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Updated: 5 days 4 hours ago

‘Zombeavers’ Set to Infect U.S. Audiences

Thu, 11/06/2014 - 10:57

From the producers of American Pie, Cabin Fever and The Ring, Freestyle Releasing has set Zombeavers for release on VOD platforms and in limited theaters for March 20, 2015.

Jordan Rubin’s hotly anticipated horror comedy features Cortney Palm (Sushi Girl), Hutch Dano (Zeke and Luther), Peter Gilroy, Rachel Melvin (Dumb and Dumber To, Days Of Our Lives), Jake Weary, Lexi Atkins and Bill Burr.

Announced earlier this year at the Berlin Film Festival, it garnered over 2 million trailer views and became quite the social media and festival sensation. Zombeavers is the horror comedy with hysterical interludes, gross-out gore and old school animatronics. Patrick Cooper absolutely loved it.

The film follows a group of college students headed out into the wilderness for spring break, unaware of the danger that lurks beneath the lake. Unbeknownst to the vacationers a chemical spill has irreversibly altered the wildlife and Zombeavers are on the prowl. As a weekend of sex, drugs and debauchery gets underway, the beavers close in on their prey and the bloodthirsty beasts really do take the term ‘killer weekend’ to the next level.

Categories: Horror News

Guillermo del Toro to Tell ‘Extraordinary Tales’ (AFM)

Thu, 11/06/2014 - 10:53

Guillermo del Toro has joined the voice cast of Raul Garcia’s Extraordinary Tales, an arthouse animated omnibus feature based on Edgar Allan Poe’s novel, reports Variety.

The unusual voice cast is completed by the great Christopher Lee, Julian Sands and even B-movie director/producer Roger Corman.

Modestly budgeted at €2 million ($2.5 million), “Tales comprises five segments retelling a Poe story. Each part boast a different animation style that reflects Poe’s universe and is inspired by various artists.

“The segment called ‘The Mask of the Red Death,’ for instance, is inspired by Egon Schiele’s paintings,” Roalants told Variety.

Del Toro is lending his voice to “The Pit and the Pendulum,” which mimics mid-19th century photography. The segment turns on a man who is being tortured during the reign of the Spanish Inquisition.

Gilles Sousa, Bac Film’s international sales head, said, “ ‘Tales’ targets young adults but remains nonetheless a traditional film accessible to younger audiences since it’s not a horror feature.”

Categories: Horror News

Sneak Peak at ‘Dark Hearts: The Secret of Haunting Melissa’ (Exclusive)

Thu, 11/06/2014 - 10:21

From the producer of The Ring.

Haunting Melissa, which launched last Halloween, was the first of its kind. Being both an app and a feature film, it was the first real interactive movie experience on your phone or tablet.

To go along with the teaser, Bloody Disgusting has the exclusive art and stills for the sequel, Dark Hearts: The Secret of Haunting Melissa! As I stated in my previous piece, the scope and budget look even bigger this time around so it’ll be awesome to see this premiere on my mobile device.

Visit the official website regularly to stay connected, share fan art and chat with other fans about what’s coming next.

Pick up Haunting Melissa in the app store and catch up on what’s coming next.

Categories: Horror News

[TV Review] “American Horror Story: Freak Show” Episode 4.5, ‘Pink Cupcakes’

Thu, 11/06/2014 - 10:16


Holy shit, those were a tense final 10 minutes.

‘Pink Cupcakes’ is every horrifying thing that “AHS” has ever attempted, all rolled up into 46 minutes. This episode was all sorts of crazy both in story and narrative. I feel like Ryan Murphy has completely given up on any sort of logical narrative storytelling. This episode went from hyper-real flash forwards (fantasies? Delusions? Who knows? The show didn’t make it clear), to Jimmy crying and sexing, meanwhile Stanley’s working his con-man magic to convince Elsa, Dot, and Bette that he can make them all television stars, Desiree finds out she’s 100% female, Dell is 100% gay and super possessive over his month-long crush on hustler Andy (Matt Bomer), and Dandy gets sent to his room for killing the maid.

This week more than any other week felt so disjointed, although I think I say that in every review. Each individual storyline was really entertaining and unique, but there are simply too many of them. It’s too jumbled, too busy. Like a gaudy outfit.

Let’s start with Stanley and the subsequent, entirely confusing, flash forwards. The episode opens at the oddities museum from a few weeks back, Stanley and Maggie are there for the grand reveal of their contribution to the museum, a dead and pickled “seal boy” (i.e., handsome-faced Paul). So I’m like…well shit. That was a jump from last week. Then Emma Roberts’ voice breaks through bringing us to reality where she and Stanley are discussing his plans to murder and sell the freaks to the museum. Seal Boy is safe…for now. This same surreal narrative tactic is used in a much more detailed and unnerving way later in the episode with Dot and Bette (resulting in one hell of a disturbing image: Dot laying in bed still connected to a dead and rotting Bette). When I refer to the flash forwards as confusing, I’m not saying the content is confusing, but rather the way they are utilized. There is no reason to believe that these are fantasies or delusions of Stanley’s. They are all too real, which leads me to believe they are possible outcomes for these freak show members. Regardless of whatever those were, they provoked very real moments of anxiety.

On to The Jimmy-Desiree-Dell-Andy part of the episode. Jimmy and Desiree…what the hell, guys? It’s incredibly clear the creators needed a reason for Desiree to visit the doctor so they throw a distraught Jimmy at her and make us watch a totally out of the blue hook-up between the two. That is until his lobster hands cause some serious bleeding. Long story short, Desiree finds out she is actually 100% female and the bleeding was a miscarriage. And that “ding-a-ling”? Just a distended clitoris. (Wow, this got real, real fast). Anyway, she’s leaving Dell because it turns out he’s got the hots for a local hustler, among a myriad of other reasons. Does Dell want her to leave despite the fact he does not like women? Hell no. So, you know…that makes a ton of sense. Apparently strongmen just need to be angry and irrational all the time.

And now, for the real coup. Dandy. I’ve been saying it for weeks, you guys: Dandy is my favorite character. He’s complex and unapologetically insane. Yes he is whiney and insolent and we all hate him…but all those emotions we feel toward him are exactly what we should be feeling toward him. And this episode proves that more than any other one. After Dandy has a super-duper underwear workout Patrick Bateman moment in either a complete rip off or utter homage to “American Psycho” he heads out and picks up Andy for a night out in Twisty’s trailer. A night filled with absolute…complete…horror.

We were warned. We’ve been told for a few weeks now that Matt Bomer’s scene would be the most disturbing thing the show has ever done and they were not kidding. There’s this pure moment of psychosexual tension right before the murder of Bomer’s character that had my stomach in knots. But that was nothing compared to what would follow. In fact, the whole “unsuccessful murder attempt” itself wasn’t as disturbing as the aftermath: the slow-dying Andy, the one-armed pleading, and the unsophisticated sawing sounds. It was bonkers, for lack of a better word.

Elsa continues to be, well, Elsa. She’s delusional and will do anything for fame. Speaking of fame. The show stepped outside of its boundary of using anachronistic music for performances and used Bowie’s “Fame” in a montage of Elsa preparing herself for…fame. I know. I can’t handle the laziness either. Oh! Speaking of laziness, Elsa sang “Life on Mars” again. So there’s that. The only interesting thing she did this episode was turn the twins over to Dandy as playthings.

There was a lot to love in this episode. Dandy’s brutal quest to become the perfect killing machine and his mother’s priceless reactions to everything he does. Matt Bomer was amazing. He played his role to perfection—really an unforgettable couple of minutes in the bar with Dell. And although the flash forwards were narratively confusing and a bit frustrating once they were logistically unrealized, they were dark as hell and evoked a lot of emotions. But as usual, Murphy stuffed too much into the episode. Jimmy’s scenes were wholly disappointing, laughable at best. Maggie’s such a bore, and it felt as if certain storylines were dropped in favor of others. Something’s happening and then oh! shiny object. Let’s move on to something else. And I’m not going to lie, Gabourey Sidibe’s role felt like a desperate and random attempt at keeping her in the “AHS” family.

What did you think of ‘Pink Cupcakes’? Is anyone enjoying Dandy yet?

Categories: Horror News

‘Devil’s Carnival: Alleluia’ Trailer Sends You To Heaven

Thu, 11/06/2014 - 02:12

In 2012, Darren Lynn Bousman (Saw II, Repo! The Genetic Opera) sent viewers on a trip straight into Hell with The Devil’s Carnival, a macabre musical that featured Sean Patrick Flannery, Emilie Autumn, Paul Sorvino, and Bill Moseley. Now, in 2015, he plans on strapping you in and sending your ass straight into…Heaven?

That’s right, the trailer for The Devil’s Carnival: Alleluia has hit the web and looks just as insane, flashy, and catchy as the first! The film tells the tale of Lucifer and his intent to wage war on Heaven. Little does he know that God and the angels are aware of this plan and are ready to raise a little hell themselves.

Currently being shopped at AFM, the film will once again stars Paul Sorvino and this time includes Ted Neeley (Jesus Christ Superstar), Adam Pascal (Rent), and David Hasselhoff. Don’t ask me about that last one.

Bousman states:

Securing financing, getting distribution, getting anything off the ground these days is a damn miracle. The Carnival is our answer to that. We found a way to circumvent the catch-22 by making this more than just a movie. The Devil’s Carnival is an experience that demands more of you than sitting there and just being passive.

Head below for the trailer [Courtesy of Hollywood Reporter].

Categories: Horror News

Adam Wingard To Direct Pilot of Robert Kirkman’s “Outcast” Patrick Fugit Cast As Lead!

Wed, 11/05/2014 - 20:36

Deadline just broke the best story of the day, reporting that Adam Wingard has agreed to direct the live action pilot of Robert Kirkman’s exorcist comic “Outcast.” While Almost Famous’ Patrick Fugit has been cast as the lead, Kyle Barnes. A man who’s been plagued by possessions his entire life. Kirkman’s take on the exorcism genre has been a refreshing breath of air into the genre that I consider long dead, thanks to countless lifeless approaches that boldly claim to do something new, and fail to show us anything we didn’t see in The Exorcist.

After Preacher at AMC, this is the most exciting TV news of the year.

Original Deadline report follows:

Patrick Fugit (Almost Famous, Gone Girl) has landed the lead inCinemax’s new exorcism drama Outcast, from The Walking Dead executive producerRobert Kirkman. The supernatural horror project is based on Kirkman and artist Paul Azaceta’s comic series of the same name which hit shelves this summer. Joining Fugit in the cast are British actor Philip Glenister (Life on Mars) and youngster Gabriel Bateman (Stalker, Annabelle), while rising features helmer Adam Wingard (The Guest, You’re Next) has been tapped to direct the pilot produced by Fox International Channels.

Fugit, in theaters now in David Fincher’s Oscar contender Gone Girl, will star as Kyle Barnes, a young man who’s been plagued by possession since he was a child. He sets out to seek answers, only to uncover something that could end all life on Earth as we know it. Glenister will play Reverend Anderson, a hard drinking, hard gambling West Virginian evangelical preacher who believes he’s a soldier in God’s holy war against evil. Bateman has been cast as 8-year-old Joshua Austin, a young boy who lives across town who appears to be possessed by a demon and has a mysterious connection to Kyle.

Wingard’s latest film, the psychological thriller The Guest, opened theatrically in September showcasing Downtown Abbey‘s Dan Stevens as an enigmatic stranger who brings menace into the lives of an unsuspecting family. Outcastmarks his first foray into television after directing horror features You’re Next, A Horrible Way To Die, and segments of omnibus films V/H/S, V/H/S 2, and The ABCs of Death.

Outcast was penned on spec by Kirkman for Fox International Channels, who developed it internally before Cinemax acquired the pilot script in November and greenlit the pilot this summer. Kirkman is exec producing with Chris Black, David Alpert of Circle of Confusion, Sharon Tal Yguado of FIC, and Sue Naegle.

Fugit is repped by The Gersh Agency and Levin/Brown Management. Glenister is repped by The Artists Partnership in the UK and Untitled Entertainment. Bateman is a client of Coast to Coast Talent Group and HG5 Entertainment. Wingard is with CAA and manager Jeremy Platt.

Categories: Horror News

Universal and BOOM! Find A Writer for Their Vampire Tale “Day Men”

Wed, 11/05/2014 - 20:27

The Hollywood Reporter grabbed the scoop today, that Hollywood blacklist writer Will Simmons will be scripting Universal’s adaptation of BOOM!’s “Day Men.” Simmons wrote Murder City, a crime thriller that made the Black List in 2012. The project has Sylvain White attached to direct, Aldamisa financing, and Basil Iwanyk andBrooklyn Weaver producing. He is also wrapping up his scripting during on Defenders, Warners’ adaptation of an alien invasion book by Will McIntosh.

BOOM!’s editor-in-chief Matt Gagnon created the comic and co-wrote the comic with Michael Alan Nelson. Brian Stelfreeze draws the series. The series is a really awesome take on Vampire lore. It separates vampires into powerful families that work like the mafia. The day men are the people who keep the vampires safe during the day. They hold all the power, and of course one particular day man finds himself between the warring families.

Universal picked up the rights to Day Men in summer 2013 after releasing 2 Guns, the hit Mark Walhberg-Denzel Washington action movie also based on a Boom! book.

Categories: Horror News

[Comic Book Review] “Tooth and Claw” #1 Is Ambitious High Fantasy Endeavor

Wed, 11/05/2014 - 20:18

“Tooth and Claw” #1 is an intriguing, albeit somewhat enigmatic, introduction to the magical anthropomorphic fantasy world from the mind of bestselling writer Kurt Busiek (‘Marvels,’ ‘Astro City’). This 48-page comic (with no ads) is a behemoth of world building but quite sparse in plot development. Still, this exceptionally illustrated comic is a superb start to what is sure to be an ambitious high fantasy undertaking.


WRITTEN BY: Kurt Busiek

ART BY: Benjamin Dewey

PUBLISHER: Image Comics

PRICE: $2.99

RELEASE: November 5th, 2014

When magic begins to fail them, the wizards of the world gather in secrecy, using their combined powers bring forth he who unleashed magic in the beginning. The mysterious and legendary being has been long gone, and therefore the task of bringing him through space and time is a dangerous and difficult one—one with disastrous consequences. However, if their magic does indeed cease, as it appears to be doing, they will be left with literally nothing.

“Tooth and Claw” #1 felt a bit like a prologue of sorts. It needed to be done in order to give us necessary backstory on the world we’ve been hurled into, the different tribes and colonies of anthropomorphic beasts, the political structures, and the system of magic. But as I mentioned above, not much happened as far as moving the plot forward. In a lesser-detailed comic, it could have been achieved in a standard 22-page issue. I’m not complaining, the set up is gorgeous and leaves the reader feeling completely prepared for the coming series.

When I say that the comic is “somewhat enigmatic” I’m referring to the set up of the magic system. While it’s discussed at length, and the art does a phenomenal job of portraying it, the actual constructs and rules for the magic are simply unclear. I’m not sure if this was intentional or if the creators thought they were clearly explaining it—I don’t know, but regardless, one can only hope that the magical elements (the technicalities and especially the rules) will be given some clarity as the issues progress.

I cannot speak highly enough of the art. It, of course, relies heavily on the tropes of high fantasy but is made unique with its realistic landscape, picturesque backgrounds and incredible attention to detail. I’m not normally one for anthropomorphism, in fact, I typically strongly dislike comics that utilize it (there are definitely exceptions to this). So while it took me, personally, a moment to adjust, I was quickly sucked in and stopped analyzing the characters strictly as animals and started seeing their unique qualities and how being a certain type of animal might contribute to those specific qualities and/or possibly their brand of magic? We’ll see.

An impressive feat, this comic is. But it reads smoothly and quickly. While the magic needs to be made more clear, the paradigms of the world are all there and very easy to grasp, which is always tricky in high fantasy. If the creators can manage to smooth out some of the aforementioned wrinkles and not continue to keep the reader in a “LOST” universe of constant unexplainable happenings, this is sure to be a truly imaginary and impressive series.

Categories: Horror News

This ‘Garbage Pail Kids’ Doc Had Better Talk About the Movie

Wed, 11/05/2014 - 18:36

There’s a “Garbage Pail Kids” documentary in the works, and the IndiGoGo campaign only has 9 days left.

While I’d love to see a doc about the infamous sticker cards, what I really want to see is a segment focusing on Rod Amateau 1987 cult classic movie adaptation. I wanna know all of the dirty little secrets behind the disaster of which I love oh so much. Without this, the documentary is incomplete (there’s no mention of it on the campaign page).

Either way, it’s happening, and it’s called “30 Years of Garbage: The Garbage Pail Kids Story.”

Our goal is to celebrate the 30th anniversary of Topps’ Garbage Pail Kids Cards with an awesome documentary that is jam-packed with interviews and stories from the original creators of the controversial and explosively-popular 80’s card series. Grown-up kids will share nostalgic memories of what it was like to be a part of an international phenomena. Superfans will give us a peek at what a 30-year amassment of Garbage Pail Kids memorabilia looks like. We will explore the rich cartoon art history that bred this culture icon and proclaim Garbage Pail Kids as a solid mark of the 20th Century!

Categories: Horror News

‘Shut In’ Agoraphobic Crippled By Her Fears (Exclusive)

Wed, 11/05/2014 - 18:20

They should have left her alone.

It was reported back in August that Beth Riesgraf would starring in the psychological horror thriller Shut In, which is being directed by Adam Schindler (Delivery: The Beast Within).

Riesgraf is playing a woman who suffers from agoraphobia so crippling that when a trio of criminals break into her house, she cannot bring herself to flee. But what the intruders don’t realize is that agoraphobia is not her only psychosis.

Bloody Disgusting landed the exclusive art premiere during the ongoing AFM in Santa Monica. The poster implies that the intruders are in for quite a surprise. I mean, look at all those weapons!

Rory Culkin (Scream 4), Martin Starr (Dead Snow 2) and Jack Kesy (“The Strain”) also are starring in the indie flick that filmed in Shreveport, La.

TJ Cimfel and David White penned the screenplay.

Steven Schneider (WER, Insidious, Paranormal Activity) is producing with Jeff Rice (Lone Survivor), Lati Grobman (The Iceman) and Erik Olsen (The Book of Eli).

Executive producing are Christa Campbell, Matthew Lamothe, Tommy Vlahopoulos, Brian Netto and Vicarious Entertainment.

Categories: Horror News

[Five Skull Comic Review] “Robocop” #5 Keeps Up The Incredible Streak!

Wed, 11/05/2014 - 16:39

Our heroes seems to have hit rock bottom as Killians master plan slowly starts to come together in this the first issue of this second arc.  Robocop has been neutered and is now forced to fight Enforcement Droids with his bare-robot hands while Detective Lewis is locked alone in a basement drowning in cold cases and probably contemplating suicide.  If you were worried this book would start to get stale you will be pleasantly surprised.  I have nothing but love for “Robocop” #5.

WRITTEN BY: Joshua Williamson
ART BY: Carlos Magno

PRICE: $3.99
RELEASE: November 5, 2014

Review By Eric Switzer

Splitting up Murphy and Lewis has actually provided an opportunity to split their narrative and intertwine them periodically.  While Murphy does the heavy lifting and ass kicking, Lewis is discovering a plot to infiltrate Killian’s organization.  Killian is completely absent from this issue until the last page which gives him this aura of a looming threat that everyone is talking about.

The narrative structure of this issue gave it a fantastically cinematic pace, and the opening bank robbery couldn’t help but invoke “The Dark Knight”. From a tonal aspect, this book is everything it has always been, and it is just getting better.

This has always been the kind of book I read in between two intellectually dense books.  I like to put down the newest issue of “POP” or “Trees” and cleanse my palate with “Robocop”.  But more and more, this book is giving me pause for consideration.  There is a particular panel from an extreme angle that depicts Murphy standing in a sea of bodies delivering one of his programmed lines that just pulled him in for minute.

Looking back, the most metal of scenes were the ones I always looked forward too (can still perfectly visualize Murphy punching that dudes eye out in the first issue) but I also don’t want to sell this book short if there is something more to love.  “Robocop” as a franchise was never entirely hollow or mindless, but the themes were always pretty surface.  Perhaps this power team is bringing more to the man in the titanium mask, I would certainly welcome it.

Eric Switzer is an aspiring filmmaker and screenplay writer living in Los Angeles.  His work tends to focus on the lighter side of entropy, dystopic futures, and man’s innate struggle with his own mortality.  He can be found on twitter @epicswitzer or reached via email at

Categories: Horror News

Must Watch Trailer for 80′s Inspired ‘Infini’ Channels ‘Event Horizon’ and ‘Alien’!

Wed, 11/05/2014 - 15:25

From “Gabriel” director Shane Abbess, we have the first teaser (thanks to Fabien, again) for Infini, starring Daniel Macpherson, Grace Huang, Luke Hemsworth, Dwaine Stevenson, Harry Pavlidis, Kevin Copeland, Louisa Mignone, Tess Haubrich with Bren Foster and Luke Ford.

It’s described as a new take on classic 70′s/80′s sci-fi thrillers.

Set in the 23rd century, a search and rescue team are sent to an off world colony to rescue the sole survivor of a biological outbreak.

It sort of looks like Alien meets Event Horizon! From the costumes to the set design, this looks spectacular. The only question left is, how are the effects?

Categories: Horror News

[5 Skull Comic Review] “AVP: Fire and Stone” #2 Is A Carnage Filled Insanity-Fest!

Wed, 11/05/2014 - 15:16

Out of the four “Fire and Stone” books, “Alien Vs. Predator” is by far the most carnage-filled insanity-fest.  I had to read both issues twice because I was so overwhelmed by the horrific slayings happening on every page.  This issue continues Elden’s hunt for Francis aboard the Geryon as he is confronted by Predator’s for the first time.  Watching how easily he dispatches with them is shocking and builds him as an unstoppable threat. It seems there is nothing that can stop Elden now, until something absolutely amazing happens that I refuse to spoil for you.  I’ve said it before and I’ll say it again, I have to pinch myself while I read “Fire and Stone” because it is just so god damn fantastic.

WRITTEN BY: Christopher Sebela

ART BY: Ariel Olivetti

Price: $3.50
Release: November 5, 2014

Review By Eric Switzer

And so continues the incredible balancing act that is “Fire and Stone”.  There are some new hints as to what went down by on 223 (the events of “Prometheus: Fire and Stone), there is some new insight into the history of the engineers and their relationship with the Aliens and Predators, and there is a fantastic cat-and-mouse narrative and Elden stalks the dying Francis, leaving chaos in his wake.  Francis is not completely helpless though, and it seems he has plan of his own to defeat the twisted Elden.  That is if the warring armies of predators and aliens don’t get in the way.

Now it is clear how the four titles work together:  “Prometheus” and “AVP” are Acts one and two of the story, as “Prometheus” ends where “AVP” begins.  “Aliens” gives a backstory and clues us in on why everything went wrong in “Prometheus”, and the story “Predator” runs concurrently with issue 2 of “AVP” and shows us what happens to Galgo after he escapes from the Geryon and is also the book that will end the entire story.  It is an incredibly well crafted event.  Everything from the release order to the reveals in each individual issue is carefully planned out.  I can’t express enough how impressed I am by “Fire and Stone’.  My only hope as an insatiable fan is that it inspires other creators to do similar events.  I hope they release I hard cover in reading order rather than by series.  I will be being this trade as gifts for every one I know that knows awesome when they see it.

Eric Switzer is an aspiring filmmaker and screenplay writer living in Los Angeles.  His work tends to focus on the lighter side of entropy, dystopic futures, and man’s innate struggle with his own mortality.  He can be found on twitter @epicswitzer or reached via email at


Categories: Horror News

[Comic Book Review] “Spread” # 4 Blurs The Line Between Hero and Villain

Wed, 11/05/2014 - 14:55

Deeper and deeper we go into the gore-filled rabbit hole that is Justin Jordan’s “Spread.” Lines are blurred as the trials increase for our heroes No, Molly, and baby Hope. Issue #4 picks up as super-babe Ravello intervenes in Jack’s hack-and-slash way of justice, seemingly rescuing No from a Crock-Pot style ending. As our trio is separated, their connections with the villains of the series come together.


WRITTEN BY: Justin Jordan

ART BY: Kyle Strahm

PUBLISHER: Image Comics

PRICE: $3.50

RELEASE: November 5, 2014

Reviewed by Nick Brehmer

Turns out, Molly’s been exposed to Ravello before and I suspect that there’s some detail regarding infanticide that has yet to be revealed. What has been revealed though is that the Preacher and his minions consider baby Hope to be the anti-Christ and an end to their spread-infested perfect world. Given the power her tears hold over the infection, it makes sense that her extermination would be paramount for this Spread-centered religious movement.

The plane from issue #1 makes a return in this latest issue as referenced by Ravello. Jack, who insists that the outside world and all things from it have ceased to exist, however, quickly refutes its existence. This echoes my statement from my previous review that Revello’s villainous role may not be as obvious as it seems. I get the impression from “Spread” that that Jordan likes to play with expectations.

The narrative structure that Jordan continues in each issue is pretty seamless.  He has the narrator Hope position each past situation within a context of gritty, painful realism. With that said, her narration itself provides the chaos of “Spread” with a significant amount of her namesake, hope. The only problem is that we as reader have yet to actually see much of it within in panels. We can cheer for No and Molly, be suspicious of Ravello, and we can cringe at Preacher all we want, but the world of “Spread” remains a very, very nasty place.

There’s heaps of violent anticipation thrown our way in this issue. Looking forward to what bloody mess Jordan has in store for us next time.

A product of the harsh lands of Northern Ontario, Nick Brehmer is in fact a sensitive flower currently blooming in the GTA. He spends his downtime wishing he was British. Follow him on Twitter and Instagram @nicholasbrehmer



Categories: Horror News

[5 Skull Comic Review] “Nailbiter” #7 Is A Thrilling Tribute

Wed, 11/05/2014 - 14:45

“Nailbiter” #7 hits it clean out of the park this week with an enthralling homage to Bendis and Oeming’s “Powers.” Although I am a very new fan of Powers, starting it all last month in prep for NYCC, as soon as I heard the news about this issue I was over the moon. You’ll notice the text on the cover reading “Guest-Starring Brian Michael Bendis”, this isn’t some issue co-written by Bendis or something along those lines, no. Bendis truly does guest as himself in the Nailbiter world, just like Warren Ellis did way back in Powers vol.1 issue #7. He’s working on a new comic and wants to interview a few people around town about all the serial killers.

WRITTEN BY: Joshua Williamson

ART BY: Mike Henderson

PUBLISHER: Image Comics

PRICE: $2.99

RELEASE: Nov 5, 2014

Reviewed By Torin Chambers


Although this issue is primarily about Bendis and his interactions with the citizens of buckaroo this is not a one off like last month. The overarching Nailbiter plot continues to push forward with the developments introduced at the end of issue #5 being the main ones.  The way Bendis just happens to randomly be eavesdropping on Finch is altogether too convenient and feels contrived. That’s by far the weakest part of this issue and sticks out like a sore thumb in comparison to how excellent the rest of it is. After Bendis hears his fill of exposition he takes off to explore the rest of town in another beautiful tribute to Powers. Bendis’ attempts at interviewing the citizens of buckaroo are depicted exactly like an early issue of Powers where the main characters are also conducting interviews, only with super heroes.

The scene just get better and better as the book continues on. Bendis ends up eventually finding a willing interviewee, a grown sibling of one of the serial killers. It’s incredibly intriguing having someone speak frankly about how it has impacted their life and their family. It also continues to demonstrate that everyone is a little off in Buckaroo. Which makes me think there’s something about that that Williamson just hasn’t begun to touch on. Is Buckaroo situated on some sort of Hellmouth or poisoned by a demonic presence?

The definite highlight of the issue is Bendis’ interaction with Warren who turns out to be a huge comic book fan. They have a compelling discussion about how Warren believes they are alike. Each has killed in their own way and it connects them somehow in Warren’s twisted mind. The conversation also takes place in a playground with carefree children running around and has a certain tension that’s just superb.

“Nailbiter” #7 is special, it’s a love letter to Powers and Bendis while still maintaining that thrilling and unsettling Nailbiter feel.

Torin Chambers is a rad dude from the nineties who does film stuff or something. Thomas the Tank Engine is his favorite transformer. Find him on Twitter @TorinsChambers

Categories: Horror News

5 Classic Thrillers that Influenced ‘Jessabelle’

Wed, 11/05/2014 - 14:35

Opening in limited theaters and on VOD platforms this Friday is Jessabelle, Lionsgate’s new haunter from Saw VI director Kevin Greutert.

In the film starring Sarah Snook, Mark Webber, Joelle Carter and Ana De La Reguera, “Returning to her childhood home in Louisiana to recuperate from a horrific car accident, Jessabelle (Sarah Snook) comes face to face with a long-tormented spirit that has been seeking her return — and has no intention of letting her escape.

Bloody Disgusting checked in with Greutert to talk about the many films that influenced his latest genre offering. Here’s what he had to share:

“Every director wants his or her film to be unique. I’m no exception. But in the course of dreaming up a movie and guiding the crew and cast through the process of realizing that dream, it’s often necessary to find references in art and the world to help give the team a sense of how the finished movie should look and sound.

And naturally directors often turn for these references to the things they know best: other films. After all, there are thousands of decisions, large and small, that go into making a movie, and only so much time. When you’re under the gun and you need to quickly convey to a team of people how you want a scene to play, sometimes your best tool is to say something like, “Have a look at how they did it in The Ring. Let’s try to top that.” In the end you create something unique, but still part of a long tradition.

This process of guiding the team starts at the script stage. In the case of Jessabelle, I asked the writer, Ben Garant, to craft the story so that the audience experiences the whole movie from the perspective of the main character. This is the approach you see in films like Fight Club, and it has the uncanny effect of leaving the audience wondering if the reality you’re experiencing on screen can be trusted. Cinematographer Michael Fimognari and I talked at great length about techniques for amplifying this effect in the way the movie is lit and photographed, which led us back to films like Jacob’s Ladder and the ones listed below.

Jessabelle came into my life as a beautifully written script about a young woman who is forced to return to her childhood home in Louisiana, and must contend with a jealous spirit who now inhabits the house. The sumptuous visuals and creepy sound elements already existed on the page, and it was up to me to bring them to life on the screen.

So here are Five Classic Thrillers that I asked members of the cast and crew to watch before we filmed Jessabelle — for inspiration, techniques, and just to have a good time.

The Last Wave (Peter Weir, 1977)

I first saw this film at revival theaters when I was a teenager, and watched it again and again every time it came to town. Richard Chamberlain plays an attorney in Sydney, Australia, who is asked to defend an aboriginal man accused of a tribal murder, which leads him into a world of terrifying visions. In the course of this quiet but disturbing film, Chamberlain learns that there is a greater reality in the aboriginal Dream Time than in his own modern world view. I’ve always been a sucker for the idea that by civilizing, humanity has left behind long-forgotten feelings, powers and sensitivities that may still be perceived in some cultures, and I think The Last Wave got me started on this way of thinking.

I love this movie because of the way it conveys dreaming. Every scene in the film is infused with images of water — rain on windows, overflowing bathtubs, and of course the eponymous Wave that reveals in the end what is really happening. Each night, Chamberlain awakens in a storm to a strange sound off in the distance, a sound that has been seared into my mind for decades: an inhuman, lilting, rhythmic whine, like the bleating of a dying sheep, that gets closer and closer to the house, until we see an impossible silhouette outside the window. I asked my sound designer, Greg Hedgepath, to watch this film so we could try to understand just what qualities made this sound element so haunting and other-worldly. Ample use of the didjeridoo in the music score goes a long way to enhance the exotic atmosphere.

Fire Walk With Me (David Lynch, 1992)

I hadn’t actually seen much of the Twin Peaks TV show when I saw this spinoff film late at night on opening weekend. It’s tonally very jarring, with insanely silly cop goofiness intercut with bleak implications of father/daughter incest. The story is nonlinear, and doesn’t make a whole lot of sense, at least not to someone unfamiliar with the show (I boycotted my television for many years around that time). But it’s not the plot that counts here.

When I walked out of that theater, I was genuinely disturbed, and didn’t want to go to sleep alone (something else I did a lot of back then…) Just as Lynch intended, this movie gets under the skin and quietly seethes.

And again, Fire Walk is at its most powerful when it is depicting dreams and the subconscious. I would go so far as to say that David Lynch has brought the cinema language of dreaming to its highest point, and has been imitated but never bested. There’s a sequence that lived on my laptop during the shooting of Jessabelle that I shared as often as there was someone willing to watch it. Laura Palmer hangs an eerie framed photo on her bedroom walls. It depicts a doorway into a dark, featureless room. In her dream, she enters this room. The sound turns to reverberant sludge. Lin Shaye waves Laura down a dark passage, toward encounters with a backward-talking dwarf (of course…), Special Agent Cooper, and a signet ring. Then Laura opens another door — and is looking into her own room, at the same picture hanging on the far wall, but now she’s in the photo, looking back at herself. What does it all mean? You could conjecture all night. It’s more than the sum of its parts, and as a visual poem, it deftly indicates a reality that cannot be directly perceived or described.

Kwaidan (Masaki Kobayashi, 1964)

The four segments of this Japanese ghost anthology are very different from one to the next, but all beautifully crafted. It’s the first section that I have pointed out as a reference for Jessabelle as well as my current project, Visions. In The Black Hair, a man abandons his faithful wife for a wealthy woman, and returns home to spend a night of reconciliation with his wife, only to awaken and realize what is actually in his bed.

This film opens with a classic title sequence created by filming ink dripped into a tank of clear liquid, and letting the abstract patterns slowly fill the screen. But it’s the brilliant, subtle sound design that really stands out for me. There are very few films that ever are allowed to get truly silent, and Kwaidan is a pioneer in this regard. The icy-quiet encounters with the ghost feel like death itself, with just a few accents from Toru Takemitsu’s abstract music score to let you know from time to time that there’s nothing wrong with your sound system. More recently, this technique was used to excellent effect in Under the Skin; I don’t want to spoil for you one of the greatest scenes of the year if you haven’t seen it, but it’s a great example of using silence to cinematically convey the state of death.

Angel Heart (Alan Parker, 1987)

In its depiction of Louisiana as a hellish underworld of death and decay, this movie is a visual treat, and in some ways could be a one-stop reference for just about any Southern Gothic horror story since then. Mickey Rourke is private detective Harry Angel, hired on a gig that takes him to the darkest corners of New Orleans and beyond.
Angel Heart takes place in the world of the main character’s mind. Secrets and corruption and sensuality all sumptuously fill every nook, creepily photographed by Michael Seresin. In such crafty hands, Louisiana looks like a different country, maybe even a different world, and the production design is meticulous and beautiful.

And of course Lisa Bonet does a naked voodoo dance with a chicken. Let’s be honest: that’s the real reason we all watched this movie so many times. Jessabelle also has an amazing voodoo dance ritual, but we could only dream of the R-rated glories of Angel Heart. Still, I think we did a fine job in our own effort.

The Haunting (Robert Wise, 1963)

My favorite ghost story of all time, this film was made by editor-turned-director Robert Wise long before he shot The Sound of Music to much different effect. Based on a Shirley Jackson story, it’s a classic tale of a group of people who spend the night in an enormous Rococo mansion, and must face their demons. This movie scared the crap out of me when I was a kid, particularly the scene in which the nightmare force bends the ornate wooden door from behind. It’s still effective today.

What’s so amazing about this movie is that you never actually see a ghost. Its presence is brilliantly suggested through actor performance and sound design. David Boulton’s richly dark black-&-white photography is also a key player.

The most effective scary movies will always be the ones that draw the viewer’s own imagination into the game, because then it gets personal. We each have our own secrets, traumas, and phobias, as well as dreams and desires that can’t easily be put into words and images. As soon as the monster gets articulated on screen, it becomes something that doesn’t feel as true to our real lives, and isn’t so scary anymore. But a film that looks us in the eye and seems to know the unique demons we all harbor — that’s truly disturbing.” -Kevin Greutert

Categories: Horror News

[Comic Book Review] “The Ghost Fleet” #1 Is 18 Wheels of Pure Awesome!

Wed, 11/05/2014 - 14:04

“Ghost Fleet” is truly something else, falling somewhere within the framework of a smart actiony dark comedy. At its heart it’s all about fleets, from ships to massive semi’s. Fleets carrying precious cargo across great distances. There’s a rich and deep mythology at work here too, which seems insane for a book that primarily features hulking semi’s, fast cars, and lots of shooting. This isn’t Maximum Overdrive this is eighteen wheels of pure awesome.

WRITTEN BY: Donny Cates

ART BY: Dan Johnson


PRICE: $3.99

RELEASE: November 5, 2014

Reviewed By Torin Chambers

After a tiny tease of the greater conspiracy we are thrown into one of the most radical action scenes I’ve ever seen hands down. Our heroes are escorting a massive semi down a barren highway when they notice one of their cars has stopped behind them. Before they can even begin to investigate they’re rocked by an explosion and a hail of gunfire, destroying their car in the process. They retreat to the cover of their seemingly indestructible semi, and this is when Ghost Fleet turns the dial up to 11.

With no other options available they pile into the semi and haul ass. Decimating everything in their path, shredding vehicles and people to bits. For the short while this lasts it’s a total blast to read, I was flipping back a forth through all the gorgeous carnage like a giddy school girl. They’re eventually run off the road in a glorious crash that unleashes whatever it was that they were transporting, annihilating everyone outside of their vehicle but leaving our heroes relatively unharmed. I don’t want to spoil where it goes from here but Ghost Fleet has its sights set high, higher than any of us can even fathom at this point.

I cannot praise Daniel Warren Johnson’s art enough, it’s fucking outstanding. He’s the perfect person to draw this book, capturing the gritty feel of truckin’ and the horrific beauty of smashing through a person with said truck. His panels are thoughtful when they need to be, but can communicate a unprecedented level of carnage in a two page spread. The sense of scope on these pages allows you to really feel the massive presence of an eighteen wheeler, and what it must be like to really control (or lose control of) one of those thing.s

Ghost Fleet presents itself a lot like an 80’s action movie but reading it with that mindset would only be scratching it’s surface. Beneath the shine of an 80′s action flick is a heavy conspiracy, engaging characters, hilarious dialogue and  that will have you clamouring for more.

Torin Chambers is a rad dude from the nineties who does film stuff or something. Thomas the Tank Engine is his favorite transformer. Find him on Twitter @TorinsChambers




Categories: Horror News

‘What We Become’ Caused By Flu-like Symptoms (AFM)

Wed, 11/05/2014 - 13:35

Here’s the first ever look at Bo Mikkelsen’s pandemic thriller out of Denmark, What We Become (Sorgenfri), which is heading to the ongoing AFM.

The Johansson family’s idyllic summer is brought to a sudden halt as deaths stack up from a virulent strand of the flu. The authorities start off by cordoning-off the neighbourhood, but soon panic and force the inhabitants into quarantine in their hermetically-sealed houses. Isolated from the rest of the world, teen Gustav spies out and realises that the situation is getting out of control. He breaks out, but soon the family of four comes under attack from the wild, blood-thirsty mob who forces them to the extreme to escape alive.

The pic stars Mille Dinesen, Mikael Birkkjær and Troels Lyby.

Thanks to Fabien M. for the tip!

Categories: Horror News

Trailer and Clips From LevelK’s Newly Acquired ‘Encounters’

Wed, 11/05/2014 - 13:34

It was announced last week that LevelK has acquired international sales rights to Scandi horror/sci fi pic Encounters, Anders Bukh’s feature debut, which will be at the ongoing AFM.

The pic “Follows a group of four young filmmakers who travel into the Swedish woods to shoot a low-budget horror movie. The shooting unravels when they get lost and one of the actors disappears only to return hours later, naked and in a catatonic state.

Encounters will roll-out on VOD simultaneously with its premiere at the Danish horror festival Bloody Weekend.

Check out the first trailer and two clips discovered by Bloody fav Fabien M.

Categories: Horror News

‘Suburban Gothic’ Sales Poster Inspired By Classic Art (AFM)

Wed, 11/05/2014 - 13:28

Bloody regular Fabien M. scored the American Film Market sales poster for Richard Bates Jr.’s Suburban Gothic (read our review), his follow-up to the Sundance success, Excision.

Raymond has a prestigious MBA, but he can’t find work. He can channel the paranormal, but chatting with a cute girl mystifies him. Kicked out of his big city apartment, Raymond returns home to his overbearing mother, ex-jock father, and beer-bellied classmates. But when a vengeful ghost terrorizes the small town, the city-boy recruits Becca, a badass local bartender, to solve the mystery of the spirit threatening everyone’s lives.

Suburban Gothic is described as an eccentric comedy/horror that stars Matthew Gray Gubler, Kat Dennings, Ray Wise, Sally Kirkland, Jeffrey Combs and John Waters, and riffs on everything from classic supernatural horror and outsider teen comedies to the “Hardy Boys” and “Scooby-Doo”!

The film had its World Premiere at Fantasia this past July.

Categories: Horror News