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Updated: 2 days 19 hours ago

Weaponized Graboids On the Attack In ‘Tremors: A Cold Day in Hell’ [Trailer]

Tue, 02/06/2018 - 17:00

While we wait for the “Tremors” television series to get off the ground, Universal Home Entertainment is moving forward with the newly minted sequel Tremors: A Cold Day in Hell, the sixth film in the franchise directed by Don Michael Paul (Sniper: Legacy, Tremors 5: Bloodlines) from a script by John Whelpley (Tremors 5: Bloodlines, Dallas). It will be released May 1 on Blu-ray combo pack, DVD, Digital, and On Demand.

In the film, Burt Gummer (Michael Gross) and his son Travis Welker (Jamie Kennedy) find themselves up to their ears in Graboids and Ass-Blasters when they head to Canada to investigate a series of deadly giant-worm attacks. Arriving at a remote research facility in the artic tundra, Burt begins to suspect that Graboids are secretly being weaponized, but before he can prove his theory, he is sidelined by Graboid venom. With just 48 hours to live, the only hope is to create an antidote from fresh venom — but to do that, someone will have to figure out how to milk a Graboid!”

Here’s the trailer to go along with awesome artwork and several stills (via Fandom):

Categories: Horror News

Something Pretty Crazy Happens When You Sync ‘Cloverfield’ and ‘Cloverfield Paradox’

Tue, 02/06/2018 - 16:41

Knowing J.J. Abrams, we’re thinking this was probably intentional.

A good part of the fun of the Cloverfield movies is the fan theorizing that the ARG is very much designed to bring out, and you’d be hard pressed to find fans of any franchise that are more invested in their fav franchise than fans of all things Cloverfield. They’re borderline obsessive about the whole thing, and I know this because I am one of them.

It’s this wonderful obsession that resulted in Reddit user DubC-Ent discovering something mighty compelling about Cloverfield and The Cloverfield Paradox.

As we recently laid out with the help of a handy chart, the gist of the universe is that the events of the future-set Cloverfield Particle ripped holes in space-time, spilling out otherworldly monsters in different worlds and at different points in time. In other words, the Shepard directly caused the events of both Cloverfield and 10 Cloverfield Lane.

So what did DubC-Ent discover, you ask? Well, as it turns out, the Shepard opens up the dimension-hopping rift at 18 minutes, 20 seconds into The Cloverfield Paradox, which is exactly the same point in time that the monster begins his destruction in Cloverfield!

Explained by Reddit’s CamCam3947:

  • 18:20 in Paradox is when they run the Shepard and it causes the incident transporting them through dimensions
  • 18:20 in Cloverfield is when the first noises are heard and the lights go out at Rob’s party.

Yes, if you sync up Cloverfield and The Cloverfield Paradox, the movies interact with one another, highlighting that one film’s events directly cause the other’s!

Mind you, this *could* all be unintentional, but it’s a crazy little treat regardless…

There is a HUGE parallel between Cloverfield (2008) and Cloverfield paradox (2018) that occurs when watching both movies at the same time from r/Cloververse

Read comments please from r/Cloververse

Categories: Horror News

[Video] The ‘Leatherface’ Alternate Ending is WAY Nastier!

Tue, 02/06/2018 - 16:01

After spending a long time on a shelf, Alexandre Bustillo and Julien Maury’s Leatherface, a prequel to the original classic, was finally unleashed late last year. The film hit DVD and Blu-ray in December, and the discs were home to a handful of deleted scenes as well as an alternate ending that we wanted to shine the spotlight on today.

Reddit user Poland626 brought the alternate ending to our attention over the weekend, which is quite a bit darker and way more gruesome than the film’s actual ending. In the version I personally saw, Jedidah Saywer officially becomes Leatherface when he cuts a woman named Elizabeth’s head off with a chainsaw, turning her face into a mask.

In the alternate ending, however, Jedidah takes things one step further.

Rather than cutting off Elizabeth’s head, the young Leatherface cuts off the bottom half of her face, which he uses to complete his very first skin mask. We then realize that Elizabeth has actually been kept alive, at least for the time being; half of her face is missing, a giant wound has been cut into her leg, and she’s dangling from a meat hook.

This darker version of events can be watched below. Must note that the audio is weirdly from the film’s other ending, but what really matters here are the visuals anyway.

Categories: Horror News

[Trailer] AMC Series “James Cameron’s Story of Science Fiction” Arrives in April

Tue, 02/06/2018 - 15:19

Originally announced last year, AMC’s “Visionaries” series will provide multi-part looks at the histories of specific genres, and first up in the series is “James Cameron’s Story of Science Fiction,which will be premiering on the network April 30 at 10/9c.

“From the acclaimed filmmaker behind legendary sci-fi films The Terminator, Aliens, The Abyss, Terminator 2: Judgment Day and Avatar, this documentary series explores the evolution of sci-fi from its origins as a small genre with a cult following to the blockbuster pop-cultural phenomenon we know today.”

“In each episode, James Cameron introduces one of the “Big Questions” that humankind has contemplated throughout the ages and reaches back into sci-fi’s past to better understand how our favorite films, TV shows, books, and video games were born. Cameron and his contemporaries – Steven Spielberg, George Lucas, Ridley Scott, Arnold Schwarzenegger, Christopher Nolan and many more who have helped fuel sci-fi’s spectacular growth over the last several decades – debate the merits, meanings, and impacts of the films and novels that influenced them and discuss where the genre — and our species — might be going in the future.”

Check out a promo teaser for the series below and keep your eyes peeled for the Eli Roth-hosted “History of Horror,” also scheduled to arrive on AMC this year!

Categories: Horror News

[Review] ‘Victor Crowley’ Should Have Stayed Dead

Tue, 02/06/2018 - 15:07

Horror fans were irate when they learned that Kane Hodder had been replaced as Jason Voorhees in New Line Cinema’s Freddy vs. Jason (2003). Independent filmmaker Adam Green‘s response was to create his own throwback slasher and cast Hodder as the film’s iconic villain. Hatchet (2006) introduced Hodder’s Victor Crowley, the bayou-butcher who hacks up a group of tourists during a New Orleans haunted swamp tour. It hit the slasher sweet-spot, mixing innocent humor with incredibly well done over-the-top special effects. While Hatchet has since become an iconic franchise, none of the sequels have been able to recreate the magic of the first film. The latest, Victor Crowley, is easily the worst of the bunch.

Taking place a decade after the events in Hatchet, lone-survivor Andrew Yong (Parry Shen) has become a celebrity and best-selling author. The film, written and directed by Green, painstakingly follows Yong as he appears on a morning talk show, signs books for fans, and takes off on a private jet to return to the location of the infamous murders. You see, Yong has been offered a hilarious great sum of money to do an on-location interview…

Meanwhile, a film crew are working on their own film about the murders and are planning to shoot a trailer to show financiers. While location scouting, they perform the same voodoo curse that gave birth to Victor Crowley, which causes the plane to fall out of the sky and the bayou-butcher to return.

While Hatchet cruised along with frantic energy, Victor Crowley is painfully slow, with each and every pointless scene feeling as excruciating as a visit to the dentist. Green somehow hits rock bottom with Victor Crowley, digressing the franchise from a wickedly fun and inspired slasher to a Troma-esque dick joke. That’s not hyperbole as there’s literally a moment where a “fan” places his penis on a table and asks Yong to sign it (albeit, they don’t actually show it). A complete deviation from the spirit of the first Hatchet (imagine if the next Friday the 13th was all dick and fart jokes), most of the comedy is insufferable and juvenile.

Another crime is the underwhelming special effects that look astoundingly cheap, which may or may not have been because of Green’s decision to hang on every shot for way too long. And much like the film’s tone, the death sequences are another insult to Hatchet, shifting from dead-pan serious to goofy winks that are trying way too hard to be funny. In fact, even the finale is bogged down by a continual attempt at humor in which Green force-feeds jokes into a sequence where Crowley stands around waiting for something to happen.

Honestly, it’s a bit startling to see the digression from Hatchet to Victor Crowley. I think it’s fair to call this one of the worst sequels in a long time, if not one of the most disappointing. Victor Crowley should have stayed dead.

Categories: Horror News

“Fear the Walking Dead” Becomes a “Much Different Show” in Season 4

Tue, 02/06/2018 - 15:04

The fourth season of AMC’s “Fear the Walking Dead” will arrive on Sunday, April 15, and we can expect that it’ll be the most interesting season of the series to date. For starters, it’ll see the arrival of “The Walking Dead” character Morgan Jones, which immediately makes Season 4 a must-watch for all fans of this particular franchise.

With a new showrunner also on board for Season 4, “The Walking Dead” creator Robert Kirkman promises that some big time changes are coming this year.

I don’t want to spoil anything story-wise, but we are changing things a great deal,” Robert Kirkman tells EW. “It’s going to be a much different show that is not going to alienate any viewers that have been enjoying the show from season 1 to 3, but will give those people new things to love, and new characters to latch onto. It’s really going to shake things up.”

Kirkman also spoke specifically about Morgan crossing over.

When Scott [Gimple] suggested moving Morgan over, it seemed like a really great idea and a really cool way to bring things in,” he told the site. “I know the audience doesn’t really know exactly how that makes sense yet, or what’s actually coming of it. As the year progresses and you see exactly what it is, you’ll see that it’s going to be a really great story for Morgan that will give us a lot of cool insight into his character.”

“In Season 4, we will see the world of Madison Clark and her family through new eyes — the eyes of Morgan Jones, joining the story from the world of “The Walking Dead.” The characters’ immediate past mixes with an uncertain present of struggle and discovery as they meet new friends, foes, and threats. They fight for each other, against each other, and against a legion of the dead to somehow build an existence against the crushing pressure of lives coming apart. There will be darkness and light; terror and grace; the heroic, mercenary, and craven – all crashing together towards a new reality.”

Kim Dickens, Frank Dillane, Alycia Debnam-Carey, Colman Domingo and Danay Garcia are all back for “Fear the Walking Dead” Season 4.

Garret Dillahunt, Jenna Elfman, Maggie Grace, Evan Gamble and Kevin Zegers all join the cast this year, along with “The Walking Dead” star Lennie James as Morgan Jones.

Season 4 marks the departure of original showrunner Dave Erickson, with Andrew Chambliss and Ian Goldberg (“Once Upon a Time”) filling in, alongside Scott M. Gimple.

Categories: Horror News

Hilary Duff Playing Sharon Tate in Horror Film ‘The Haunting of Sharon Tate’

Tue, 02/06/2018 - 14:23

As always, there are a handful of Charles Manson-related projects in the works right now, with Quentin Tarantino working on a film that’s set during the time of the infamous Manson Family murders and American Psycho director Mary Harron set to direct Matt Smith as Manson in Charlie Says. Another project will focus on victim Sharon Tate.

Deadline reports that Hilary Duff has signed on to play Sharon Tate in Skyline’s The Haunting of Sharon Tate, described as a psychological horror film.

“The film, written and directed by Daniel Farrands, takes a look at the last days leading up to Tate’s murder from her point of view. The plot is inspired by an actual quote from Tate, from an interview published a year before her death, wherein she reveals having dreams about ghosts haunting her house and foreseeing her own death at the hands of a satanic cult.”

Lucas Jarach and Eric Brenner are producing, with Jim Jacobsen and Jorge Garcia Castro executive producing.

Categories: Horror News

Choke Down This ‘Channel Zero: Butcher’s Block’ Clip [Exclusive]

Tue, 02/06/2018 - 14:02

Syfy’s has served up an exclusive first clip from their Creepypasta-inspired “Channel Zero”, which continues with “Butcher’s Block” tomorrow night! One of the most disturbing shots in the trailer was when a young girl, in the middle of taking a bath, eats something both fleshy and disgusting. In this extended take, we can see that it’s way worse than initially shown as the “meat” she’s eating, well, it came from her…

Inspired by Kerry Hammond’s “Search and Rescue Woods” Creepypasta tale, “Butcher’s Block” tells the story of a young woman named Alice (It Follows‘s Olivia Luccardi) who moves to a new city and learns about a series of disappearances that may be connected to a baffling rumor about mysterious staircases in the city’s worst neighborhoods. With help from her sister, they discover that something is preying on the city’s residents.

Blade Runner and Hobo With a Shotgun‘s Rutger Hauer plays the lead villain, Joseph Peach, a 1950s meatpacking magnate who grew increasingly reclusive and then disappeared after his beloved daughters were murdered.

Serve or be served…

Categories: Horror News

Matt Smith Playing Charles Manson in ‘American Psycho’ Director’s ‘Charlie Says’

Tue, 02/06/2018 - 13:59

We told you just about one month ago that Matt Smith (“Doctor Who”) was in talks to play Charles Manson in a film being directed by Mary Harron (American Psycho), which was at the time titled The Family. Today brings confirmation that Smith has officially signed on, along with news of a title change.

Via THR, The Family is now titled Charlie Says, the plot focused on the three “Manson Family” women who were sentenced to death in Manson’s infamous murder case.

Suki Waterhouse has also joined the cast, along with Hannah Murray, Odessa Young, Marianne Rendon, Carla Gugino, Kaylie Carter and Merritt Wever.

“Charlie Says will focus on the three young women (Murray, Young and Rendon) who were sentenced to death following the infamous murder case of Manson (Smith). When the death penalty was lifted, their sentence became life imprisonment. One young graduate student, Karlene Faith (Wever), was sent in to teach them, and through her the film will follow their transformations as they face the reality of their horrific crimes.”

The script by Turner is based on Faith’s nonfiction book The Long Prison Journey of Leslie van Houten: Life Beyond The Cult and Ed Sanders’ controversial 1971 novel about the Manson Family murders, The Family.

Jeremy M. Rosen and Kevin Shulman are producing via their Roxwell Films banner, while David Hillary will executive produce alongside Dana Guerin and Michael Guerin.

Production is set start this Spring in Los Angeles.

Categories: Horror News

[Trailer] Nightmarish Game ‘The Peterson Case’ Set After Events of Roswell Crash

Tue, 02/06/2018 - 13:29

His name is Franklin Reinhardt. And this is the night he was taken.

What crashed in Roswell, New Mexico back in 1947? Was it merely a weather balloon, as we’ve been told, or was it an alien spacecraft, as theorists have led us to wonder? We may never know, but god damn is that the perfect set up for a creepy horror game.

The Peterson Case, a first person horror game that’s coming soon to PS4, Xbox and PC from Quarter Circle Games, uses the mysterious incident as its jumping off point.

You play as Detective Reinhardt as he unravels a terrifying mystery…

Set in 1947. In a location near the Roswell UFO incident. You will play as an experienced detective who has been called in to find information and clues about a missing family. Franklin soon discovers that there is an unearthly presence within the house that is hot on his tail – but can he solve the crime before it’s too late?

The Peterson Case promises to “strike the perfect balance between atmospheric horror, suspenseful narrative and engaging puzzles, taking the player through a unique experience which is rare within the horror genre.”

Check out the gameplay trailer below.

Categories: Horror News

Mr. Disgusting Picks the Best Horror Films of 2017!

Fri, 12/29/2017 - 16:01

*Keep up with our ongoing end of the year coverage here*

There is no question that 2017 was one of the best years ever for horror. Just a few years ago I was unhappy that The Babadook topped my best of the year list. It perfectly represented where horror was at the time, being that none of the films deserved the honor of “best of the year”. But then something happened – in 2015, there was an overload of independent films that made choosing a top ten immensely difficult. The momentum continued through 2016, setting the stage for what could easily be horror’s ultimate mic drop.

There’s panic across the board about getting people into theaters. The box office is shrinking. Studio tentpoles are failing. Yet, there stood several horror films that annihilated everything in their path. From Split to Get Out, Annabelle: Creation, and then IT, horror film after horror film continued to take the top spot at the box office, taking in hundreds of millions worldwide. Our genre is quite literally unstoppable right now.

They say when the world is in flames and there’s political turmoil, entertainment has the most to gain, especially horror. It’s pure and unadulterated escapism. People aren’t looking for superheroes to save them, they’re looking for the final girl to stab that bad mother fucker in the back. It’s the fantasy of self-induced power and the fight for survival. Horror movies give us the illusion of control when the world is coming for you, and there’s nothing more satisfying than standing up to life and kicking it right in the balls.

Horror does not discriminate. Horror is unity. Horror is for everyone. Horror is 2017.

Honorable Mention: Downrange (D. Ryuhei Kitamura; Eleven Arts)

Ryuhei Kitamura’s Downrange is quite simple, stranding a carpool of teenagers on the side of the road as an enigmatic sniper targets them one-by-one. The film is 100% pure rage, leaving brains splattered across the hot pavement, and murdering innocent children who accidentally end up at the wrong place at the wrong time. It’s about as mean-spirited as horror can get…and it’s glorious. While typically turned off by films this dark and unforgiving, Downrange is an uncomfortable and unapologetic breath of fresh air. It feels necessary. Horror has gone soft.

It’s also loaded with nonstop thrills that will have audiences on the edge of their seats until the shocking conclusion. It’s been awhile since we’ve seen anything with this much grit and guts, with Kitamura digging down deep to deliver a punch that’s going to knock audiences right on their asses.

Other Honorable Mentions:

  • mother! (D. Darren Aronofsky)
  • Split (D. M. Night Shyamalan)
  • Happy Death Day (D. Christopher Landon)
  • Wish Upon (D. John R. Leonetti)
  • Annabelle: Creation (D. David Sandberg)
10. The Killing of a Sacred Deer (D. Yorgos Lanthimos; A24)

Director Yorgos Lanthimos (The Lobster) reunites with Colin Farrell (In Bruges) in this frightening thriller about the sacrifices one man has to make in order to protect his family. While Farrell is always entertaining to watch, Barry Keoghan carries this Shakespearean nightmare on his shoulders. Keoghan plays a young boy who befriends a doctor (Farrell) who may or may not have killed his father in the operating room. He’s plotted his revenge. His performance is seductive, manipulative, and even more so unnerving when you find yourself wondering if a young boy is capable of such horrors. The movie is a high-strung slow burn that terrorizes the audience with agonizing tension that’s never released.

9. Pyewacket (D. Adam MacDonald; IFC Midnight)

One of the biggest surprises of the year was the Adam MacDonald‘s under-the-radar Pyewacket, a frightening coming-of-age slow burn that delivers brooding heavy metal horror. Beautifully shot with impressive performances all around, what’s great about Pyewacket is that it never overplays its hand. MacDonald is never trying too hard to shock the audience and is more determined to make his film believable than anything else. In that regard, he still delivers on his promise and offers up a shocking finale that’s equally crushing as it’s mortifying. Pyewacket is a surprisingly simple movie, but it’s incredibly well made and entertains with the best of them. It’s brooding tension will get under your skin and leave you thinking about it for days after.

8. Tragedy Girls (D. Tyler MacIntyre; Gunpowder & Sky)

Tyler MacIntyre’s Tragedy Girls, powered by Alexandra Shipp and Brianna Hildebrand‘s performances, is fiercely entertaining. Boasted as a “new spin on the slasher genre,” the film delivers on this promise, approaching the killing from a different perspective. While the film is lightning fun, the deaths within it are brutal, Final Destination brutal, directed and edited with precision for maximum impact that surely will have audiences roaring in delight. Tragedy Girls is sweet and salty, the perfect mix of horror and comedy that surely will have you clicking the “heart” button over and over.

7. Brawl in Cell Block 99 (D. S. Craig Zahler; RLJE)

While this isn’t the best genre film of the year, it may very well be my favorite. I couldn’t tell you the last time I obsessed over a movie as much as Brawl in Cell Block 99, which stars a badass Vince Vaughn as a man who must fight his way through several prisons in order to save his wife (Jennifer Carpenter), and the baby inside her. The stakes are off-the-charts high as director S. Craig Zahler threatens the life of an unborn baby, setting the stage for Vaughn to go full Wolverine, brutally annihilating everyone in his path. The best way to describe the film is “Tarantino-lite”, told in a pulp-y, over-the-top manner that results in excessive (unrealistic) gore and ultra-violence. The practical special effects are weird and unnerving, tapping into old-school horror, turning Cell Block 99 into a massive bloodbath. I’m obsessed with this authentic cult midnight movie that’s more fun than anything else you’ll see all year.

6. Raw (D. Julia Ducournau; Focus World)

Garance Marillier delivers a powerhouse of a performance, playing a young vegan girl entering her first year of veterinarian school. There, she reconnects with her older sister, while battling new feelings, emotions, and urges in this coming-of-age horror film that can only be likened to Ginger Snaps.

Julia Ducournau’s film is as riveting as it is tense, chewing on complex issues while also hammering the audience with fucked up sequences (one in particular nearly made me vomit). And as gross as Raw can get, the camerawork and cinematography together are masterful, delivering one of the most gorgeous horror films in years.

Up Next: My Top 5 Horror Films of the Year

Categories: Horror News

Skeletor Was Inspired By a Real-life Corpse Inside a Carnival Haunt

Fri, 12/29/2017 - 14:54

While He-Man may be synonymous with Mattel’s Masters of the Universe, his arch nemesis may be even more popular.

Skeletor, the Lord of Destruction, made his first appearance as both toy and in comic form back in 1981. He was included in Mattel’s debut Masters of the Universe line before Filmation’s cartoon of the same name exploded the franchise’s popularity in 1983.

While Netflix is jam-packed with new holiday releases, one of the best is a docu-series “The Toys That Made Us”, which recounts the history of several major toy lines from the 1980s. The first half of season one takes us back to the beginning of He-Man and the Masters of the Universe with in-depth interviews with the creative forces behind the mega-franchise. While He-Man was created in response to market research (a disappointing fact that resulted in lightning in a bottle), his arch nemesis was inspired by a real-life carnival haunt.

Former Mattel artist and designer Mark Taylor recounts the backstory behind the creation of Skeletor, which stemmed back to a traumatizing event at a local carnival in which he was certain he saw a real-life corpse. In fact, 60 years later Taylor learned that his encounter at the Pike Amusement Park was in fact real.

“I knew that was a real person,” he explained. “Over 60 years later, I’m watching the Discovery Channel, it turns out he was a real guy and he was really at the Long Beach Pike! It confirmed all my suspicions!”

An article on Slate explained how the corpse ended up in a Long Beach attraction and it’s pretty interesting. The hanging corpse in question was once Elmer McCurdy, an outlaw who died in a gunfight with police 65 years before being found in the funhouse. In 1911, the mischief-making vagabond robbed a train near Okesa, Oklahoma, then took his spoils — $46 and two jugs of whisky — north, where he holed up in a barnyard on the Kansas border. Police pursued him and ended up killing him in a shootout among the hay.

Who knew that one day his corpse would not only inspire one of the greatest villains of all time, but also the legendary toy line that made us as kids? Catch the new series now streaming on Netflix.

Here’s a look at the first ever Skeletor action figure with comic book:

Categories: Horror News

The 5 Most Polarizing Horror Films of 2017

Fri, 12/29/2017 - 13:45

*Keep up with our ongoing end of the year coverage here*

No one said all movies had to be easy to watch. 2017 was a landmark year for the horror genre, filled with critical darlings (Get Out, It, Gerald’s Game, Raw) and box office winners (ItGet Out, Split, Annabelle: Creation). There were a handful of films, however, that proved to be more controversial. Loved by some and loathed by many (or vice versa), these films were truly love-it-or-hate-it experiences. In no particular order, these are the 5 most polarizing horror films of 2017. 

1. It Comes at Night

Plot  Secure within a desolate home as an unnatural threat terrorizes the world, a man (Joel Edgerton) has established a tenuous domestic order with his wife (Carmen Ejogo) and son (Kelvin Harrison Jr.). Then a desperate young family (Christopher Abbott, Riley Keough and Griffin Robert Faulkner) arrives seeking refuge.

CinemaScore – D

Rotten Tomatoes Score – 88%

MetaCritic Score – 78

Production Budget – $2,400,000

Box Office (Domestic) – $13,985,117

Box Office (Foreign) – $5,295,814

What Made It So Polarizing? – This is a classic case of mis-marketing. It Comes at Night was advertised as a horror movie about people locked in a house so as to protect themselves from whatever it is that comes at night. The movie is actually a slow burn paranoia drama with horror elements. If your movie title tells people that something comes at night and then the movie doesn’t tell you what that is, it’s not going to go over well. Of course, the “it” of the title is up to interpretation, but it isn’t a physical entity. It Comes at Night is essentially an arthouse film that was marketed as a mainstream horror film, and people felt cheated when they walked out of the theater. Make no mistake: it is a great film, but make sure you go in with your expectations in check.

2. mother!

Plot – Darren Aronofsky’s film follows a young woman (Jennifer Lawrence) whose tranquil life with her husband (Javier Bardem) at their country home is disrupted by the arrival of a mysterious couple (Michelle Pfeiffer and Ed Harris). Their personal family drama spills over into the house leading to the death of their son (Brian Gleeson) and a memorial service held at their house. After the guests leave, the couple who own the house end up at the center of a cult that turns their home into a warzone.

CinemaScore  – F

Rotten Tomatoes Score – 68%

MetaCritic Score – 74

Production Budget – $30,000,000

Box Office (Domestic) – $17,800,004

Box Office (Foreign) – $26,716,995

What Made It So Polarizing? – Much like It Comes at Night, Darren Aronofsky’s mother! was marketed as a home invasion-type horror film. Add to that the star power of Jennifer Lawrence, Javier Bardem, Michelle Pfeiffer (who is on a roll this year) and Ed Harris, and you’ve got a major box office draw of a film. Unfortunately, mother! is not an easy film to watch so extremely negative word of mouth caused the film to flop (domestically, anyway). While many of the events that take place in the film are horrifying, it’s not your average horror film. Essentially an allegory for the Bible (this is my favorite interpretation of the film’s plot), mother! is a film filled with random occurrences that Aronofsky offers no explanation for. Of course, if you buy into the aforementioned allegory then it all makes sense, but it appears that many viewers still weren’t fond of the film (hence that F CinemaScore). The final 20 minutes are filled to the brim with such grotesque imagery and brutal violence that many viewers expecting a more straightforward horror film may have found a bit too disturbing. Is it genius? Or is it pretentious dreck? That is up for you to decide, but there is no right or wrong answer.

3. The Killing of a Sacred Deer

Plot – A cardiac surgeon (Colin Farrell) secretly befriends a teenage boy (Barry Keoghan). He introduces the boy to his family (Nicole Kidman, Raffey Cassiddy and Sunny Suljic), who then fall mysteriously ill. The boy reveals that this is revenge for the doctor killing his father on the operating table three years earlier and it will only end with the death of a family member, a decision he must make.

CinemaScore – N/A

Rotten Tomatoes Score – 79%

MetaCritic Score – 73

Production Budget – N/A

Box Office (Domestic) – $2,141,430 (as of November 30, 2017)

Box Office (Foreign) – N/A

What Made It So Polarizing? – Probably the film’s lack of explanation and the overall surreality of the film. The world in Yorgos Lanthimos’ The Killing of a Sacred Deer is a peculiar one. The way the characters talk and react to things lead you to believe that this isn’t the “real” world, but rather one of Lanthimos’ design. This is apparently a trait from all of his films (The Killing of a Sacred Deer was my introduction to Lanthimos, so I can’t say for sure), but if you don’t know that going in then you may be taken aback. Also, no explanation is given for the seemingly supernatural events in the film. Things just…..happen. As mentioned above, audiences want to know why things are happening. If you don’t give them that, they will walk out frustrated. The film is splitting audiences right down the middle (even us at Bloody Disgusting were divided, as evidenced by my glowing review and Benedict Seal’s scathing one), but one thing it also does is demand discussion. Whether you love it or hate it, you will want to talk about it the second you walk out of the theater.

4. We Are the Flesh

Plot – After wandering a ruined city for years in search of food and shelter, two siblings (Mariía Evoli and Diego Gamaliel) find their way into one of the last remaining buildings. Inside, they find a man (Noé Hernández) who will make them a dangerous offer to survive the outside world.

CinemaScore – N/A

Rotten Tomatoes Score – 75%

MetaCritic Score – 62

Production Budget – N/A

Box Office (Domestic) – $8,438

Box Office (Foreign) – N/A

What Made It So Polarizing? – Besides the fact that it’s basically porn, Emiliano Rocha Minter’s debut feature We Are the Flesh (review) is quite possibly the most difficult film to digest this year. The film is primarily interested in breaking a plethora of societal taboos, including but not limited to incest, pornography the ingestion of period blood. It can’t be denied that Minter has filmmaking talent (sound design is one of the highlights here), but whether or not you like what he puts on screen is another matter entirely. We Are the Flesh will try your patience in a way almost no other film will.

5. Alien: Covenant

Plot – In Ridley Scott’s second Alien prequel, he crew of a colony ship, bound for a remote planet, discover an uncharted paradise with a threat beyond their imagination, and must attempt a harrowing escape.

CinemaScore – B

Rotten Tomatoes Score – 68%

MetaCritic Score  – 65

Budget – $97,000,000

Box Office (Domestic) – $74,262,031

Box Office (Foreign) – $166,483,733

What Made It So Polarizing? – This was a case of a film having an identity crisis. It was trying to please too many people at once. You see, after the mixed reaction to Prometheus, 20th Century Fox and Ridley Scott decided that the sequel (and Alien prequel) needed to feature more xenomorph action. That meant that much of what happens directly after Prometheus had to be abbreviated significantly. So basically an entire film (featuring Elizabeth Shaw’s journey to the engineers’ planet) was condensed into a quick 5-minute flashback sequence. This was both a huge disservice to the Shaw character as well as fans of Prometheus, because despite the mixed reception of Prometheus, it does have its fans. Had the remainder of the film been more original it might have had won over more people (I gave it a middling review), but even the xenomorph action is a retread of multiple moments from the previous Alien films (that underwhelming climax included). Still, Alien: Covenant did also have its fans. The problem Fox has now is that half of their audience wants to see a sequel more like Covenant, while the other half wants the series to go back to a style like Prometheus. They need to pick one route to go and commit to it.

Which films did you find to be the most polarizing of 2017? Let us know in the comments below!

Categories: Horror News

Dee Wallace Joins Indie ‘DEAD afterlife’

Fri, 12/29/2017 - 12:23

Horror legend Dee Wallace (E.T. The Extra-Terrestrial, Cujo) has joined the cast of DEAD afterlife, Bloody Disgusting learned.

She is joining an ensemble of horror icons including Michael Berryman (The Hills Have Eyes, Weird Science), Bill Moseley (The Devil’s Rejects, Texas Chainsaw Massacre 2), Kane Hodder (Friday the 13th, Hatchet), and Bill Oberst Jr. (Scream Queens, Criminal Minds).

Imagine watching your own funeral as a ghost and then the unthinkable happens, your undead body climbs out of your coffin and starts killing and eating your friends and family. Pharmaceutical Scientist, Donald Conlee faces this conundrum after he’s murdered and is administered his own “Awake”, super drug. His death was only the beginning of his problems. The Gatekeeper has given Donald a time limit to return his Zombie-self to the ground, or else his soul can never gain entrance into Heaven. To complicate matters, he finds out that his murderer is at the funeral and his girlfriend is in grave danger. How can a couple of disgruntle gravediggers and a hearse driver help Donald’s lost soul find the way? Or maybe the real question is how can the spirit world defeat the living dead?

Also starring are David Gere (Almost Mercy, The Find), Andy Gates (The Blessed Ones, Garden Party Massacre), David Vescio (Hick, Wolf Mother), Mindy Robinson (King of the Nerds, Check Point), WWE Hall of Fame wrestler Diamond Dallas Page (Devil’s Rejects, Snoop Dogg’s Hood of Horror), and introducing Professional Wrestling Legend, The Universal Hearthrob, Austin Idol (current manager of National Wrestling Alliance World Heavyweight Champion, Nick Aldis).

Artsploitation Film’s Michael Joy has written the script for DEAD afterlife described as Night of the Living Dead meets Heaven Can Wait.

Categories: Horror News

Meagan Shares Her Picks For 10 Best Horror Moments of 2017

Fri, 12/29/2017 - 12:01

*Keep up with our ongoing end of the year coverage here*

Horror has had a tremendous year, especially when it comes to box office success. While horror has always been a healthy, profitable genre of film, the massive box office victories from just Get Out and IT alone have really made the general public take notice. It’s not just the mainstream triumphs of horror that’s worth celebrating, but also the simple fact that 2017 ushered in a ridiculous amount of great horror movies. From major theatrical releases to smaller, independent offerings, 2017 has made it extremely difficult to narrow down the best horror films of the year. Instead, let’s look back at horror’s best moments of the year. Warning; there will be some spoilers, but I’ll keep them out of titles and images so you can skip them. From explosive scenes of brutality or overwhelming surprises of fan service, here are horror’s 10 best moments of 2017:

Split – The Final Scene

After a string of not so well received films, M. Night Shyamalan revitalized his career by teaming up with Blumhouse Productions, a production company with an uncanny ability to take a low budget horror film and make massive profits. This also happened to be the case with Split, released in January, a month known as a sort of wasteland for theatrical releases.  Casting James McAvoy as lead antagonist Kevin Wendell Crumb, a disturbed man suffering dissociative identity disorder with 23 distinct personalities, was a stroke of genius. McAvoy’s performance was worth the price of admission. But even if you were feeling lukewarm on the film, it was the final scene after the narrative wrapped that landed one of horror’s biggest surprises of the year: Bruce Willis reprising his role as David Dunn from Unbreakable.  Shyamalan just unleashed a secret sequel to his hit from 2000, and none of us knew until the final reel. Brilliant.

Get Out – The Police Lights

There are so many great moments in Jordan Peele’s directorial debut that it’s tough to hone in on just one. The imagery, the symbolism, and the amazing cast made for one of the year’s best films. Catherine Keener’s Missy sending Daniel Kaluuya’s Chris to the Sunken Place was a tough contender, as were any of Betty Gabriel’s scenes as the tortured Georgina. Throughout all of them, the audience remained in enraptured silence, a rarity for the theater-going experience these days. It wasn’t until Chris gained the upper hand over his treacherous girlfriend Rose (Allison Williams) that hope deflated the moment the police lights started flashing on the quiet road. That is, until Lil Rel Howery’s Rod emerges, along with the reveal that it wasn’t the police but a TSA patrol car. It was the moment the audience erupted in cheers, receiving the most cathartic ending possible for both viewers and Chris. It wasn’t Peele’s original ending, but I’m so glad this was the one he ultimately went with.

Better Watch Out – Home Aloned

Chris Peckover’s demented Christmas set home invasion film never takes the expected route, a sort of rarity in the sub-genre. In fact, there’s a point in the story where the entire set up, in which teen Ashley babysits 12-year old Luke only to find themselves victims of intruders, is completely yanked out from under the viewer. From there, it gets extremely dark and twisted. While Levi Miller and Olivia DeJonge’s performances as Luke and Ashley, respectively, would warrant them award nominations in any other context, it’s the scene in which the film Home Alone becomes a verb. Spoiler: The scene where Luke tries to demonstrate how Kevin McCallister’s booby trap involving a swinging paint can would really work in real life makes for one of the most shocking, memorably violent scenes of the year.

Cult of Chucky – That Exclusive Blu-ray Post Credit Scene

Don Mancini’s latest in the franchise dropped on Netflix in October, which is likely where most people caught up on what happened to Nica after the events of Curse of Chucky. The Netflix version still offered that fun reunion of sorts, bringing Nica, Chucky, Tiffany, and Andy Barclay together in one bold sequel. But watching it on Netflix meant missing out on a lot of great gore. Most importantly, it meant missing out on one of the biggest surprises of fan service of the year. The post credit scene, offered exclusively for home release, brought one more important franchise character back into the mix; Christine Elise’s Kyle from Child’s Play 2.When things seemed dire for Barclay, Kyle brought a thrilling beacon of light. The continuity is fantastic, but even more exciting is the prospect of seeing more of a beloved character I’d never thought I’d see again. Well done, Mancini.

Victor Crowley – Adam Green Pulls a Fast One

In August, a special anniversary screening was held to celebrate the 10th year of director Adam Green’s slasher Hatchet. The swamp-dwelling killer, played by fan favorite Kane Hodder, met his final end in Hatchet III, where Green announced he’d finished with this particular franchise, much to the dismay of a rather fervent fan base. Yet it was George A. Romero that convinced Green that Crowley wasn’t finished. Somehow, Green managed to pull off an incredibly difficult secret to maintain, working on a new sequel in the series. For the lucky fans that thought they were seeing an anniversary showing of the original Hatchet were the first to lay eyes on Victor Crowley, instead, with the cast and crew in attendance.  That no one knew or suspected the sequel was in the works made for one of the best, most memorable moments in horror this year.

IT – Rock Fight

There’s so much that made IT such a monstrous hit at the box office. Bill Skarsgard’s take on Pennywise surely inspired a new generation of coulrophobics, and the various ways in which It terrified its child prey was the stuff of nightmares. What really made Andy Muschietti’s adaptation of Stephen King’s beloved novel, though, were the Losers Club and the actors who portrayed them. While Pennywise handled all of the scares, it was the main core of kids that really made you care. So in a film full of standout, chilling scenes, it’s the rock-throwing showdown between Henry Bowers and his bully gang versus the Losers Club. Why? Not only is it ridiculously satisfying to see the group pay Bowers back, but it’s the first time the group becomes whole. It’s not only a major bonding incident, but a crucial practice run for working together to defeat Pennywise.

Annabelle: Creation – Setting up the True Dark Universe

This summer brought a prequel/sequel to less than well-received spinoff of The Conjuring, Annabelle. Luckily, with David F. Sandberg at the helm, this prequel far surpassed its predecessor in terms of quality, story, and scares. Oh, so many scares. As fun and as terrifying as this entry is, it’s the small scene where Sister Charlotte (Stephanie Sigman) shows Samuel (Anthony LaPaglia) a photo of her and her fellow nuns at her old convent. Samuel points out a fifth, creepy nun that Sister Charlotte hasn’t seen before. That nun, of course, is the very same one from The Conjuring 2, in a set up for the upcoming spinoff. This small nod is hugely significant, because this is the precise moment where it hits home that The Conjuring universe is the exact Marvel-like equivalent in horror that the Dark Universe was hoping to achieve, starting with The Mummy.

Gerald’s Game – That Cringe-Inducing Scene

Whether you loved or hated the epilogue at the end of Mike Flanagan’s adaptation of the “unfilmable” Stephen King novel, there’s no denying that you’ll ever forget that scene once you see it. There are a number of creepy moments, especially thanks to Carel Struycken’s Moonlight Man. But the scene that steals the entire show is that in which Carla Gugino’s Jesse uses broken glass to cut deep into her wrist, use her own blood to lubricate, and slowly pull her hand free from the handcuffs, skin and all. The slow, excruciating peeling of her skin, in a brutal de-gloving, was enough to cause actual fainting during its premiere at Fantastic Fest, in Austin, TX.

The Devil’s Candy – Jesse Takes Zooey to School

In a year of insane moments of gore and scares, the moment in which Jesse (Ethan Embry) drives his daughter Zooey (Kiara Glasco) to school, bonding over metal the entire way, seems like a rather bland scene. It is, and it isn’t. It doesn’t offer much in the way of anything remotely shocking, but it does manage to achieve something that most films don’t bother with much; character development. The relationship between father and daughter in director Sean Byrne’s highly anticipated follow up to The Loved Ones was so relatable and endearing that it made you completely invested in their plight. Jesse and Zooey bonding over a mutual love of heavy metal was affectious, but more importantly, it made the stakes extremely high.

Raw – Bikini Wax from Hell

Julia Ducournau delivered one powerhouse debut with her coming of age cannibal tale. Part body horror, part cannibal horror, and all parts awkward journey into self-discovery, Justine’s first semester in veterinary school is one I wouldn’t wish upon anyone. After breaking her lifelong vegetarianism in a hazing ritual, Justine’s hunger for meat becomes insatiable. But the most memorable moment in her story comes when her older sister Alexia attempts to give her a bikini wax. When the wax gets stuck on Justine’s skin, Alexia wants to try and cut it off with sharp scissors. Justine’s flight or fight kicks in, literally, knocking Alexia over, causing her to accidentally cut off her own finger in the process. Alexia faints at the sight. Justine does the proper thing by calling an ambulance, but then hunger takes over and poor Alexia is left without a finger to reattach at the hospital. It’s twisted and shocking, and handled with a wry sense of humor that makes this scene one for the ages.

Categories: Horror News

Sneaks at ‘Pacific Rim: Uprising’ and ‘Jurassic World: Fallen Kingdom’

Fri, 12/29/2017 - 11:41

Universal Pictures shared with Empire Magazine a new image from J. A. Bayona‘s (A Monster Calls) Jurassic World: Fallen Kingdom, in theaters June 22, 2018.

Chris Pratt and Bryce Dallas Howard are returning for the sequel, which also stars Jeff Goldblum, along with Justice Smith, James Cromwell, and Toby Jones.

“With all of the wonder, adventure and thrills synonymous with one of the most popular and successful franchises in cinema history, this all-new motion-picture event sees the return of favorite characters and dinosaurs—along with new breeds more awe-inspiring and terrifying than ever before.”

John Boyega stars as the son of Idris Elba’s Pacific Rim character in Steven S. DeKnight’s Pacific Rim Uprising, headed our way in early 2018.

In the sequel to Guillermo del Toro’s film, arriving March 23, 2018“The globe-spanning conflict between otherworldly monsters of mass destruction and the human-piloted super-machines built to vanquish them was only a prelude to the all-out assault on humanity in Pacific Rim Uprising.

John Boyega (Star Wars: The Force Awakens) stars as the rebellious Jake Pentecost, a once-promising Jaeger pilot whose legendary father gave his life to secure humanity’s victory against the monstrous “Kaiju.” Jake has since abandoned his training only to become caught up in a criminal underworld. But when an even more unstoppable threat is unleashed to tear through our cities and bring the world to its knees, he is given one last chance to live up to his father’s legacy by his estranged sister, Mako Mori (Rinko Kikuchi)—who is leading a brave new generation of pilots that have grown up in the shadow of war. As they seek justice for the fallen, their only hope is to unite together in a global uprising against the forces of extinction.

Jake is joined by gifted rival pilot Lambert (The Fate of the Furious‘ Scott Eastwood) and 15-year-old Jaeger hacker Amara (newcomer Cailee Spaeny), as the heroes of the PPDC become the only family he has left. Rising up to become the most powerful defense force to ever walk the earth, they will set course for a spectacular all-new adventure on a towering scale.”

Charlie Day, Burn Gorman, Jing Tian, Levi Meaden, and Adria Arjona also star.

Categories: Horror News

‘The New Mutants’ Are In Peril In Latest Photo

Fri, 12/29/2017 - 11:03

Director Josh Boone promised right out of the gate that The New Mutants was going to be a full-on horror movie, and the trailer indicated that he wasn’t lying about that.

In the film, “five young mutants, just discovering their abilities while held in a secret facility against their will, fight to escape their past sins and save themselves.”

USA Today shared a new image from the film that displays the cast of Henry Zaga as Roberto da Costa a.k.a Sunspot, a mutant with the ability to absorb and channel solar power; Blu Hunt as Danielle Moonstar, the Native American telepath also known as “Mirage”; Alice Braga as Dr. Cecilia Reyes, a medical doctor who has the ability to generate a protective bio-field around herself but also has more going on than she lets on; Anya Taylor-Joy as Illyana Rasputin, also known as Magik, who uses teleportation; Charlie Heaton as Sam Guthrie, a.k.a. Cannonball; and Maisie Williams as Rahne Sinclair, a.k.a. Wolfsbane, who can turn into a wolf.

Boone directed from a script he co-wrote with Knate Lee.

The New Mutants will arrive on April 13, 2018.

Categories: Horror News

Christina Hendricks Hears ‘Strangers’ At Her Door

Fri, 12/29/2017 - 10:58

Here’s a new sneak peak photo from Aviron Pictures’ The Strangers: Prey at Night, in theaters on March 9, 2018.

The franchise reboot of Bryan Bertino’s cult classic The Strangers follows the infamous slasher trio of Dollface, Pin-Up Girl, and the Man in the Mask as they stalk their victims in a mobile home park. The photo, courtesy of USA Today, shows the star of the hotly anticipated next installment, “Mad Men’s” Christina Hendricks.

Director Johannes Roberts (47 Meters Down) is proving to have a uniquely talented eye for staging cool sequences as The Strangers: Prey at Night looks downright entertaining, a complete juxtapose of Bertino’s predecessor.

In the film, “A family’s road trip takes a dangerous turn when they arrive at a secluded mobile home park to stay with some relatives and find it mysteriously deserted. Under the cover of darkness, three masked psychopaths pay them a visit to test the family’s every limit as they struggle to survive.”

Christina Hendricks, Bailee Madison, Lewis Pullman, and Martin Henderson star, with Emma Bellomy as DOLLFACE, Lea Enslin as PIN-UP GIRL, and Damian Maffei as the MAN IN THE MASK.

Johannes Roberts (47 Meters Down) directed. Bertino and Ben Ketai wrote the script.

Watch the first trailer here!

Categories: Horror News

New Shot of Helen Mirren As Sarah ‘Winchester’

Fri, 12/29/2017 - 10:53

From every room in the house…they’re watching you.

CBS Films is teasing next year’s slate with a new look at Winchester: The House That Ghosts Built, spooking theaters on February 2, 2018.

The image, from USA Today, displays Academy Award-winner Helen Mirren as firearm heiress Sarah Winchester. Based on a true story, Winchester spent decades using her fortune to expand upon her home, and no one is quite sure why. The most common belief? She was cursed by spirits who demanded she never stop building. Jason Clarke, Sarah Snook, and Angus Sampson also star.

[Related] I Toured the Legitimately Haunted 161-room Winchester House!

“On an isolated stretch of land 50 miles outside of San Francisco sits the most haunted house in the world. Built by Sarah Winchester, (Mirren) heiress to the Winchester fortune, it is a house that knows no end. Constructed in an incessant twenty-four hour a day, seven day a week mania for decades, it stands seven stories tall and contains hundreds of rooms. To the outsider, it looks like a monstrous monument to a disturbed woman’s madness. But Sarah is not building for herself, for her niece (Sarah Snook) or for the brilliant Doctor Eric Price (Clarke) whom she has summoned to the house. She is building a prison, an asylum for hundreds of vengeful ghosts, and the most terrifying among them have a score to settle with the Winchesters…”

Michael and Peter Spierig (Daybreakers, Predestination, SAW: Legacy) directed.

Check out the official trailer debut here.

Categories: Horror News

Jack Black Returning in ‘Goosebumps’ Sequel ‘Slappy’s Revenge’

Fri, 12/29/2017 - 10:44

We’re still not sure about the approach Sony is taking to next year’s sequel to Goosebumps, as we’ve heard they’re working two different scripts at this time – one that would bring Jack Black back as R.L. Stine, and another that reportedly would not feature Black’s return. With the news of a new October 12, 2018, release date, Deadline is also claiming that Black will be returning to sping a new tale… possibly Slappy’s Revenge.

Rob Lieber (Alexander and the Terrible, Horrible, No Good, Very Bad Day) was recently tapped to pen the script, with Ari Sandel (The Duff) attached to direct.

Shooting is to take place in Atlanta early next year.

The site notes that, on its new release date, Goosebumps 2 will compete against Lionsgate’s Hellfest and Universal’s men-on-the-moon biopic First Man. In addition, that’s Columbus Day weekend at the B.O.

Categories: Horror News