It’s back, and there’s imagery as well!
Originally Dracula: Year Zero, Universal Pictures has given Bloody the official first trailer and stills for Dracula Untold, the Gary Shore-directed version of Bram Stoker’s novella, in theaters October 17, 2014. The trailer reveals a revenge story, where Luke Evans makes a deal with the Devil and uses the dark forces to battle even darker forces.
Starring Luke Evans, Sarah Gadon, Dominic Cooper, Zach McGowan, Samantha Barks, Thor Kristjansson and Art Parkinson, the film was shot in Belfast last year.
In the film, “Luke Evans is starring as the most famous of vampires in an origin story that sees a Transylvanian prince risk eternal damnation in order to save his wife and son from a Turkish horde. Barks will play a figure in Eastern European folk tales known as a baba yaga, a beautiful young woman who turns into a savage witch. Kristjansson will play Bright Eyes, an Eastern European taken as a slave as a young boy and now a vicious assassin in the Ottoman Army. Parkinson will play Dracula’s son, named Ingeras.“
Unfortunately, it’s entirely in Japanese. This Fatal Frame will release exclusively in Japan (For those keeping count, between this and Fatal Frame IV, that’s Japan – 2, Rest of the World – 0) and star Seventeen magazine models Nakajo Ayami and Morikawa Aoi.
The film is based on the novel adaptation of the original game — or an adaptation of an adaptation, also known as ‘Fatal Frame-ception’ BAAAWWW (that was my phonetic interpretation of the Inception trailer sound) — and will be set in a dormitory where students start going missing. I do believe there’s something supernatural afoot…
Before you get too bummed out about its Japan exclusivity, you should know that this is one of two upcoming Fatal Frame films. The second will release some time after the new game that was announced a few months back.
The second live-action film is being handled by the fine folks in Hollywood, so we’ll eventually be getting our much-needed dose of spirit chicanery, we only need to be patient.
Between these two films, the upcoming game, and the new Zero manga, it seems as if the long-dormant Fatal Frame franchise will see a substantial resurgence in the very near future. Who’s excited?
Drafthouse Films just shared with Bloody an exclusive clip from Nothing Bad Can Happen, the acclaimed dark thriller now in Los Angeles theaters with a NYC release set for July 3rd.
The film is said to be a brutal, unrelenting thriller from Germany, directed by Katrin Gebbe and based on a shocking true story. The clip shows you just how uncomfortable the film can be, with a kid being so terrifyingly afraid of his “surrogate father” that he prays for him not to get angry, which only makes him even more pissed off.
“Inspired by atrocious true events, Nothing Bad Can Happen follows Tore, a young lost soul involved with an underground Christian punk movement who falls in with a dysfunctional family curious to test his seemingly unwavering faith. After a chance encounter helping Benno, a stranded driver, and managing to help start his car again in what appears to be a miracle, Tore is invited back to Benno’s home and becomes friendly with him, his wife and two kids. Before long, Tore moves in and gradually becomes part of the family. However, Benno can’t resist playing a cruel game, designed to challenge Tore’s beliefs. As his trials become more and more extreme, Tore finds his capacity for love and resilience pushed to its limits, and beyond.“
Player Two has entered the game! A new indie record label by the name of Lunaris Records has sprouted up and is already making waves by announcing the vinyl, CD, and cassette release of Night Of The Demons as well as a limited edition 7″ for Witchboard.
This news came from director Kevin Tenney’s Facebook page, which stated:
Hey, boys and girls. I can finally announce that Lunaris Records will be putting out a soundtrack CD of NIGHT OF THE DEMONS later this year, as well as good ol’ fashioned vinyl LPs and audio cassettes. In the meantime, they will be selling promo posters, Tee shirts, and post cards at Days Of The Dead Indy this weekend, as well as a special limited edition test pressing of the Witchboard soundtrack on a 7″ vinyl record, which has the opening theme and the end credit song on the A side, and a Witchboard design etched in the B side. What more could any horror fan want?
Lunaris will also be releasing the soundtrack to Street Trash. More information will be posted once it is announced.
We’ve all heard it, likely more than once. Horror games are dead and buried, waiting for the cyclical nature of the video games industry to reanimate it so the genre can claw itself from the grave for a glorious return. The problem is, horror games aren’t dead. In fact, this genre is not only alive, it’s producing some of the most exciting and innovative games we’ve ever seen.
Now, I do realize that much of this “horror is dead” opinion is aimed at AAA horror, which has been lacking in terms of quantity lately.
When you look at the state of Resident Evil, Silent Hill, and Dead Space — three horror franchises that have defined this genre for years — it’s easy to get the impression that things are bad. The reality of it is sometimes publishers lose their way.
Capcom and EA wrongfully assumed we wanted more action, when it was actually the opposite, and with the gargantuan surge of interest in indie horror games like The Forest, Routine, and Among the Sleep, among a few dozen others, the industry’s major publishers are beginning to get the message.
That message is “Horror can make you lots of $$$.”
Granted, it’s not a great message, but it is one that these publishers are more likely to listen to than they have been the outcry of their communities. It’s a message that will inspire them to change their ways and produce the kinds of quality horror games that please both their fans and their shareholders.
This can be seen in a number of upcoming releases, including Dying Light, which aims to give us the Dead Island experience fans have been clamoring for since the first game’s fantastic debut trailer. There’s also The Order: 1886, which has some very strong genre influences, Doom 4 — set to be revealed next month — and the teen slasher-inspired Until Dawn, which Sony promises hasn’t been cancelled. We also can’t forget about the promised next entries in the Resident Evil, Silent Hill, and Fatal Frame series.
All of the above is worth getting excited for, but it’s Alien: Isolation and Resident Evil creator Shinji Mikami’s The Evil Within that have the most to prove right now. If those games are successful, it could mark the beginning of a ridiculously exciting era for AAA horror. Things are already pretty great, but there’s always room for improvement.
Thankfully, we don’t have too long of a wait (Isolation on Oct 7, The Evil Within on Oct 21) to see what kind of impact, if any, that these two games will have on the genre.
Speaking of which, in case you haven’t heard, there are a lot of those to look forward to right now. Indie horror is where it’s at, currently, and my list of anticipated indies grows every day.
Besides the quality of the releases we’re seeing — a few of which have sped past ‘impressive’ in favor of something closer to ‘mind-blowing’ — some of these games are tackling themes that are dark and personal, themes that can make you uncomfortable, but not in the sick, gross-out way.
Remember when Silent Hill did that? When that series was known not just for its disturbing imagery, but for its mature storytelling? Suicide, incest, rape, infanticide — Silent Hill used to be a beacon of hope for anyone looking for a horror game for adults that didn’t involve buckets of gore or cheap jump scares.
My favorite example of this is Matt Gilgenbach’s Neverending Nightmares, a psychological horror game that was inspired by Matt’s life-long struggle with mental illness, including depression and OCD. Even Among the Sleep touched on a deeply personal topic that will very likely resonate with certain people, including myself, though I’ll refrain from shedding too much light on it, as that will almost definitely ruin the ending. And we can’t forget about Fran Bow, which may be the first game in some time to offer a less stereotypical approach to institutionalized mental illness.
We’re seeing a bit of this in bigger budget horror games too, such as Telltale’s The Walking Dead. If you haven’t played it yet, that series is an emotional roller coaster ride.
All I’m saying is horror is here, it’s stronger than ever, and it’ll only get better as we go deeper into this new and exciting generation of consoles. The next time someone tells you horror is on its way out, I invite you to give them a gentleman’s slap across their ignorant face before you bid them farewell, because who needs that kind of negativity in their life?
No one, that’s who.
(Oh, and since I’ll almost definitely get chewed out for not mentioning one of any number of equally anticipated horror games we have on the way, here are a few more that prove horror is kicking hordes of zombie ass right now (and so no one attempts to kick mine): Dead Island 2, Frogware’s Call of Cthulhu reboot, Left 4 Dead 3 — it’ll happen, just be patient — SOMA, Monstrum, Killing Floor 2, HUNT: Horrors of the Gilded Age, Bloodborne, H1Z1, White Night, The Vanishing of Ethan Carter, and so many more)
This is definitely not the normal style of music we cover on BD but the visuals certainly have a connection to the site, which is why this is going into The Further. Coming from rising indie group Kan Wakan, which has some similar stylings to Adele, Amy Winehouse, and similar, is their video for “Like I Need You”, which was directed by Young Replicant (Lorde, The XX).
The story takes place over a single night and follows a drug deal, a forbidden romance, and an execution that doesn’t end up the way it was supposed to. Check it out below and make sure to snag the group’s album Moving On via iTunes.
Have any money left? I don’t. I ran out days ago, and now I’m sitting here, unable to take further advantage of the deadly Steam Summer sale. It would probably be a good thing if I wasn’t feeling the shakes and sweats — both telltale signs of Steam Summer Sale withdrawl, which tends to follow Steam Summer Sale Fever. I’m in the late stages now, so it’s too late for me. But you, there’s hope for you yet.
In case you missed its sale the first time around, Resident Evil 4 has again been discounted to $11.99 (40% off), and if you’re one of the five remaining people on this planet who don’t own a copy of Left 4 Dead 2, that’s been discounted to $4.99 (75% off).
So if you have some cash that’s burning a hole in your wallet, you can always let Steam hold onto it!
Despite a soft box office take in the US, we are officially getting a sequel to the super fun Pacific Rim (you can thank the film’s worldwide take of $400 Million and probably some decent ancillaries for this good news). The last we heard Pacific Rim 2 was just a glimmer in Guillermo del Toro and Travis Beacham’s eye – they were informally developing the sequel back in October – but now things are official.
The Legendary production is switching studios from Warner Bros. to Universal, per Variety. Zak Penn (The Avengers) taking over scripting duties from Beacham. Del Toro will of course direct. This isn’t the first Del Toro sequel to switch homes, Hellboy 2 moved from Sony to Universal back in 2008.
Universal has even announced a release date! April 7th 2017! Seems legit!
From the filmmakers behind The Poughkeepsie Tapes, Quarantine and Devils, Universal and Legendary Pictures’s As Above, So Below, an upcoming found-footage thriller film directed by John Erick Dowdle that he co-wrote with his brother Drew, will now arrive on August 29.
The film is taking the slot of Joel Silver’s long delayed The Loft, about five friends who share a loft for their extramarital affairs begin to question one another after the murdered body of an unknown young woman is found in the property. Loft was completely pulled off the calendar.
In As Above, So Below, “Miles of twisting catacombs lie beneath the streets of Paris, the eternal home to countless souls. When a team of explorers ventures into the uncharted maze of bones, they uncover the dark secret that lies within this city of the dead. A journey into madness and terror, “As Above, So Below” reaches deep into the human psyche to reveal the personal demons that come back to haunt us all.”
Perdita Weeks, Ben Feldman and Edwin Hodge star.
Written by T. Blake Braddy, @blakebraddy
Adrian Chmielarz is most renowned for creating intense, frenetic shooters. While at People Can Fly, Chmielarz designed games like Bulletstorm, Gears of War: Judgment, and the Painkiller series, known more for their tight controls and shooting mechanics than their narrative arcs.
Which is perhaps one of the reasons he decided to depart the company. Along with Andrew Poznanski and Michal Kosieradzki, he founded The Astronauts, the studio behind the weird fiction horror title The Vanishing of Ethan Carter. Set just after the turn of the century, this adventure game is about the bizarre circumstances surrounding a young boy’s kidnapping. The main character is an aging detective whose keen ability to visualize crime scenes makes him perhaps the only person who can save the boy from a horrific fate.
Mr. Chmielarz was kind enough to answer some questions about the mysterious, potentially unsettling world surrounding The Vanishing of Ethan Carter, which is set to be released later this year.
BD: The Vanishing of Ethan Carter seems to be a departure from your previous work with People Can Fly, like the Painkiller series and BulletStorm. Talk a little bit about what inspired you to make this game, specifically.
Two things inspired us. First, the wish to be a part of the evolution of games, specifically the branch focused on narrative experiences. We can either complain about the state of games – their stale, tired formulas and cardboard characters – or we can do or at least try to do something about it. Second, this is in a way a return for us to what we were doing before Painkiller.
My personal roots are in adventure games, and I was always very interested in games as a powerful storytelling medium. We had this fun and exciting ten year long episode with shooters, but we felt it’s time to call back our first love, games that dig a little deeper into the player’s psyche.
BD: You describe the story as inspired by weird fiction of the early 20th century. What are some of your favorite weird tales, and how do they inform your approach to The Vanishing of Ethan Carter?
Weird fiction is one of the hardest things to translate to a video game because the written word works much better for your imagination than any, well, image. To this day we don’t really have a great, spotless Lovecraftian movie, right? Dagon was good, and At the Mountains of Madness was good, but nothing was mind-blowing.
And have you ever seen a really convincing, madness-inducing painting of Cthulhu? Luckily for us, weird fiction is not limited to Lovecraft, and if you check the writers like Blackwood or Grabinski, suddenly all kinds of possibilities open up. Not that we do not reach for Lovecraft in our game, it’s just that weird fiction is much broader than underwater temples, blasphemous rituals and sleeping gods. And that’s exactly what I love about weird fiction, where nothing is what it seems, and yet nothing is surreal. I think it’s a great foundation for a video game.
BD: What made you choose Wisconsin for the game’s setting?
Proximity to New England, the land of the weird, and (cough) some silly practical reasons. We did not want the game to take place in any particular location, we wanted it to happen everywhere and nowhere in particular. But then we realized we have a boy named Ethan Carter in the title, so no, the game could not take place in Poland or Spain. And since we use real Polish locations as visual inspiration, we looked for an area in US that is similar to our country: full four seasons, similar vegetation, etc. And Wisconsin turned out to be just right.
BD: The world looks incredible. How big will the world be, and how much control will players have over where they can go? How linear or open is it?
I think our game offers unexpectedly open environment. We’re not forcing to go down just one path, you have a whole valley to explore. This comes at a cost – there are areas in the game where literally nothing happens – but from a different angle it’s actually a gain, as the world is much more believable this way. That non-linearity is not limited to just the environment. We ran a playtest the other day and were surprised by how many people were dropping one area in the middle of an activity only to go sample another one and come back later.
They had a lot of fun this way, they felt like they were the makers of their own destiny, and played on their own terms. Which is absolutely perfect, that’s what we’re aiming for. That freedom might be overwhelming to players used to objective markers and task checklists, but I think that at the end of the day this was the right way to go for this particular game. I don’t think you can really have a game about exploration and discovery if you’re guided and don’t really need to explore in order to discover.
BD: What gameplay mechanics are integrated into investigating crime scenes? o In what ways will players interact with the world? Will there be combat of any kind, or does the gameplay extend entirely from the investigative aspects of exploration?
You play as Paul Prospero, an occult detective, and you have this one advantage over any other detective that you can communicate with the dead and see through the veil of any dark forces’ lies. So even though there are elements of regular investigation in the game, stuff like finding and analyzing evidence, there are also supernatural elements like being able to mentally sync with the deceased and see their final moments. “Sync” or “evidence” sounds a bit cold and technical, but the game is nothing like that. There’s a slightly oneiric mood to it all, and I think we’ve managed to make every element of the investigation natural and organic. There’s zero combat in the game. The darkness is after your mind, not your flesh. There are some surprises when it comes to meeting evil entities, but I should probably keep quiet about those.
BD: How difficult is it to balance the importance of mood and environment as immersive narrative elements with the outside pressure of making a more traditional sort horror experience?
There was this pressure for a while, as the most successful horror games cater nicely to YouTube screamers. We thought about integrating jump scares and evil entities bent on killing you into our game, but it would corrupt the core idea, so after some consideration we have decided to risk it and make a different type of horror, well aware that it would probably cost us some points with people expecting heart attack inducing events. But I am also hoping that people will get that horror has many faces, and just as a bloodied chainsaw is horror, so can be a misty forest full of unsettling whispers.
BD: You released a prequel comic online. Are you planning on following up with any other tie-ins like that?
Probably not, as the game is a self-contained story with an actual ending. This is not a beginning of a franchise, and there are no side stories to tell. You buy a game, and it’s all there. Personally I love transmedia, I read all Dead Space books and comics, for example, but it’s just not something that would fit The Vanishing of Ethan Carter.
BD: How long do you anticipate the game will be?
Three hours? Five hours? I have no idea, honestly. We have tested 25% of it and it took people one hour on average to finish it. But will the rest take them less time, or more time, I don’t know that yet. We have a lot of custom stuff in the game, and solving one murder may take you half an hour, and another is fifteen minutes. Other things you do in the game have varied playtime, too. But the truth is that after we realized and made sure that the game offered a good value for money we stopped caring about the gameplay length. We’re only focusing on the quality of the experience and remove everything that’s in the way. There are no filler activities in the game.
BD: The team has been very active on the site, openly providing extensive coverage of the game’s development, including insight into the variety of public opinions that accompany showing early versions and playtesting. How has this process of being so open affected your approach to developing the game? It seems like this kind of forthrightness and openness will be the standard in the future. Do you see it as a net positive for the process of making games?
I don’t know. I think we bit a bit more than we could chew. The marketing is important, but going all the way like we did is just too much work for a small team like ours. And I don’t think, for example, that my daily blogging on Tumblr gave us that much advantage compared to the cost of it. I like to finish what I start, so we’ll keep it this way until the day of release, but in the future we have to be a bit smarter about it.
Please note that the marketing is especially difficult for a game like ours. On one hand, there are thousand things I’d love to tell people about, and at the same time everything feels like a spoiler. And we don’t want to spoil the game in order to generate more hype before release. So it’s a really hard work to blog and tweet daily when you don’t really want to say too much about your game.
BD: Since it is a narrative-based game, do you plan on offering playable demos before the game’s actual release?
No, but that’s mainly because of the way the game is structured. I mean, how do you do a demo of GTA? Of course we’re not GTA, but the game is non-linear and with a fairly small, but open world. I guess time-limited demo is an option, something that To the Moon did: you get a full game but there’s a paywall after an hour or whatever. But not only that would be an immersion killer, but also it would not necessarily translate to a better experience, just larger reach.
It’s basic psychology, you don’t give any game you get for free the same amount of care and attention as to the one you paid for. It’s a controversial subject and probably too long for this interview, but, in short, not only is making a demo much harder than anyone suspects, but the demo as such is not necessarily a good thing for the players themselves. I think that in times of online reviews from both gamers and journalists and in times of YouTube you can really understand if you want to purchase a game or not without having a playable demo.
BD: Do you have anything to add or announce?
It’s a race against time for us, to release the game before the autumn insanity. Just today I got a document with every spoken line in the game and we’re ready to finally record all voice-overs. We will hit alpha in a few weeks. Fingers crossed then for Ethan’s release in the third quarter of this year.
SEGA has released a new accolades trailer for Creative Assembly’s upcoming survival horror take on the Aliens franchise with Alien: Isolation. So far, the game has seen an impressive 40+ awards and nominations follows its E3 showing. If we had an E3 award here at Bloody Disgusting, it would’ve likely taken home another, but instead, I asked you which horror game you think won the Best of Show, and Isolation was beaten only by Shinji Mikami’s The Evil Within.
Alien: Isolation is slated to arrive on PC, PS3, PS4, Xbox 360 and Xbox One on October 7.
Being trapped in a collapsed coal mine sounds like it would be pretty damn horrible. I could think of a thousand other places I would rather be than trapped in a mine (the hospital, the proctologist, Florida). Throw in some ambiguous subterranean evil forces and a collapsed mine is certainly the least desirable place on the planet.
That’s just where the characters of the new survival thriller Beneath wind up, pitted against wickedness and their own paranoia hundreds of feet below the surface in a crumbling mine. It’s a nice mix of real-life horrors such as depleting oxygen in a claustrophobic environment and ambivalent supernatural elements. The premise itself is interesting and a guaranteed recipe for terror, but sadly Ben Ketai’s film fails to really run with it. The result is a fairly ordinary suspense film with moments of terror sprinkled throughout.
That’s not to say Beneath is a bad movie – it’s just routine. Luckily it has a strong cast, headed up by Jeff Fahey (The Lawnmower Man) and featuring Brent Briscoe (Mulholland Drive) and Joey Kern (Cabin Fever). Newcomer Lauren Gores plays Fahey’s daughter, an environmental lawyer who’s allowed to go down into the mines with them for one day so she can see what her dad has been doing at work for the past 35 years. The possible insurance liability nightmare of allowing an untrained person go down into a coal mine turns out to be the least of their problems.
Things are going smoothly and Fahey’s daughter is proving she’s got the stones to do mine work, then a cave-in traps all of them in a small area. Luckily it’s the area where there’s an emergency bunker complete with oxygen tanks and what look like pamphlets from the mine company. I hope they’re pamphlets explaining their life insurance policies, that would be nice. Fahey manages to contact the rescue team, who tells them it’ll be 72 hours until they can reach them. As long as they can hunker down in the bunker and not kill each other, everything will be cool.
A litany of bizarre things start to happen. At first it seems like just the group being paranoid, but the story gradually builds up to straight-up supernatural elements. These parts are most effective when less-is-more. For instance, one guy gets a pick-axe to the belly and we see his guts strewn everywhere. But more potent is the miner left behind in the bunker, who swears people were banging on the door. We never see who it is, or what it is. This works better for me than gore, especially in a mine where it’s impossible to see more than six feet in front of you.
The source of the evil is never fully developed, though there is a reference to another group of miners who were trapped and died nearby back in the 1920s. The lack of development and failure to embellish its plot may be Beneath‘s biggest problems, as it builds up to an end without throwing any surprises in. The premise alone is enough to evoke anxiety for the miners, but the filmmakers fail to exploit the situation and put their own unique spin on it.
Beneath hits VOD June 27.
Developer Ready at Dawn’s upcoming PS4 exclusive The Order: 1886 follows an ancient war between an order of elite warriors and Lycan “half-breeds.” In the latest trailer for the game, we’re given the chance to get real familiar with these monsters, their motivations, and how they came to be. If you’d like to see more of these baddies, you may want to check out the gameplay demo that was shown off at E3 earlier this month.
The Order: 1886 is scheduled to arrive on the PS4 in 2015.
We’ve got a couple of really cool exclusive images from an upcoming horror short called Kadence which will be written and directed by Marvel visual artist Jacob Johnston (he’s worked on Avengers 2, Guardians of the Galaxy, Captain America: The Winter Solider, Thor).
In the short, “Still reeling from the loss of his mother, a damaging and complex relationship with his father and a relentless battle with his own inner demons, Kadin’s  grip on reality is loosening by the day. Amid this struggle comes an enigmatic and brazen new neighbor, Marissa , who, along with the promise of a budding new friendship gives Kadin an ancient voodoo doll. Her reassurance is seductive and the promise of a brighter future leads Kadin to make a sinister choice.” The impending project will be produced by Rachel Kiri Walker, Nicole Hendrix and Jason Rostovsky.
Kadence will star Alyson Stoner (Step Up, Cheaper By The Dozen), Bailey Chase (Longmire, Saving Grace, “Buffy the Vampire Slayer”) and Zane Holtz (From Dusk Till Dawn, The Perks of Being a Wallflower). The cast was assembled by Wallace/Gallagher Casting (Sara Wallace, Jaime Gallagher), who recently cast Red Wing with Bill Paxton and Frances Fisher and several of Caliber Media’s recent films, including the slasher Some Kind of Hate. Gallagher also produces “Ain’t It Cool with Harry Knowles”, which will debut it’s second season on PBS in Austin later this year.
Our exclusive pics were designed by Marvel senior concept illustrators Jackson Sze and Anthony Francisco. Shooting will take place in Los Angeles mid July. Head below to check them out and hit up the short’s Facebook and Kickstarter pages (the latter of which seems to be doing pretty well).
Writer/director Scott Derrickson (The Exorcism of Emily Rose, Sinister) sees his new, ambitious horror film Deliver Us From Evil hit theaters on July 2nd. We’ll be running interviews on this bold new film all this week, and today we’re serving up a bit of Edgar Ramirez (The Counselor).
He didn’t happen to be shooting on the say of my set visit, but he’s an integral part of the film. His character, Mendoza, represents one half of the dialogue that the film is ultimately about and there’s a lot in his performance that embodies the film’s spirit.
Check out the interview below!
Damn, a fourth Dawn of the Planet of the Apes clip has just arrives, and in it the humans have their backs turned to them by the apes. They don’t want war – but damned if we can’t leave ‘em alone.
In theaters July 11, Matt Reeves directs with Andy Serkis, Keri Russell, Gary Oldman, Jason Clarke, Kodi Smit-McPhee, Judy Greer and Jocko Sims starring.
In the sequel to the prequel, “A growing nation of genetically evolved apes led by Caesar is threatened by a band of human survivors of the devastating virus unleashed a decade earlier. They reach a fragile peace, but it proves short-lived, as both sides are brought to the brink of a war that will determine who will emerge as Earth’s dominant species.”
IFC is bringing Zachary Donohue’s The Den to home video July 29.
“After receiving a grant for her graduate thesis, Elizabeth Benton logs onto a video-chat site known as The Den on a mission to explore the habits of its users. During one of her random video-chats, Elizabeth watches in horror as a teenage girl is gruesomely murdered in front of her webcam. While the police dismiss it as a viral prank, Elizabeth believes what she saw is real and takes it upon herself to find the truth. Soon she finds herself trapped in a twisted game in which she and her loved ones are now targeted for the same grisly fate as the first victim.
With nail-biting suspense, The Den plunges the viewer into the darkest depths of humanity and technology.”
Remember when I posted that the long lost Aphex Twin album Caustic Window had surfaced and was going for the steep price of $13,500 on Discogs? And then remember how a Kickstarter came about that got to buy the album and then give supporters a digital copy? Well, that test pressing was then auctioned on eBay and it looks like Minecraft creator Notch won the auction at the oh so reasonable price of $46,300. You know, basically on par with a thrift shop find.
A portion of the auction’s proceeds will go to charity, so there is always that! Head below to stream the album as well as see Notch’s tweet.
So I kinda paid a lot for a double LP from the '90s..
— Markus Persson (@notch) June 23, 2014
Some girls just want to watch the world burn…
A24 shared with Indiewire two character posters for Jeff Baena’s Sundance horror comedy, Life After Beth, starring Aubrey Plaza, Dane DeHaan, John C. Reilly, Molly Shannon, Cheryl Hines, and Paul Reiser, will be releasing on August 15. MTV also just released the trailer for the pic that received strong critical acclaim out of its world premiere this past January in Park City, Utah.
“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.”
There is no calm before the storm…
A brand new poster and trailer were released rom New Line Cinema’s Into the Storm, helmed by Final Destination 5‘s by Steven Quale (who is also a James Cameron protégé), and it looks absolutely bonkers. They promise this is the biggest storm ever.
In theaters August 8, “In the span of a single day, the town of Silverton is ravaged by an unprecedented onslaught of tornadoes. The entire town is at the mercy of the erratic and deadly cyclones, even as storm trackers predict the worst is yet to come. Most people seek shelter, while others run towards the vortex, testing how far a storm chaser will go for that once-in-a-lifetime shot. Told through the eyes and lenses of professional storm chasers, thrill-seeking amateurs, and courageous townspeople, Into the Storm throws you directly into the eye of the storm to experience Mother Nature at her most extreme.”
Richard Armitage, Sarah Wayne Callies, Matt Walsh, Alycia Debnam-Carey, Arlen Escarpeta, Max Deacon, Nathan Kress, Jeremy Sumpter, Kyle Davis, Jon Reep, and Scott Lawrence all star.