Horror heavy hard rock band New Years Day are kicking off 2015 with a ton of wild information! First, they’re currently on tour with Motionless In White. Next, the band has signed a record deal with Another Century Records. And finally, they’ve announced that they will be writing and recording a new album, which is set to come out later this year!
With all that information, we had to reach out and catch up with vocalist Ash Costello, who answered six questions for us. The topics we covered are touring, signing to a new label, and what horror composer and horror director she would love to work with! Head on below for this exclusive interview.
You can buy the band’s latest EP Epidemic via iTunes.
BD: Talk to me about signing to Another Century Records. What was it about them that you feel made them the right choice for your vision, your goals?
We thought about it long and hard. We had been doing so amazing on our own with our managers label Grey Area Records, that we weren’t sure If we were ready and willing to expand our family, but the team at another century has gone above and beyond to prove that they really want to be a part of our team, and now we are all pretty excited and ready to move forward together.
BD: You’re currently on tour with Motionless In White and then you’ve got Warped Tour this summer. Talk about the differences between those indoor venue tours and festival dates.
The differences are MASSIVE! On Warped Tour your work day starts around 8am, on a venue tour your work day begins around 2 or 3pm. On a venue tour you build a tight family and on a festival tour there’s SO many people to get to know. I personally love doing both!
BD: What should fans expect from your upcoming album? Are there any surprises in store that you think will really stand out?
Well we actually have not begun to sit down and really write it yet. Of course we are always writing and there are some ideas being laid down, but we are really going to get into it this April.
Expect it to stay on the heavy path we’ve been heading down, some amazing music collaborations and of course there’s always a dark twist. I’ve been feeling pretty pissed off so I’m sure the album will reflect that!
BD: The description of your music on your Facebook page references ‘Dexter’ and ‘True Blood’. Take me further into your view of horror and how it influences your sound.
Horror has a hand in EVERYTHING I do. To my hair and make up, the way I dress, the way I decorate my house, the movies and books I prefer, so it would make sense that the music we write would reflect that. Why would I write music that isn’t personal to me?
BD: Let’s say you’re given the opportunity to work with any famed horror composer on a new track. Which composer do you go with?
I’m unsure if he counts as a true horror composer but I would love to do a heavy rock song with Danny Elfman!
BD: Now, let’s take that song from the previous question and say you’re going to turn it into a music video. Which horror director would you want behind the camera for that video?
Hahahaha well I guess you would presume I would say Tim Burton but I think I would go with Rob Zombie actually on that one.
03/06 Portland, OR – Hawthorne Theatre
03/07 Vancouver, BC – The Rio Theatre
03/08 Seattle, WA – El Corazon
03/10 Sacramento, CA – Ace Of Spades
03/13 San Diego, CA – Soma
03/14 Anaheim, CA – Chain Reaction
03/15 Anaheim, CA – Chain Reaction
03/16 Mesa, AZ – Nile Theatre
03/18 Albuquerque, NM – Sunshine Theatre
03/20 San Antonio, TX – Kapone’s
03/21 Grand Prairie, TX – QuikTrip Park
03/24 Toronto, ON – The Opera House
03/25 Montreal, QC – La Tulipe
03/27 Baltimore, MD – Baltimore Soundstage
03/28 New York, NY – Irving Plaza
03/29 Philadelphia, PA – Theatre Of Living Arts
From South Park (18 seasons and counting) to Team America: World Police, Trey Parker’s provocative, politically-incorrect brand of hilarity is as vital as ever. There’s nothing he wouldn’t dare satirize. In 2011, he fulfilled a lifelong dream and conquered Broadway with The Book of Mormon, winning an impressive 9 Tony Awards. Cut to 2015, Director/Co-Writer Christopher Bond, who brought us the amazing Evil Dead: The Musical and Night of the Living Dead Live stage productions, has adapted Parker’s directorial debut, Cannibal! The Musical. It’s presently having its World Premiere in Toronto, Canada at the Panasonic Theatre, followed by a U.S. tour soon after.
Bond once again finds that impeccable balance of staying true to the source material yet at the same time expanding on Parker’s wacky universe. The show is blessed with a terrific ensemble cast including the likes of scene-stealer Marty Adams (Saw IV, The Barrens) and Mike ‘Nug’ Nahrgang (Evil Dead: The Musical, Night of the Living Dead Live). Each performer juggles their multiple roles with gusto. Cannibal! The Musical sees Bond take another cinematic cult classic to the stage, packed with freshness and creativity, without forgetting the foundation that’s made these properties so enduring to fans. This is an absolute must-see whenever it hits your town! This is theatre at its most unhinged fun.
I had the opportunity to chat with members of the cast and creative team to discuss the show and its genesis.
B-D: Where did the idea of adapting Cannibal! The Musical all start?
CHRISTOPHER BOND: Trevor (Martin) and I were looking for something to collaborate together on. We were working on Evil Dead (The Musical) together and become quick friends, realizing we kind of have a unique comic styling. Trevor is the smart joke, I’m the butt joke and together we make lots of good jokes. There was this great audience in Toronto that was really hot on Evil Dead: The Musical and we discovered Cannibal! The Musical. It’s great on its own but we really wanted to take it to the next level. It wasn’t a full blown musical. It needed more music, needed to kind of get some structure. We called up the Trey Parker camp and said: “Hey, we want to make this its own thing, make it a full-fledged Broadway-style musical. It took some talking and negotiating but at the end of the day they were like: “Yah”. This was the first thing Trevor and I collaborated on. We wrote the script, as well as maybe three new songs. We got the approval of Jason McHugh (Producer, as well as played Frank Miller in the film). He’s been our point man. He sends everything up the chain for us which is kind of cool and sneaky. It’s been great. We got the green light then all of a sudden we got a: “Hey guys, you know what? Trey and Matt are working on this other musical and we’ll circle back”. Who knew that would be The Book of Mormon, the biggest theatre success ever. It’s an amazing show. They circled back and said: “Cannibal…you guys want to do that?” Years have passed so we blew the dust off the old script and realized it needed some fine tuning, needed some more music. Long story short, here we are at the Panasonic.
TREVOR MARTIN (Co-Writer, plays Bell, Juror 1, The Undertaker, Prison Guard): Our original intention was to have this really small, comedic cast with a couple of rocks and some cowboys hats. As we were growing, building the songs, we started realizing this is a musical. This is like a musical, musical so we need legit musical theatre people. Aaron Eyre is our other Co-Writer. He was the Musical Director of Evil Dead: The Musical. He composed a lot of the songs and really filled out the existing songs that were in the movie. When we were casting, we wanted musical theatre chops and comedic chops and we’re split 50-50 with those camps. The musical theatre people are funny and the comedic people can sing and dance a little bit. Enough to keep up anyway. Everyone has meshed together really well. It’s been kind of magic.
LIAM TOBIN (Alfred Packer): Jason McHugh, who works with Matt and Trey all the time, came in for a week and kind of worked with us as well in saying: “Yah okay, let’s keep that bit but you know maybe that one isn’t working as well.” It was fun to kind of collaborate and create a new work.
B-D: What was it about Cannibal! The Musical that attracted you to take this project on?
CHRISTOPHER BOND: I saw the South Park movie and it blew my mind. The music from that inspired the music that became Evil Dead: The Musical. When you finally discover Trey Parker, you go on a little Trey Parker pilgrimage: “What this? BASEketball. What’s this? Orgazmo.” Then you finally get to Cannibal which is where it all started. It’s underground, crazy, hilarious, kitschy and campy. I was turned on by it right away.
TREVOR MARTIN: When you watch Cannibal, you can see the beginning. You hear some South Park voices. Movies aren’t silly anymore. They usually take a kind of more serious bent, or it’s very satirical. This is just a fun, silly movie that’s got that comedic sensibility we grew up with and miss.
MIKE ‘NUG’ NAHRGANG (Miller, The Judge, Frenchy, Convict): I’ve owned maybe four copies of this movie in my lifetime and it’s always been stolen from me. Whoever I show it to is like: “Could I borrow that?” and it never comes back. The movie makes me laugh so much. When I first saw South Park, I wanted to know everything so that’s how I found Cannibal, Orgazmo and all that stuff.
B-D: What was the approach to this stage adaptation?
TIM PORTER (Noon, Loutzenheiser, The Preacher, The Cyclops,
Cherub 2): It’s a bit of a take on the cult fame of the movie. We play on the stuff that’s kind of cheesy (in the movie) but at the same time, pay such homage. They (Bond and Martin) obviously love the movie.
LIAM TOBIN: We’ve built on what’s there, as opposed to replacing anything. So a lot of the stuff is straight out of the movie but there are some new elements that are a lot of fun too.
B-D: What were the challenges in bringing Cannibal! The Musical to the stage?
MIKE ‘NUG’ NAHRGANG: While it is a movie musical, a stage musical has to have a logical intermission point and a few songs here and there plus serve several functions. The movie doesn’t have some of those things. It doesn’t have a logical place to have an intermission so that got added to the show. While there are 7 songs in the movie, there are 12 or 13 songs in our show. Aaron Eyre, Trevor Martin and Chris Bond put together some songs and incorporated some lines from the movie into the songs. Lines from The Judge, when they sentence Packer to be hung; I actually full-on sing those lines. It always has to be a little bigger, little better, go a little further. It’s not necessarily Evil Dead. I don’t think we need a splatter zone in every show but there’s some stuff like that here. Fans of Cannibal who loved the gore: there’s a little bit of the gore. There wasn’t much in the movie to begin with but there is some.
TREVOR MARTIN: We’ve taken situations and moments that were scenes and turned them into big songs. We didn’t want to just do the movie on stage. There’s no point. We want to make it fresh, completely different spin. This was his (Trey Parker’s) first movie. The career trajectory of Trey Parker and Matt Stone has gone a lot more irreverent, a lot saucier. So we’ve incorporated that kind of sensibility, more of an edge. Now the bar has been heightened or lowered, depending on your perspective. We wanted to bring it in line with 2015 expectations of what this is going to be.
TIM PORTER: You can do pretty much anything on film. In the film, they did a really good job of being really low budget and making a lot of stuff happen. Even if it doesn’t look as realistic necessarily, they stage things so cleverly in this show that they’ll take people by surprise like the horse and The Green River.
LIAM TOBIN: They’ve been pretty inventive with a lot of the set pieces. It’s doing everything that we can with the things that are possible, as well as finding fun and inventive ways to have alternatives that still create the same results.
CHRISTOPHER BOND: Although we’re in the Panasonic and stuff are pretty slick, we still resort to some very amazing fromage to make magic on stage. The mountains and horse are there. Everything that’s iconic from the film is in our presentation plus we’ve added our own stuff, explore the characters a little bit. We kind of barked up a few different trees that are kind of touched upon in the film, go the extra mile and just made it a full musical theatre experience.
TREVOR MARTIN: The scale of this is so much grander than what we originally imagined. It’s a technically-heavy show.
CHRISTOPHER BOND: Unfortunately it’s been 7 years but we’re putting on the show I think we always dreamed of it being, as opposed to something small. We’re giving Cannibal the grand treatment, something spectacular.
For more information on Cannibal! The Musical, go to www.cannibalonstage.com.
If you’re a fan of collecting horror memorabilia, then let me tell you all about Nerdblock and their amazing horror-themed monthly subscription box Horror Block! Packed to the brim with awesome horror merch, it will net you t-shirts, Rue Morgue magazines, books, action figures, plush toys, watches, and a whole lot more, all for a low monthly cost. In fact, the most expensive option is $19.99 (without S&H), so when you factor how much get in one box you’re still doing incredibly well!
Nerd Block contains licensed merchandise, hand-picked by our team of uber-nerds representing all genres from movies, television, video games, internet, and more! Each item is carefully selected and put through a series of in-house testing based on quality, brand association, collectability, and most important – fun factor.
Below we’ve got several pictures of things you can get from Horror Block as well as a video of me unboxing February’s box.
If you’re interested in subscribing, follow this link: http://www.horrorblock.com/r/bloodydisgusting!
Here’s some terrible god-awful news that hurts more and more as I type each and every word… we may lose Harrison Ford is now in stable condition after he crash landed a plane in Venice, Calif. on Thursday, according to several reports.
Variety, who originally misreported that he was in critical condition (and then edited their article to “seriously injured”), writes that the 72-year-old crash landed on Penmar golf course after something apparently went wrong with the small plane. Ford was transferred to a local hospital in critical condition. The actor was the only one aboard the plane and the only person who sustained injuries.
Ford reportedly walked away from the crash, but had multiple head injuries. TMZ states that he suffered multiple gashes to his head and was bleeding. Two doctors who happened to be at the golf course rushed over to treat the actor.
Various sources now report that he is now in fair/stable condition with serious head wounds (Update 4:12PM PST).
Ford is an avid pilot, and has crashed planes before with minimal injuries.
He’s one of the all-time greatest actors having appeared in Star Wars, Indiana Jones, Blade Runner, as well as American Graffiti, Patriot Games, Apocalypse Now, The Expendables 3 and many others.
We’ll keep you updated as news comes in. We’re all praying for him.
Updated headline at 4:19PM PST
Check out this exclusive clip from These Final Hours (review), in select theaters nationwide and VOD platforms Friday, March 6th from Amplify Releasing and Well Go USA.
“In this apocalyptic drama, James is a troubled young man on a mission. He’s desperate to join his girlfriend Vicky at the ‘party to end all parties’ and numb any feelings as the world comes to an end. On his journey however, James is greeted by a lawless and chaotic city, facing a cataclysmic event that will end life on the planet, and he discovers that getting to where he needs to be will not be easy. Along the way, he saves the life of a girl named Rose, frantically searching for her father. Out of options, James invites Rose to join him. Together they discover how they would truly like to spend their last moments on Earth in this world gone mad.”
Zak Hilditch directs Nathan Phillips, Angourie Rice, Jessica de Gouw, Kathryn Beck, Daniel Henshall, Sarah Snook, and Lynette Curran.
Organic is a really good way to describe Title Fight’s evolution. The band has grown from their punk/hardcore roots to embracing a more experimental and shoegaze sound. But this shouldn’t be taken as a negative as those hardcore influences are what gives their sound the depth that a lot of bands that play this style of music usually fall flat of.
Their last LP, Floral Green as well as their last EP Spring Songs should have been a pretty good heads up of what was to come with Hyperview.
The intro to the album, “Murder Your Memory”, comes off as that “calm before the storm” sound. It’s very dreamy and slips silently right into the first single of the album “Chlorine”. The song is almost disruptive with its twangy-crushing guitar intro, almost like someone smacked you awake then hugged you for getting up. It’s a great indicator as a taste of things to come from the album.
From there, every song on this album flows together in a way that comes off as effortless, but still very much thought out. “Mrahc” sounds like a song from The Jesus And Mary Chain’s first length or even a Joy Division B-side from their early years. Quick and punchy but still carries that hollow sound. “Your Pain Is Mine Now” is the epitome of a sad bastard song. It scratches that itch of self loathing and sadness that we all pretend we don’t love to embrace every once in a while.
It shouldn’t go unnoticed the quality in production courtesy of producer Will Yip, who has also produced bands such as Blacklisted, La Dispute and Circa Survive. He also produced Floral Green and Spring Songs. At this point he should really be considered a 5th member of the band. He honestly gets them and has helped them come into their own. It’s very refreshing.
A lot of long time fans might be a little bummed with this album. This is understandable, but at the end of the day they still sound like Title Fight and that is something that shouldn’t go unnoticed. Many bands that come out of the same genre waste your time and money churning out the same material every year and a half. But not this band. They took their time and put out something you can tell wasn’t just whipped together.
The Final Word: Hyperview is a fantastic album that adds even more substance to Title Fight‘s discography. It is, however, a dividing line. But that should be taken as a positive.
Chicago, IL’s Harm’s Way recently released their video for “Amongst The Rust” via Decibel Magazine last week. Their new album Rust comes out next week (March 10th) through Deathwish Inc., which you can pre order here.
The video shows the band playing in a boiler room, which I think is just a metaphor for how damn heavy this song is. And because the singer is just about as big as the machinery. Enjoy!
Always thrilling and a little bit dangerous, Tribeca’s Midnight section this year features five genre films and one special event for adventurous late night audiences. Creative and unique villains from vengeful anthropomorphic bananas to evil mutant wasps and crazy ass babysitters terrorize the heroes of Bodyslam: Revenge of the Banana!, Stung, and Emelie. Conversely, it’s antiheroes who take the spotlight in corrupt cop drama Hyena and envelope-pushing kidnapping story Scherzo Diabolico. The program is capped off with a one-night only live performance from cinephile comedy group Rifftrax, who will skewer the reigning king of Midnight Movies: Tommy Wiseau’s The Room.
Stay up late with these scary, funny, surprising tales in Midnight at Tribeca.
Bodyslam: The Revenge of the Banana!, directed and written by Ryan Harvie and John Paul Horstmann. (USA) – World Premiere, Narrative. Ronald McFondle, Eddie Van Glam, and other social outcasts made up the Seattle Semi-Pro (SSP) Wrestlers, an off-kilter family of cabaret fighters that spoofed the pros. When a newcomer Paul, The Banana, fell on the wrong end of the joke, he ran to the government to disband the SSP. Bodyslam: The Revenge of the Banana! captures the wrestlers’ fight to keep the theatrics alive.
Emelie, directed by Michael Thelin, written by Richard Raymond Harry Herbeck. (USA) – World Premiere, Narrative. After their regular babysitter Maggie can’t make it, the Thompson family turns to her friend Anna to supervise their children while the parents go out to celebrate their anniversary. At first Anna seems like a dream come true to the kids, allowing them to eat extra cookies and play with things that are usually off-limits, but as her behavior becomes increasingly odd, the kids soon find out that her intentions are dark and twisted, and she is not who she seems to be.
Hyena, directed and written by Gerard Johnson. (UK) – U.S. Premiere, Narrative. Michael Logan (Peter Ferdinando) may be a corrupt, coke-addled cop, but he’s a bad lieutenant with a conscience. After years of dodging the same laws he was assigned to uphold, Michael suddenly finds himself trying to change while safeguarding a young Albanian woman from the sex trade. Equal parts grit and neon, Hyena blurs the line between cop and criminal and exposes the illicit underworld inhabited by London’s most ruthless policemen. A Tribeca Film release.
Scherzo Diabolico, directed and written by Adrián García Bogliano. (Mexico, USA) – World Premiere, Narrative. Armed with a fine-tuned chokehold and penchant for piano sonatas, a wearied accountant breaks his mild-mannered routine when he kidnaps a young woman. What starts as a carefully calculated plan soon crescendos into his worst nightmare. A delightfully twisted black comedy, Scherzo Diaboloco is the latest opus from director Adrián García Bogliano. In Spanish with subtitles
Stung, directed by Benni Diez, written by Adam Aresty. (Germany, USA) – World Premiere, Narrative. For catering staffers Paul and Julia, Mrs. Perch’s fancy garden party at her remote country villa is nothing out of the ordinary. A mishap with toxic plant fertilizer leads to the most unwelcome of dinner guests: giant killer wasps. Director Benni Diez takes audiences on a thrilling, gory rollercoaster ride from campy to creepy, in this delightful and dreadful creature-feature.
SPOTLIGHT – Co-Sponsored by Brookfield Place and The Lincoln Motor Company
Backtrack, directed and written by Michael Petroni. (USA) – World Premiere, Narrative. In this spine-tingling supernatural thriller, troubled psychotherapist Peter Bowers (Adrien Brody) is suffering from nightmares and eerie visions. When he uncovers a horrifying secret that all of his patients share, he is put on a course that takes him back to the small hometown he fled years ago. There he confronts his demons and unravels a mystery 20 years in the making.
Maggie, directed by Henry Hobson, written by John Scott 3. (USA) – World Premiere, Narrative. There’s a deadly zombie epidemic threatening humanity, but Wade (Arnold Schwarzenegger), a small-town farmer and family man, refuses to accept defeat even when his daughter, Maggie (Abigail Breslin), becomes infected. As Maggie’s condition worsens and the authorities seek to eradicate those with the virus, Wade is pushed to the limits in an effort to protect her. Joely Richardson co-stars in this post-apocalyptic thriller. Lionsgate/Roadside Attractions release.
Mojave, directed by and written by William Monahan. (USA) – World Premiere, Narrative. William Monahan’s second feature, starring Oscar Isaac and Garrett Hedlund, is a delirious trip from the fringes of the desert to the center of the film industry. Armed with little more than a knife and two handles of vodka, an on-edge Hollywood director sets out to the Mojave Desert, where he finds a drifter brandishing a rifle and claiming to be the Devil.
Thought Crimes, directed by Erin Lee Carr. (USA) – World Premiere, Documentary. Convicted yet then acquitted of conspiring to kidnap, rape, kill, and eat several women, NYPD officer Gilberto Valle quickly rose to infamy as New York’s own “Cannibal Cop”. With exclusive access to Valle, Erin Lee Carr’s unflinching documentary asks a fundamental question that challenges our beliefs about the criminal justice system, and even the very nature of right and wrong: Can you be guilty of a crime you only thought about committing? An HBO Documentary Film.
Starting March 18, the Film Guide and screening schedule will be live on www.tribecafilm.com and detail all feature films announced to date; additional programs will be added upon announcement.
The first trailer has gone online for No Escape, an action thriller starring Owen Wilson, Lake Bell and Pierce Brosnan.
In theaters September 2, 2015, “The story centers on an American businessman (Wilson) as he and his family settle into their new home in Southeast Asia. Suddenly finding themselves in the middle of a violent political uprising (i.e., a coup), they must frantically look for a safe escape as rebels mercilessly attack the city.”
Devil, The Poughkeepsie Tapes and As Above/So Below‘s John Erick Dowdle directed the movie and co-wrote it with his brother, Drew Dowdle.
The trailer is pretty intense, and is loaded with incredible set pieces, tons of action and violence, with an insane scope. It’s well surpassed my expectations! Thoughts?
Remember The Darkness and their megahit “I Believe In A Thing Called Love”? Well, those high pitched British rockers are back with Last Of Our Kind, a new album that comes out June 1st via Kobalt Label Services. And to hype up this new album, the band has released a music video for their track “Barbarian”, which is as ridiculous yet awesome as you’d expect.
The video plays out like pages from a comic book and tells the tale of viking battles, pillaged villages, and shows more than a few severed limbs.
Frontman Justin Hawkins describes the song as having:
…not one but two dramatic monologues, a guitar solo that has been declared ‘irresponsible,’ a riff that weakens lady-knees and a chorus that makes grown men shit directly into their pants. The lyrics describe the Viking invasion of East Anglia which culminated in the decapitation of Edmund the Martyr. So yeah, classic Darkness.
You can watch the insanity below.
How do you make a 15-inch tall homicidal doll containing the soul of a serial killer even more terrifying? Make it talk!
The star of five Child’s Play films, Mezco’s ‘Chucky’ (design based on Ronny Yu’s Bride of Chucky) stands 15″ tall and features real cloth Good Guys clothing, 11 points of articulation and his trademark orange hair. He also talks. With seven spine-chilling phrases pulled directly from the films, this Chucky is guaranteed to thrill.
Chucky features realistic glass-like eyes, and a (plastic) knife that he is sure to use for no good. Each Chucky comes packaged in his own collector friendly, film-inspired window box. Look for Chucky in stores and listen for him in the darkness starting in September 2015.
Remember, he’s your friend to the end!
The original Spawn, Al Simmons, is set to return in next week’s “Spawn Resurrection.” In a story by new series writer Paul Jenkins, and longtime Spawn artist Jonboy Meyers, Al Simmons retakes the mantle of Spawn after killing himself several years ago. The reintroduction of the original hero has been the subject of much excitement from Image Comics for most of the past year.
Most of us haven’t really been wondering where Al got off to, but to he him return is a very interesting direction for the series. I know myself being a kid who grew up on the mature titles of Spawn, that I can’t wait to see why the character is back. Originally Brian Wood was sent to make the character’s return but due to creative differences he left the book before we saw anything of his on the page. Something tells me that Spawn creator, Todd McFarlane is still way to invested to let go…
New series writer and Eisner Award-winner Paul Jenkins (Revelations, Batman: The Dark Knight) teams up with artist Jonboy Meyers (The Savage She-Hulks, Marvel Adventures Spider-Man) to shed light on Al Simmons’ tragic past in the collectible issue, SPAWN: RESURRECTION #1. Al Simmons’ highly-anticipated return to the series will then pick up with SPAWN #251.
Five years ago, Al Simmons removed himself to a state of limbo by means of suicide. But what tragic revelation could persuade him to finally return to the city, and how is this connected to the very creation of humanity? Featuring a special guest character: God. Trust us: you’ve never read a SPAWN comic like this before.
SPAWN: RESURRECTION #1 hits stores on March 11th and can be pre-ordered using Diamond Code DEC140602. Cover B by McFarlane can be pre-ordered using Diamond Code DEC140603.
What do you guys think of this tease? Are you looking forward to seeing the original Spawn return?
We love Todd Lincoln here on Bloody Disgusting, which is why we enlisted him to create the bizarre bonus V/H/S: Viral segment, “Gorgeous Vortex”, which is hidden on the newly released home video here in the States.
Collider caught up with Lincoln to talk about the stylistic short, but also got him to chat a bit about The Fly remake he was once attached to writer and direct.
There’s a ton of interesting bits in here…
“My work on the reimagining of The Fly was so long ago. I had fun developing it at Fox Searchlight. The execs there were really cool. I’m a huge fan of all five ‘Fly’ films. Especially the original ‘The Fly’ (1958) and the lesser-known third film, ‘Curse Of The Fly’ (1965).
My version was way outside the box conceptually and visually. Not at all what people would be expecting. It was a strange mix of influences such as Val Lewton, Neal Stephenson, Alan Pakula, Todd Haynes, Chris Cunningham, Michael Crichton, various Horror Manga and a touch of something you might find in ‘The Animatrix’.
I also brought on top bioengineers and entomologists as consultants. We took it deadly seriously and got so into it that we were damn close to turning someone into a fly ourselves.
The film would have been done almost entirely with practical effects.
My story had very little in common with Kurt Neumann’s original ‘The Fly’ or David Cronenberg’s remake. Both of those are classics so there’s no point in touching them. You have to go a completely new direction while still making it feel like a ‘Fly’ story at its core and respecting the history of the franchise. Who becomes a fly… how they become a fly…. and what happens… was all completely different in my take.
Ultimately, I don’t think it was the right time for it to be made. The script was not all the way there and audiences were not ready for where we were headed. I would approach it differently now. And while I’d certainly be open to revisiting ‘The Fly’ someday, I’d also love to see Fox let Cronenberg make the sequel that he scripted. If you love movies, why would you not green light that?
His list of inspirations is fascinating, and it’s really cool to see that he planned to hire bioengineers and entomologists. After seeing what he did with “Vortex”, you can only wonder what kind of weird modern version of The Fly would have transformed on screen? It’s really a bummer this never came into fruition, especially considering his respect for the previous films and his original pitch: “We’ve never seen The Fly actually fly!” So true…
The full 15-minute long short film “Killer Kart” is now online.
It premiered at Screamfest Horror Film Festival in October 2012.
In the two years of film festivals since then, the film went on the receive 37 awards with an additional 23 nominations and screen at 79 film festivals, including being awarded Best Horror-Comedy Short at Screamfest.
“The shopping cart. Four wheels, one basket, and tonight, for the closing crew of a small-town grocery store, a blood-splattered aluminum nightmare!“
TentSquare, Inc. has announced the first ever Crowd Powered Entertainment, original short film “While You Were In a Coma”, will be streamed live on the site for members and fans before beginning its film festival run this month.
The online screening will take place via tentsquare.com on March 10th at 8PM EST, with an encore at 11PM EST. The ten-minute film will be followed immediately by a live video Q&A with the cast and crew.
“A comedic sci-fi tale, it follows the story of Otis Reeves, a man who wakes from a coma 30 years after his prom night to find the world in shambles and the girl of his dreams still out there waiting for him.“
“While You Were In a Coma”, the first Crowd Powered Entertainment ever, was voted on by TentSquare members every step of the way, from the title to plot points, to the director and lead actor.
“This film is a collaboration of over 5,000 members of the TentSquare Community,” said Andrew van den Houten, seasoned film producer and TentSquare Inc. Founder & CEO. “The goal was to prove we could democratize the filmmaking process and create a high quality, entertaining film that engages our audience from development to release.”
Screenplay development was lead by writers Matthew and Kevin McManus, whose first feature film, Funeral Kings, was an Official Selection of SXSW 2012. They asked the community to vote on elements used to build the script: genre, types of characters, and plot twists.
Once the script was completed, TentSquare held competitions opened to select the film’s Director, Cinematographer, Lead Actor, and Featured Song.
“TentSquare projects are unique because members get to be part of the whole journey- they are involved in conception, development, and execution,” said James St. Vincent, who was selected by the TentSquare community to play the lead role of Otis.
Swedish melancholic melodic metal band Katatonia are preparing for the March 31st release of Sanctitude, their new live DVD/Blu-Ray. The concert was filmed and recorded in the stunning, candle-lit setting of London’s Union Chapel during their May 2014 ‘Unplugged & Reworked’ tour. The event saw the band play tracks from their Dethroned & Uncrowned album as well as stripped down acoustic version of songs from much of the discography. The concert also saw guest vocals and guitars from The Pineapple Thief mainman Bruce Soord as well as a guest appearance from The Gathering‘s Silje Wergeland.
In anticipation of this release, the band has premiered a video for their new take on their classic track “Day”, which originally appeared on Brave Murder Day.
Guitarist Anders Nystrom comments:
Day… something you wake up to, or at least have to pull through, over and over. Most of them you forget about, but a couple you maybe look back upon and wish to relive again.
Unfortunately in reality, I’m afraid that’s not possible, at least not until Apple buys NASA and releases a new version of their Time Capsule backup machine and send people into the cloud and back into history to fetch an older version of their lives, but luckily for us, there’s a current control of our music that doesn’t need time travel.
We have always felt that if there’s a need, we’re entitled to the freedom to give our old songs a makeover in the now rather than the never. So, in the making of ‘Sanctitude’ there was one song in particular that meant a great deal to us. In fact, it was our first song ever to feature entirely clean vocals accompanied by clean guitars and it was written and released right in the peak of our death metal years.
The song stood out, but isolated itself into oblivion in the climate of heavier music. Therefore we wanted this song to get a second chance, to be re-discovered. Even 20 years later when performing it live for the first time, it appears the parks are still grey and look the same…”
You can watch the video below.
Sanctitude will be released in four formats:
1) Blu-ray DVD in 5.1 surround sound plus ‘Beyond The Chapel’ documentary including brand new interviews with Anders Nystrom & Jonas Renkse.
2) CD/DVD package – audio / visual set including ‘Beyond the Chapel’ documentary.
3) Double LP (incl. download code)
4) Digital download (audio)
Ghoul, a supernatural thriller/horror film from Czech actor and filmmaker Petr Jákl, broke box office records this past weekend, raking in the highest opening for a horror film ever in the Czech Republic and its U.S. premiere is just weeks away.
In the Czech Republic, Ghoul has already surpassed ticket sales for previously released horror films like Paranormal Activity: The Marked Ones (2014), Insidious: Chapter 2 (2013), Maniac (2012), The Exorcism of Emily Rose (2005) and Texas Chainsaw Massacre: The Beginning (2006).
Shot on location in Ukraine, Ghoul is a blend of fact and fiction.
Ghoul follows a group of broke fictional American documentary filmmakers traveling to Ukraine to report on the real-life Andrei Romanovich Chikatilo, known as the Rostov Ripper. Chikatilo terrorized more than 50 young victims in the late 70s and 80s and then ate parts of their bodies. He was executed in 1994.
Weaving in real archive video, the movie also follows the documentary filmmakers as they investigate how cannibalism swept through Ukraine during the notorious famine of 1932. After being lead deep into the vast Ukrainian forest for an interview with one of the last known survivors of the cannibalism epidemic, they are plagued with a series of unexplainable supernatural encounters and come face-to-face with the evil spirit of Chikatilo, who was born in the Soviet Union and was the most violent serial killer and cannibal of all time.
The film opens in Los Angeles and New York on March 20.
Old wounds are opened up in The Dark Places trailer that carries sort of a Zodiac vibe.
Charlize Theron is all grown up, but begins to investigate the murder of her family that she witnessed as a child.
It was recently announced that A24 and DirecTV acquired all U.S rights to Dark Places, based on the novel by “Gone Girl” author Gillian Flynn.
“Theron plays a survivor of the brutal killing of her family as a child who’s forced to confront the events of that day by a secret society obsessed with solving crimes.”
It also stars Chloe Grace Moretz, Nicholas Hoult, Christina Hendricks, Tye Sheridan and Corey Stoll, and was directed by Gilles Paquet-Brenner from his adaptation.
It opens in French theaters on April 8.
Recapping is starting to feel redundant with a new story breaking each and every day, but here we go…
Neill Blomkamp released Alien concept art a few months ago. It went viral. Fox hired him to develop the it. Ridley Scott is producing. Sigourney Weaver is returning. It will be the “final entry” and will take place after Aliens, but before Alien3. Michael Biehn could be in it (he claims to have been contacted), as shown in the concept art, and an unknown actor did makeup tests as Hicks in preparation.
Blomkamp’s Chappie opens in theaters tomorrow, and retimes him with Weaver. Both have been making a press tour, which is where all of this information is being gathered from. Variety has more, this time from Weaver, who tells them the next Alien will break new ground.
“I can’t think of a better director,” Weaver told the site at the New York City premiere of Blomkamp’s latest film, “Chappie.” “He’s a real fan. I think he’ll be true to the world and take it in unexpected directions. It’s got a lot of sinew in it. It will certainly stand up to the others and probably break a lot of new ground as well.”
Blomkamp expresses why he’s enamored with doing a new Alien, other than the first two films being his favorite films:
“I would love to make something in that world because the films use terror and dread and filmmaking techniques that are different than what I’ve dabbled in before,” he said.
Personally, I’m desperate for this Chappie tour to end because I both want to be surprised and don’t want to think about it as Blomkamp still has to write a script. It’s going to be a few years until this goes into production, assuming it’s even approved by Fox.
Neill Blomkamp won a lot of fans over with his debut feature District 9, which was nominated for four Academy Awards, including Best Picture. His sophomore effort Elysium had a lot of folks thinking maybe he was a one-hit wonder. Even Blomkamp admitted the story wasn’t very good. A few weeks before his latest film Chappie was released, it was announced that he’ll be directing the new Alien movie. Nailing that deal before it was screened was a wise move because Chappie is all over the place. It’s an ambitious, formulaic crowdpleaser that doesn’t know when to end and is crippled by the stunt casting of Blomkamp’s South African pals Die Antwoord.
Much more in the vein of A.I. than RoboCop, Chappie follows the developing consciousness of a sentient robot created by Deon (Dev Patel). He’s done so in secret because the powers that be (Sigourney Weaver) have forbidden him from screwing up the successful “scout” (robot cop) program. Things turn sour when Deon is kidnapped by Ninja, Yolandi, and America, three desperate crooks who need to pull off a major score to pay off a debt. Back at the lab, Deon’s bitter co-worker Vincent (Hugh Jackman with a mullet) is urgently trying to get his massive ED-209 wannabe integrated into the police force.
I mentioned ED-209 because there are a few artistic similarities to RoboCop, particularly the 2014 remake. There have been some obvious Short Circuit jokes buzzing around the net too, but ultimately Blomkamp’s film falls more in line with A.I., as it tracks Chappie’s evolution and how shitty and exploitative humans are to everything under the sun. At first, Chappie is like a puppy, shrinking back at every loud noise and raised voice. He then begins to pick up the Afrikaner street slang of Die Antwoord, “gangster number one” and all a that. Pedantic Deon wants Chappie’s creativity to blossom while Ninja wants to teach him to be a thug. These education scenes drag on and on and only graze the surface of exploring how morality is passed on and what consciousness really is.
The script is filled with moments that range from eye-rolling to just plain silly. There is a lot of humor that works very well, like the car stealing montage for instance, but a lot of it is unintentional as well. How quickly Die Antwoord reach a conclusion about how to deal with the scouts, for instance. Also, after kidnapping Deon, they let him go because he promises to come back the next day. Moments like that serve the story (Deon has his conflict with Vincent to deal with, after all), but they’re such face-palm moments that they distract from rather than propel the film. His writing is so straightforward at times that it makes the story feel dumbed down. When Chappie sees the aftermath of a dog fight, for instance, he learns how the world is literally dog-eat-dog. Get it?!
The biggest distraction of all is Die Antwoord, whose stage personas are thrown right into this sci-fi world in an abrasive way. People unfamiliar with them will probably be baffled. “Why does it say Zef everywhere?” “Why are there dicks drawn all over the walls?” “Why are they wearing shirts with their faces on them?” So many moments feel like plugs for their music, complete with close-ups of Die Antwoord shirts, that it completely takes away any seriousness the plot is supposed to have. How can I take anything in the movie seriously when Ninja is on screen wearing short-shorts and an oversized baby blue sweatshirt with dolphins on it, carrying a bright yellow gun and mugging to the camera like a last-gasp gangsta? On its own it may be a striking image, but in the dramatic world Blomkamp is trying to establish, it’s grating on the eyes. Yolandi is the least silly of the two and her motherly instincts towards Chappie at least come across as genuine.
As for Chappie himself (voiced by Sharlto Copley), Weta did an amazing job with the design and he, unlike Ninja, fits fantastically into Blomkamp’s world. Copley’s motion-capture performance is brilliant. He’s expressive and believably interacts with his environment and other characters. The actions scenes are very well-crafted and excitingly staged. There’s a moment during the climactic rumble where a strong bit of violence is happening behind Deon, but Blomkamp stays focused on Deon rather than the graphic clobbering behind him. That’s a great touch and shows Blomkamp does have some nuance as a director. He knows what shots will pack the emotional punch, the problem is there are SO many slow-mo money shots that they become quickly obvious rather than dramatic.
There’s a lot of heart and ambition in Chappie that are sadly driven down by the silliness of Die Antwoord and the formulaic nature of the script. It certainly is a crowdpleaser (who wouldn’t root for Chappie?) but after the crowd is pleased, the film drags on another 10 minutes or so. There are a couple spots that would have made perfect endings, but Blomkamp keeps Chappie going until he can squeeze another Die Antwoord promo in there. The best science fiction always asks What if the world were like this, wouldn’t that suck? Then it uses that as a backdrop to say something about our society as it is now. Chappie is unconcerned with this and feels like a retread of Blomkamp’s previous films.
Alien fans, hang on to your butts.