Work continues on the Halloween Complete Collection Blu-ray set, and promises many surprises.
Anchor Bay tells us that bonus features continue to be added on a daily basis, and an announcement is forthcoming outlining all the great newly produced interviews, featurettes, behind-the-scenes footage and more that will be included in the 15-disc Deluxe Edition.
As a teaser, check out this behind-the-scenes photo of the actress who helped launched the historic franchise — Jamie Lee Curtis, as she sat down with Halloween H20 director Steve Miner, right, and moderator Sean Clark, center, for a new commentary track and interview that you’ll hear and see starting September 23rd!
Get the full skinny announced thus far on the massive box set by clicking here.
Just about a month ago, I posted an article about an album called Black Ice, which took ice-themed video game levels and gave them a black metal twist. That album was released by guitarist Ryan Postlethwait, who is a member of the instrumental-metal-video-game-remix (whew!) band Viking Guitar Live, who just released their new album Legion this past week. The album features covers of tracks from games such as Castlevania IV, Secret Of Mana, Blaster Master, and more!
You can listen to the album below as watch their full live performance at this year’s MAGFest XII.
Check out the above first image of Joan Allen, who guest stars as Colonel Margaret Rayne, the headmaster of an all-boys military academy, from the upcoming season of “The Killing,” which premieres exclusively on Netflix on August 1. We also have the series’ teaser poster that says that the past can’t be washed away. This long-standing investigation is about to come to a close.
Joel Kinnaman will return for a final season, along with his partner, Sarah Linden (Mireille Enos).
In the slow-burn series, “A police investigation, the saga of a grieving family, and a Seattle mayoral campaign all interlock after the body of 17-year-old Rosie Larsen is found in the trunk of a submerged car.“
Photo Credit: Carole Segal for Netflix.
Releasing via Picturehouse this September, we somehow missed the fantastic 1980′s-inspired Sundance Festival posters for The Guest (read our review), from the visionary team behind You’re Next: director Adam Wingard, writer Simon Barrett and Snoot Entertainment’s Keith Calder and Jessica Calder.
From the director and writer of V/H/S and V/H/S/2, “The film tells the story of a young soldier who arrives on the doorstep of the Peterson family, claiming to be a good friend of their beloved son who died in action. The Petersons welcome David into their home and into their lives, but when people start mysteriously dying in town, mayhem ensues as their teenage daughter Anna starts wondering if David is responsible.“
The Guest stars Dan Stevens of “Downton Abbey” fame, Maika Monroe, Brendan Meyer, Sheila Kelley, Leland Orser, and Lance Reddick (“American Horror Story” and “Intelligence”).
Spanish genre director Alex de la Iglesia (The Day of the Beast, The Last Circus, The Oxford Murders) has produced Juanfer Andrés and Esteban Roel’s hotly anticipated Shrew’s Nest, with make-up effects being done by Pan’s Labyrinth veteran Pepe Quetglas.
The pic stars Macarena Gomez (Sexy Killer, Witching & Bitching), Nadia de Santiago (Niños Robados), Luis Tosar (Sleep Tight, Cell 211) and Hugo Silva (Witching & Bitching).
Thanks to Fabien M., Bloody now has the Cannes sales trailer that both crazy violent and super intense!
“Spain, the 1950s. Montse is no longer a young woman. She lost the blush of youth caring for her little sister, holed up in a sinister apartment in downtown Madrid.
Their mother died giving birth to the little one and their father couldn’t handle it. He fled like a coward and left the girls alone. Forced to be father, mother and big sister, Montse hid away from life inside those four walls, feeding her obsessive and unbalanced temperament. She suffers from agoraphobia and cannot take a single step outside the house. Not understanding what is happening to her and the suffering that this strange disease causes her makes her take shelter within a world of Our Fathers and Holy Marys.
Montse works as a seamstress and her only link to reality is her sister, a girl who will soon no longer be a girl. One day, the chain is broken when Carlos (HUGO SILVA), an irresponsible young neighbor, is misfortunate enough to stumble down the stairwell and looks for help at the only door he was able to drag himself to.
Montse takes him in.
Someone has entered the shrew’s nest.
…Perhaps he’ll never leave.”
This is news to me. Not just that “Constantine” quit smoking, but that he smoked in the first place since I’ve never seen the movie or read the comics. Yet, the upcoming NBC/Warner Bros. adaptation of the DC Comics character appears to have cut one of his most defining character traits.
Collider caught up with Neil Marshall (Dog Soldiers, The Descent), who directed the pilot, and he said in no uncertain terms that the smoking had to go. “No we’re not. It’s the one thing, a compromise I guess. On network it’s the one thing you can’t smoke on network. That’s one of his character traits. We’re working around that. We’re trying to get aspects of it in there as much as possible. We’ll see.”
The shot, set to premiere October 24, is “about occult master and demon hunter John Constantine, who is tasked with defending humanity from the forces of evil.” Matt Ryan, Harold Perrineau Jr., Lucy Griffiths and Charles Halford star. Daniel Cerone and David S. Goyer exec produce.
The critically acclaimed 2009 documentary Cropsey effectively mixed urban legend and true crime to tell the history of a Staten Island boogeyman who allegedly abducted children. Filmmaker Joshua Zeman rolls with the same format of how the dark histories behind cities can spawn urban legends in his new documentary Killer Legends, which aired as a special on the Chiller network. Did you know that Chicago is the hub of killer clown mythos? Me neither.
This time Zeman takes a look at four urban legends and broadens out to show how these cautionary tales spread across the U.S. and beyond. Along with his fellow researcher Rachel Mills, Zeman connects the true crime histories of the urban legends of the Hookman, the Candy Man, the Baby-Sitter murders, and the Killer Clown. It’s a deeply interesting and sometimes gruesome look at these well-known urban legends, though sometimes I was bugged by how much Zeman and Mills inserted themselves into the documentary. Like Michael Moore and Morgan Spurlock, they feel the need to make themselves part of the story.
Killer Legends combines interviews, archival news footage, crime scene photos, and more to provide a wealth of history on its subjects. Clips from films inspired by the urban legends are also thrown in to add some context on their influence (Candyman, When a Stranger Calls, Urban Legend [duh]). The Town That Dreaded Sundown gets a lot of play, since it’s based on a real life series of unsolved murders that occurred in Texarkana, Texas in 1946.
That film works as a great springboard to show how the truth can be altered to form a universally shared urban legend. Typically these legends are embellished to serve as a cautionary tale for horny teens and anyone who dares talk to strangers. Zeman does a terrific job making his points and goes even deeper to look at how a community reeling from tragedy deals with it years down the road. What a lot of it boils down to is our need as a society to understand evil. They argue that’s why we have to put a name on these killers: “The Phantom Killer,” the “Halloween Sadist,” the “Moonlight Murders,” “Candy Man,” etc.
While many of the true crime aspects of the film look at one specific incident, such as a father who murders his son with a poisoned Pixie Stick, Zeman and Mills demonstrate how most urban legends are a culmination of crime, paranoia, and deep-seeded societal fears. They travel to the towns and cities where the tragedies took place, interviewing locals and going through case files. This is the aspect that kinda bothered me. It really turns me off when a documentarian inserts themselves into the film. It’s alright to a degree, but Zeman and Mills get a ton of screen time here. When they’re interviewing police or reporters or what have you, the camera constantly cuts back to them for a reaction shot. The stories are interesting enough without them. Some people might like this approach, but for me it’s a turnoff.
But besides that, Killer Legends is a wholly fascinating experience on a lot of levels. Even those familiar with the urban legends may come away with something new. I really hope this special leads to a regular series, if only Zeman will pull himself out of the frame for a while give the case experts some more time.
Killer Legends hits DVD on July 1.
It’s less than a year until Safety Not Guaranteed director Colin Trevorrow unleashes his (from what we’ve heard) bold new vision in Jurassic World. Today’s update is sort of a small one, but shows that the production still has some ways to go as it is still casting. James DuMont (Dallas Buyers Club) has joined the cast in an unspecified role, per THR.
In theaters June 12, 2015, this is a new sci-fi terror adventure set 22 years after the horrific events of the original Jurassic Park.
Chris Pratt, Bryce Dallas Howard, Ty Simpkins, Jake Johnson, Nick Robinson, Irrfan Khan, Vincent D’Onofrio, BD Wong, Omar Sy, Judy Greer, Katie McGrath, Lauren Lapkus and Andy Buckley all star.
In Bong Joon-ho’s highly anticipated Snowpiercer, the last fragments of humanity survive aboard a massive train that navigates the globe once a year. Outside the train, the world is an uninhabitable frozen wasteland following a botched attempt to lower the world’s average temperature in the face of global warming. Inside, a fragile socioeconomic system keeps the have-nots in the train’s dingy caboose, while the elite exist in luxury, spending their time in the train’s night club, aquarium, and other opulent cars. This recipe leads to a truly great, overtly political sci-fi film that feels like a summer blockbuster, but is just weird and visionary enough to transcend the season of big budget trash.
The titular train was created by a mysterious man named Wilford, a sort of neo-Marxist Wizard of Oz. The locomotive is Wilford’s self-sustaining empire, where society has essentially continued as it was pre-ice age. The train’s elite keep the have-nots in the rear under their thumb by controlling their resources, barely keeping them alive on “protein blocks” that resemble rotten Jell-o. They impose poverty and manipulate food supplies to ensure complete conformity is sustained. And Captain America ain’t having that.
Chris Evans plays Curtis, a have-not plotting a rebellion with his buddy Edgar (Jamie Bell). They’re counseled by Gilliam (John Hurt, who can still effortlessly steal a scene at 74-years-old). During the course of their rebellion, they’re joined by security expert Namgoong Minsoo (the great Song Kang-ho) and his daughter Yona (Ko Ah-sung), both drug addicts. While Wilford remains behind the curtain, his lead crony Mason makes sure that everyone “Keeps their place.” Mason is played by Tilda Swinton, who is damn near unrecognizable in the role. She’s clearly channeling Margaret Thatcher, whose moral compass always seemed to be on the fritz. With her teeth, her hair, her thick Yorkshire accent, Swinton gleefully transforms into what I’m certain will turn out to be one of the best villains of the year.
As grand as her performance is, Swinton does come dangerously close to going over-the-top. She balances the absurd elements nicely though and the true excessiveness is left for Alison Pil, who plays a schoolteacher with a fondness for uzis and propaganda. The entire film, in fact, rests on this tenuous balance of ridiculous and solemn. As Curtis and his crew of revolutionaries push their way to the front of the train, they encounter an unpredictable series of baddies and obstacles, resulting in some gloriously staged fight sequences.
Snowpiercer is all about momentum and Bong deftly maintains it, knowing when to keep the pace booming along and when to slow down the drama for maximum effect. The production design on this film is tremendous, so during these moments when Bong hits the brakes a little, there’s a lot to soak in. It’s wise to slow down the action at times as well because Snowpiercer is filled with shocking revelations and twists the audience is going to want to thoroughly digest.
At its best, science fiction addresses the problems of today and that’s exactly what Bong’s film does. It can feel heavy-handed at times, but there’s a thoughtfulness and sincere anger at Snowpiercer‘s heart that makes it an intoxicating blend of class violence and big ideas. And like the contemporary issues in our society, the film offers up no simple solutions, just more troubling questions.
Just a year after my first visit to the set of “Hemlock Grove” I touch down in Toronto to check out progress on the successful Netflix horror show’s second season. I figure it will basically be the same trip, but as I get in the van to take me into town I realize that nothing is the same. In December of 2012 we were staying an hour outside of the city in the middle of nowhere, now we’re put up right in the middle of the city. Production has moved from the small town of Oshawa to a studio in the city proper.
That’s not the only thing that’s changed. In fact, aside from the core cast and the general vibe of the show, everything has shifted somewhat. Of course, “Hemlock Grove” will still be very recognizable to fans of the property. The titular town is as weird as ever. The White Tower still looms over everything with nefarious mysteries lurking inside. Peter (Landon Liboiron), Roman (Bill Skarsgård), Olivia (Famke Janssen), Norman (Dougray Scott), Dr. Pryce (Joel de la Fuente) and the other denizens are still around, even if some alliances have died while others were forged.
But the people behind the curtain are different and thus, almost everything else is. That’s the central takeaway here – everything is not exactly as it was, and people who may not have loved the show’s first season are encouraged to come back and see if this suits them a bit better (I, for one, am encouraged). Author/creator Brian McGreevy and showrunner Lee Shipman are off to other endeavors and have been replaced with a whole new team. The new showrunner is Charles “Chic” Eglee (“Dexter”, “The Shield”) and accompanying him are a cadre of new writers. Season 1 fans aren’t getting left out in the cold, but things might be a bit more inclusive for people who like a more propulsive narrative with their atmosphere.
Bill Skarsgård gives a frank rundown on the changes. “Season 2 became something where they brought in all of these new people. So there was an adjustment period when we started when you’re like, “okay so these are your ideas and this is what we’re doing.” But after one or two episodes I was completely in with this new trajectory of the show. It’s been cool and we’ve had amazing directors this year too that come from feature films and music videos so it’s really visual. People that aren’t used to doing television… from what I’ve seen of the show this year, it looks really cool. At least visually. It’s quite a striking show this year and I can’t wait for it to come out.”
That’s not the only thing that’s changed for Skarsgård or his character, Roman. He’s moved out of Olivia’s stately home and into swank, modern new digs. We take a tour of his apartment, which is dominated by browns, blacks and a sparse decor. Sleek art. The bedroom of a true bachelor. Given Roman’s new Upir status I wonder about the jar full of sprouted garlic in the kitchen. Skarsgård says it doesn’t actually come into play, “No, I just saw that the other day!”
Olivia has also moved out of her old, stately home and has taken up residency in a smaller cottage. Famke Janssen explains that, “what happened to me at the end of last season. It didn’t end very well, I wasn’t in the best of shape so I needed to do some rehabilitation to come back to a more vibrant version of myself. So that took moving to another place for a temporary – a temporary move to another environment.” She’s also pining for her son, despite the fact that Roman wants nothing to do with her. She’s very upset. “I mean, she’s been a terrible mother but that doesn’t mean she doesn’t want to be a better one in the future.”
Landon Liboiron’s Peter Rumancek’s living situation hasn’t changed much. We walk through the set embodying the house where he’s staying with his cousin and it’s dank, dark and very “gypsy.” There is some warmth to it here, as the set designers have successfully indicated that poverty doesn’t necessarily smother the soul. Though it’s not like Peter even wants to be back in town at all. Liboiron explains, “ The main thing that brought him back was a situation with his Mom. He basically had no choice. It was kind of a life and death decision to come back. There’s also a force unbeknownst to him that keeps pulling him back.”
Though, when it comes to Peter, we know what you gorehounds are really thinking. Are they trying to top that amazing werewolf transformation from last year? “Oh yeah. If they used a slingshot last year they’re using a catapult this year. They really amped up the fun stuff.”
Visual effect artist Matt Whelan elaborates, “Last year was a really good example of things people haven’t seen before, specifically the idea of eating the skin and the transformation being cyclical. That lore has been worked out even a bit further and investigated in ways people won’t be used to seeing. I think in terms of visual effects and practical effects, it’s still the same kind of gags we’ve pulled but because of the freedom to do things a little cheaper and a little faster we’ve been able to do it in slightly more creative ways.” Even more encouraging? Their touchstone is (very rightfully) An American Werewolf In London, and they recognize it will take a lot of work to top it.
Werewolves aren’t the only creatures or effects in Hemlock Grove, where both CG and good old fashioned practical applications intermingle to create a disturbing array of stuff (what looks like a large hairy tumor about the size of my head sits next to my can of orange juice at the roundtable). Effects artist Patrick Baxter explains this thing that’s making lunch so difficult to eat, “Those two items actually have bladders and pulsate and do more than just sit there statically and be kind of gross.”
Throughout the day we move in shifts, rotating from interviews to trips down to set. Space is tight so journalists are split into separate teams to observe shooting. One of the most impressive spaces is the interior of the White Tower. Roman is now in charge of the Godfrey Institute, with an office at the top of the tower just underneath its large sign. The office, like his new apartment, is opulent yet somehow spartan. It’s only when we get into the bowels of the building (in reality, just a few steps away) that things get super duper creepy.
But before we get there we start to wonder what it’s like being a new captain on a (slightly) older ship. To that degree we grill new showrunner Charles “Chic” Eglee. Are these changes in part due to some of the reaction towards the first season? “ Well I have kind of made it a point in my career to not really follow what people are writing about your show. Because if you read the good reviews to feel good about yourself, then you’re obliged to read the bad reviews and feel miserable about yourself and contemplate suicide. So I honestly was aware of kind of a zeitgeisty reaction to the show last season, but it didn’t really inform what we did this season. We took the opportunities that were presented by last season and then let the story go where it took us and where it took the writer’s room.”
Eglee is also unmoored from fidelity towards McGreevy’s book. “I haven’t read Brian’s book. I look forward to it at some point, but after I finish working on the show. When I was running “Dexter” I came onto the show at a point when they had exhausted the underlying material. They had finished the first book. And I remember somebody, one of the higher-ups from somewhere, saying “oh my God! What are we going to do? We’re out of story!” And it was just the most perplexing thing in the world for me to hear that. We’ll do what every storyteller does, we’ll make shit up! The table was set last year by the novel and the show and we’ve taken that into the future.”
Perhaps most importantly, there’s a “Big Bad” this year to provide an additional narrative throughline. An antagonist whose season long arc conflicts with and threatens our protagonists (such as they are). “That’s a motor and an engine for the show. I think we derive [a sense of] event from that. There is a larger scope. Things certainly exist beyond the confines… everything takes place behind the proscenium of Hemlock Grove but there are larger forces impinging upon the place. A bit of the outside world is being invited in.” As far as what the “Big Bad” is, we’re not yet sure.
But there’s certainly some nefarious business going on. In the bowels of the White Tower he happen upon a lab where Dr. Pryce is doing some most unfortunate experiments. That pulsating tumor at lunch? Nothing compared to a flayed out screaming cat with thin tendrils (think slimy glass noodles or just look at the pic below) in open repose right before you.
It’s here, in a room like this, that we observe the final bit of the day’s shooting. Roman, in a hospital gown and hooked up to an IV drip, shuffles hurriedly to some type of machine. We don’t know why, but it seems urgent. He seems sick, in need. Then, he hooks a tube affixed to his stomach into the machine and receives, very much like a junkie, his fix. The blood.
I’m not sure what episode this footage is in, or what it leads up to. The show is in uncharted territory. As Skarsgård puts it, “ Last year we had the book. This year every episode has been completely brand new. Unless they tell us something, which they have done vaguely as we’re going along. I have some vague ideas about what’s going on. But I just read the last episode now and I was completely surprised.”
Hemlock Grove Season 2 debuts on Netflix on Friday, July 11th. Even if you’ve seen the first season, you might be completely surprised as well.
I first heard of “rapper” Froggy Fresh on the Comedy Central show Tosh.0. I thought it was a joke then and dismissed it entirely from my mind. Then, the other day, Bill popped a video on my Facebook wall of a song called “Halloween” and told me that I absolutely had to see it. Honestly, I could not have prepared myself for what I was about to see and, even though it came out 1.5 years ago, I have to share it with you. Hell, it’s got Michael Myers busting a move! That alone is worth it!
The keys to the finale dug out of Scott Gimple.
More fun from the Saturn Awards in California as “The Walking Dead” show runner Scott Gimple – who has been a writer on the series since season two – tells Collider that comic creator Robert Kirkman (thankfully) has an ending in mind for the long running series. One of my biggest issues is that it feels like the wheels just keep spinning instead of just working towards creating a perfect story arc (much like “Preacher” did). And while Kirkman would tell Gimple the end, he would rather experience it month-to-month through the comics.
I would say ‘Yes’ [there is an end-game]. I actually don’t like spoiling myself on the comic. I read it as I go. Robert’s offered to tell me the whole thing so I get general aspects of it. I know the emotional end game of the show but there’s practical aspects, I want to keep with the comic. With these characters, you definitely have to think of the emotional endgame and that is very much a part of where I’m headed. But I want to have the flexibility to change the practicals with the comic and I don’t want Robert to spoil the whole series for me.
Gimple also talked briefly about the forthcoming AMC spinoff, although he indicates that licensing rights could cause the two series to never cross paths.
I have little to do with the spinoff… This I do know. It’s set in the world of The Walking Dead but from what I understand, it’s not like Daryl’s cousin or anything… I would never say never [to a crossover between the shows] because if I was a viewer I would say that sounds awesome. But we’re doing our own show. I also think a crossover might be tough because it would take a lot of [license] within the comic story. We’ll see. When we get to all-out war, who knows? We’ll add another faction. It’ll be the Saviors and the Hilltop and the ‘Spin-offers’.
“The Walking Dead” returns this fall on AMC.
Some seriously big Halloween news was reported out of this past weekend’s Saturn Awards in California.
Collider caught up with Malek Akkad, who took over the family business and worked on the five most recent Michael Myers films.
The site covered a wide variety of topics and received very candid answers. The biggest news to break is that the upcoming Halloween box set will include the Producer’s Cut of Halloween 6: The Curse of Michael Myers!
“Yes. I can announce that on the box set we will have the Producer’s Cut, finally. […] It’s been around for so many years and people have bad bootlegs, so I’m really happy that we were able to get the right elements and put it all together. And it looks – the transfers great, the sound is great. I think fans are going to be really happy with it.“
He also talked a bit how they planned to continue the Thorn plot but Halloween H20 sent them down a new path.
“We did discuss continuing it and, what happened was, we were coming up to the twentieth anniversary and [The Curse of Michael Myers] wasn’t one of the bigger box office hits. So what the studio and I and my father, we got together and said, ‘Let’s do the twentieth anniversary.’ And the only way to do that properly was to get Jamie Lee [Curtis] back. So when you bring Jamie Lee back, it kind of leads to a whole different kind of storyline. It’s focused on the whole, Jamie Lee/Laurie Strode character. So, the Thorn thing faded away with that, but I think that was the right move because H20 was a great movie.”
The writer also talked a bit about Rob Zombie’s remake, and asked about a “rape scene in the hospital” that was deleted out of the final cut of the film.
“It was a bit graphic and we kind of wanted to ride that fine line that, the people that Michael kills, we want to feel for them. So, immediately, the two guys, when they’re… the rape scene. You wanted him to kill them, you start rooting for Michael to kill them. It was that fine line. We wanted it to still be scary and we wanted the kills to still be scary, not root for Michael. I think that was the thinking at the time.”
As for the now defunct Halloween 3D, which is being revived in some unknown capacity, Akkad reveals that they were two weeks away from shooting when The Weinstein Company pulled the plug!
“Todd Farmer and Patrick Lussier did a script. The next day after the last one came out, we were back in production for Halloween 3D. We were about two weeks from going down to Louisiana to shoot it and for whatever reason, the studio thought we were maybe moving a little bit too quickly. I disagree. I think we had a great script and a great team and it would have been a massive hit. But right now we’re currently working on a new script for Halloween 3, so it’s all in the works right now.”
Lastly, will the potential Halloween 3D follow the characters from the Zombie franchise?
“I can’t talk about it too much right now, but it will definitely keep elements and bring in new elements. But I really want to bring it back to kind of like, the classic – because the last one got a little dark – I want to bring it back to the classic Friday night horror film that people will really like.”
You can catch the entire video interview at the above link.
The problem with watching horror movies all the time is that they lose their effect, their impact to scare. I find myself watching horror movies not for scares (though I welcome them if they come) but rather to see if they have anything original to offer the genre, what kind of FX they use (hopefully practical), how the score interacts with the scenes, etc… I go for the entire package. I go because I want to see what a group of creative people can do when they work together towards a common goal.
But even with all of that being said, there are still some horror movies that, no matter how many times I watch them, I still tremble, quake, and cover my eyes. It is these films that have stayed with me the most for years upon years (well, some of them not quite that long). It is these films that I put on when I actually want to recall what it was like when I first started watching horror and actually feeling fear and dread.
So join me below as I go through a few films that still manage to terrify me. After that, leave a comment with the films that terrify you! I want to know which films get so under your skin that you either relish or abhor watching them again!
This movie always has and always will make me shake underneath the covers. Beautifully crafted with excellent music, killer sound design, and stellar acting, The Shining is one of those movies that makes me think, “Holy crap, this could actually happen…” And that’s why I love this movie and why it still scares me to this day, some 20 years after I first watched it.
Colin Trevorrow tweeted out a new behind-the-scenes image that proves there will be blood in Jurassic World, which voids my personal perception that this was going to be a straight-up family affair. Knowing there’s violence adds to the weight of the seriousness when said park is overrun by dinos. Color me excited.
In theaters June 12, 2015, this is a new sci-fi terror adventure set 22 years after the horrific events of the original Jurassic Park.
Chris Pratt, Bryce Dallas Howard, Ty Simpkins, Jake Johnson, Nick Robinson, Irrfan Khan, Vincent D’Onofrio, BD Wong, Omar Sy, Judy Greer, Katie McGrath, Lauren Lapkus and Andy Buckley all star.
Some girls just want to watch the world burn…
A24 just sent Bloody two brand new images to with the previously released still and posters from Jeff Baena’s Sundance horror comedy, Life After Beth, starring Aubrey Plaza, Dane DeHaan, John C. Reilly, Molly Shannon, Cheryl Hines, and Paul Reiser.
In theaters August 15, “Zach is devastated by the unexpected death of his girlfriend, Beth. But when she miraculously comes back to life, Zach takes full advantage of the opportunity to share and experience all the things he regretted not doing with her before. However, the newly returned Beth isn’t quite how he remembered her and, before long, Zach’s whole world takes a turn for the worse.”
The zombie pic had its world premiere at the Sundance Film Festival this past January.
Film4 FrightFest 2014, returning for its 15th year, unveils its biggest line-up ever. From Thurs 21 August to Monday 25 August, the UK’s leading event for genre fans will be at the Vue West End, Leicester Square, to present sixty-four films plus twenty shorts across five screens. There are sixteen countries representing five continents with a record-breaking thirty-eight UK or European premieres and eleven world premieres.
Are you ready for a monstrous and memorable mayhem of killer claws, cannibalism, cult classics, murderous musicals, chiller thrillers, graphic novel action and sick celluloid masterpieces? Then prepare yourself for the biggest, strongest and most eclectic must-see programme in Film4 FrightFest’s history.
From the opening night turbo-driven thrill-ride THE GUEST to the UK premiere of the closing night mesmeric sci-fi fantasy THE SIGNAL, FrightFest has netted the latest works from genre big-hitters such as Eli Roth (THE GREEN INFERNO), Alan Moore and Mitch Jenkins (SHOW PIECES), Tommy Wirkola (DEAD SNOW 2: RED VS. DEAD), Robert Rodriguez and Frank Miller (SIN CITY: A DAME TO KILL FOR), Julien Maury and Alexandre Bustillo (AMONG THE LIVING), Fabrice Du Welz (ALLELUIA), Nacho Vigalondo (OPEN WINDOWS and EXTRATERRESTRIAL), John McNaughton (THE HARVEST), Adam Green (DIGGING UP THE MARROW), Nicolas McCarthy’ (HOME), Lucky McKee and Chris Sivertson (ALL CHEERLEADERS DIE), Adrian Garcia Bogliano (LATE PHASES), Greg Mclean (WOLF CREEK 2), Eduardo Sanchez (EXISTS) and Milan Todorovic (NYMPH).
Plenty of genre movies have been garnering massive critical attention from other signature festivals which FrightFest has embraced, including: the moving and charming LIFE AFTER BETH, the laugh-out-loud crowd-pleaser ZOMBEAVERS, Jennifer Kent’s utterly beguiling THE BABADOOK, the extraordinary German slasher THE SAMURAI, the ‘Glee’-ful STAGE FRIGHT, the Hollywood rags to witches STARRY EYES, the hugely entertaining HOUSEBOUND, the unique R100, the cult of the damned FAULTS, the Kiwi corker I SURVIVED A ZOMBIE HOLOCAUST and Jay Weisman’s sci-fi mindbender SHOCKWAVE DARKSIDE 3D.
Film4 FrightFest has always shone a spotlight on British talent and this year is no exception – sharply spearheaded by Luke Hyams’ unusual X MOOR, Phil Hawkins’ THE LAST SHOWING, featuring horror icon Robert Englund in his best starring role in years, Adam Spinks’ creature feature THE EXPEDITION, John Shackleton’s supernatural horror THE SLEEPING ROOM, Ivan Kavanagh’s sinister THE CANAL, Oliver Frampton’s urban nightmare THE FORGOTTEN, Jeremy Wooding’s wild western BLOOD MOON, Edward Boase’s spooky THE MIRROR and Simeon Halligan’s truly shocking WHITE SETTLERS.
Discovering and nurturing new talent from across the globe has always at the heart of FrightFest’s manifesto and this year’s ever-popular Discovery Strand is testament to this, boasting thirty-eight films which includes THE HOUSE AT THE END OF TIME, the first ever horror movie from Venezuela, Matthew, A. Brown’s startling neo-noir revenge thriller JULIA, Casey La Scala’s rapture survival THE REMAINING, Chad Archibald’s maniac-franchise-in-the-making THE DROWNSMAN, the mumblecore insidious CREEP, the intestinal gag-filled BAD MILO!, the shattering TRUTH OR DARE, the surprising ALTERGEIST, the king of the hill PRESERVATION, the bodysnatching HONEYMOON, Lowell Dean’s hilarious midnight movie WOLFCOP, the cyber chiller THE DEN, the Australian urban legend LEMON TREE PASSAGE, Ben Wagner’s intimate DEAD WITHIN, the giallo-infused ANOTHER, the inevitable WRONG TURN 6 and Ate de Jong’s psycho-sexual horror DEADLY VIRTUES.
Plus there some brilliant documentaries receiving their UK premieres: Alexandre O. Philippe’s Zombie culture reveal, DOC OF THE DEAD and Erik Sharkey’s touching portrait of Drew Struzan, DREW: THE MAN BEHIND THE POSTER. There is also the World Premiere of David Gregory’s LOST SOUL – THE DOOMED JOURNEY OF RICHARD STANLEY’S ISLAND OF DR. MOREAU.The retrospective selection this year includes restored versions of Stanley Kubrick’s THE SHINING, Wes Craven’s A NIGHTMARE ON ELM STREET, Jorg Buttgereit’s NEKROMANTIK and Giulio Paradisi’s cult exploiter THE VISITOR, each with significant talent attachment and presented by writer, critic, broadcaster Kim Newman.
Plus there is a special presentation of James Ward’s mind-bending horror-sci-fi COHERENCE by THE DUKE MITCHELL FAN CLUB @ FILM4 FRIGHTFEST in addition to their infamous, insane in-house party.
With a record number of female directors showing their work this year in both the main sections and in the short film showcases, the return of the ‘Shortcuts To Hell’ competition in association with Horror Channel and Movie Mogul, the ‘Turn Off Your Bloody Phone!’ entries and the usual bloody red carpet gathering of stars, directors and surprise guests, Film4FrightFest continues to be the single most important event of 2014 in the UK genre calendar.
This year’s guest list and the Short Film Showcase entries will be announced soon.
Alan Jones, Festival co-director, said today: “Everything genre-wise you’ve been hearing about – and a whole lot you haven’t yet – has been included in the programme to ensure our move to the Vue will be the most exciting and game-changing genre event of the year. Humbly, we cannot overestimate how much work has been done by Team FrightFest in planning this move in every detail to ensure your complete satisfaction with the venue arrangements, the operating duties and the comprehensive multi-levelled programming. While everything looks to be changing, nothing is fundamentally changing in terms of retaining our unique, all-inclusive atmosphere and the wellbeing of everyone who attends.”
Julia Wrigley, Head of Film4 Channel, added: “It’s fantastic to be back for our eighth year of fear as headline sponsors of Film4 FrightFest. For us, it’s still a great place to get reacquainted with favourite filmmakers and make exciting discoveries, many of which end up on the channel. We can’t wait to settle into a new venue to see what the team has in store for us, while our FrightFest fortnight on Film4 allows viewers to invite the horror and excitement into their own home.”
Festival and day passes go on sale from June 28th. Tickets for individual films are on sale from 19th. Bookmark this spot to get tickets!
Anchor Bay Films released this hi-res image gallery for the supernatural horror film The Possession of Michael King.
From Gold Circle Films (White Noise, The Haunting In Connecticut), it opens in limited theaters August 22 with an iTunes, On Demand, DVD and Blu-ray release set for August 26.
David Jung directs the movie that “Tells of a documentary filmmaker who does not believe in God or the Devil. When his wife dies, he sets out to make his next movie on religion and spirituality, hoping to prove those things are just myth. But in allowing demonologists, necromancers, and various practitioners of the occult to try the deepest and darkest spells and rituals on him, he unleashes a horrifying force.”
Shane Johnson (Starz’ upcoming “Power”), Dale Dickey (Iron Man 3), Julie McNiven (TV’s “Supernatural”) and Tomas Arana (Guardians of the Galaxy) star.
The movie was by Paul Brooks and executive produced by Scott Niemeyer and Guy Danella. The screenplay was written by Jung with a story by Jung and Tedi Sarafian.
I was lucky in that I was able to snag a copy of Far Cry 3: Blood Dragon on Record Store Day this year. It’s quickly become one of my favorite records to pop on when I’m doing things around the house, like cooking or cleaning. The driving synth-heavy music is obscene amounts of fun and I can’t get sick of it!
But for those of you who weren’t able to pick up a copy, I can understand how you’d be upset and wanting to join in on the fun. Luckily, Invada Records has heard your pleas and has announced that they will be reissuing the vinyl!
Due to overwhelming public demand, we have repressed FC3 on double black 140 gram vinyl.
Please note the LP comes in the same sleeve with the VHS insert (see pic below) and download card but won’t come with the poster, which was exclusive with the pink vinyl version for RSD 2014
Pre-orders have begun here, so be sure to head over to get your copy!
It’s surprising to me that, even through the J-horror craze, Takashi Miike’s Japanese masterpiece, Audition, has yet to be remake. Yet, here we are, and I want to take some piano wire to my neck…
Deadline reports Friday night that Terminator, Rambo, and Basic Instinct exec producer Mario Kassar is assembling an English-language adaptation of Audition, the infamous 1997 novel by Japanese author Ryu Murakami about a lonely widower who gets more than he bargains for when he puts out a fake casting call to find a new girlfriend. Audition was adapted in 1999 into a cringe-inducing cult film in its own right by Japanese helmer Takashi Miike. The new Kassar-produced version is based on the original Murakami novel and will transplant the story to an American setting.
In this version, to be directed by Richard Gray (The Lookalike), Audition‘s unlucky protagonist is Sam Davis, who lives alone with his son following the death of his wife seven years prior and is convinced by a filmmaker friend to stage the fake auditions. The former ballerina with a mysterious past he falls for is now named Evie Lawrence, but otherwise details fall closely in line with Murakami’s best-seller.
Gray adapted the script and will tackle a fall shoot for Audition.