we watch them film today, as they enter the last week of principle photography, involves Lin Shaye, reprising her role of Elise, as she and Quinn (played by Stefanie Scott) race down a long, Gothic hallway as they try to escape the film’s demon. The demon is a horrific vision, even in person: he is skinny and bald and hunched, dressed in a filthy hospital gown and an ominous breathing apparatus. If he looks familiar, there is a good reason for that: “He is played by Michael MacKay, the guy from Seven, who played Sloth,” explains Whannell. “I remember saying to the casting agent, ‘I want him to look like the guy from Seven, who was tied to the bed. Sloth.’ So she got him! He looks exactly the same, but a little older. That guy plays our main villain! It’s awesome to have him, given that that character was such an inspiration for our villain’s look. Imagine if that character, Sloth, got up and was walking around.”
A walk through “Sloth’s” apartment is disgusting, to say the least. We are in the 1970s version of his apartment – I guess when he was a living, (barely) breathing person. The demon in his human life was very ill and a shut-in, as evidenced by mounds of prescription bottles, oxygen tanks, cigarettes, and multiple towers made of playing cards. Of course, there is a creepy doll in the demon’s living room, but what is even weirder are the stacks of photographs spilling out around the decrepit piano: closeup photos of other, equally-creepy dolls. A stack of “Wanted” posters are mixed in, but I cannot get close enough to see who is wanted, and what for. Judging by the police sketch, I have to believe it is a pedophile.
“The lights on the set are low and gloomy,” says Dermot Mulroney, who plays Quinn’s father. “I’m just doing a scene about breakfast, getting the kids off to school – and there is a guy sitting behind me, this demon, in full regalia, ready to go on to do his part. He’s just lurking in the corner.” That wasn’t the only time Whannell scared his cast – and they have William Friedkin to thank for that. “I used an airhorn once,” Whannell confesses. “This all comes from William Friedkin. Before I started shooting, I sent William Friedkin a Tweet, and asked for advice, and he said, ‘Let’s go out to lunch and talk about it.’ So I ended up going out to lunch with William Friedkin. It was surreal! I’ve never met the guy, and he barely says hello before he starts off by saying, ‘You’ve got to scare your actors for real. Every time someone jumps in The Exorcist, it was because I was just off-camera, firing a gun. That’s what you must do.’ I couldn’t do that, so the airhorn was the consolation prize.” Stefanie Scott, who has always wanted to do a horror film and was a fan of the Insidious franchise before signing on, admits that “Leigh scares the crap out of me every day.”
Insidious Chapter 3 is scheduled to hit theaters June 5, 2015.
Welcome to the horror comic of the week, if you only have cash to pick up one comic this week make it “Intersect” #5.
Intersect is Ray Fawkes’ strange surreal look at what it means to be “intersected.” It’s a twisted take on body horror brought to life beautifully with water colors. The narrative has been organically uncanny, it’s as if you’re lost in a fever dream and the only way out is to keep digging deeper. The beauty of the entire thing is the interlocking sexuality that comes with being immersed in the pages. There is something about being intersected that is impossible to resist, and a little hard to fathom. “Intersect” continually proves itself a worthy entry in the canon of Cronenbergian Body-horror, not by being a cheap imitation but by doing something dynamically different and insane.
Eric Switzer has continually raved about the book.
Issue #5 is the penultimate issue of the first arc, “The drumbeat of revelation sounds in cracking streets and splintering bone. All survivors move into their final position and the scorching, monstrous truth of all things is poised to be witnessed, but not before a vicious battle unfolds…”
Just as Chloë Sevigny joins “American Horror Story: Hotel”, filming has begun on her next film, Antibirth, which also stars Natasha Lyonne (“Orange Is the New Black”), Meg Tilly (The Big Chill), Mark Webber (Scott Pilgrim VS. The World), and Maxwell McCabe-Lokos (The Incredible Hulk).
Written and directed by Danny Perez, “In a desolate community full of drug-addled Marines and rumors of kidnapping, a wild-eyed stoner named Lou wakes up after a wild night of partying with symptoms of a strange illness and recurring visions as she struggles to get a grip on reality while stories of conspiracy spread.”
Filming takes place in Sudbury, Ontario.
Just the other week franchise star Jessica Lange exited the “American Horror Story” universe, leaving the reigns to the infamous Lady Gaga.
Now, with the fifth season in full swing at FX, co-creater Ryan Murphy has added Chloë Sevigny to the cast of “American Horror Story: Hotel”, returning this fall. Sevigny is a returning series regular, and recently starred in Netflix’s incredible new series, “Bloodline”.
Lady Gaga, Wes Bentley, Matt Bomer and Cheyenne Jackson have previously been cast.
We’ve been truth to figure out what “American Horror Story: Hotel” will be about. We came up with three theories, tagged here. Which do you think it is, if any?
In terms of Lange’s previous exit: “Yes, I’m done,” she told the PaleyFest audience. “We’ve had a great run here. I have absolutely loved doing these four characters that I’ve had the opportunity to play. In all the madness, I’ve loved the writers, my actors, Ryan and the whole, I mean, insanity of it, shooting here, shooting in New Orleans, the stories, everything.”
While this isn’t the first time we’ve been honored in such a way, both Tom and myself are elated to share Daniel Ponton’s new tattoo that gives homage to Bloody Disgusting!
We put our heart and soul into this website, and to know that we have fellow horror fans who would ink themselves with our logo for life is beyond humbling.
Ponton shared with us the following photo of the Bloody tat on his chest, courtesy of artist Mark Wright of Capital Tattoo in Silver Spring, Maryland.
We can’t express our gratitude enough, and can only hope that we make him proud to still have that tattoo when he turns 90…
Uncork’d Entertainment will release the applauded spookfest Evangeline, starring “The 100′s” Richard Harmon, on VOD May 8, 2015, and on DVD June 9, 2015.
“Evangeline Pullman (Kat de Lieva) has just escaped her sheltered upbringing to reinvent herself in college. As she begins to break out of her shell, she attracts the attention of a violent fraternity leader (Richard Harmon) and his two cohorts. Beaten and dumped in the woods to die, Evangeline finds herself trapped in a supernatural nightmare, and she must choose between vengeance and redemption.“
From director Karen Lam, Evangeline stars Kat de Lieva as the titular character with Richard Harmon (TV’s “The 100″) and David Lewis (Halloween Resurrection, Man of Steel).
“The Walking Dead’s” Jon Bernthal, Richard Armitage and Tom Holland have joined the cast of the Irish action-thriller Pilgrimage, which will be directed by Brendan Muldowney this spring in Ireland and Belgium, Bloody Disgusting learned.
“Set in 13th century Ireland, Pilgrimage follows a small group of monks as they undertake a treacherous pilgrimage to escort their monastery’s holiest relic to Rome. But, as the true material, political and religious significance of the relic is revealed, the group’s journey becomes increasingly fraught with danger. Ultimately, the faith that binds the men together threatens to be the very same thing that will tear them apart.”
The film was written by Jamie Hannigan and will be produced by Conor Barry and John Keville of Dublin-based production outfit Savage Productions and Benoit Roland of Wrong Men North. XYZ will executive produce.
The film is scheduled to commence production in April 2015 and shoot for over seven weeks on the West Coast of Ireland and the Ardennes Region of Belgium.