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Review: “The White Suits” # 2

Wed, 03/19/2014 - 13:40

Lethal and visceral “The White Suits” feels like a whisky soaked love letter to violent international crime movies. The pages flow with a certain strangeness that Toby Cypress seems to revel in. His style is all over the book. The use of loose paneling and fast scratchy coloring compliments Frank Barbiere’s fever dream of a narrative. It all comes together to create an engaging momentum that still doesn’t concern itself with making too much sense.


WRITTEN BY: Frank J Barbiere
ART BY: Toby Cypress
PUBLISHER: Dark Horse Comics
PRICE: $3.99
RELEASE: February 19th, 2014

Prizrak has clearly seen some shit. The White Suits have torn through his psyche, and surely he was once one of them. What our plucky FBI Agent, Sarah, hopes to get from him is anyone’s guess. Yet, the two push forward to take on the unstoppable force that is The White Suits.

The disjointed narrative and art style lend to the Prizrak’s plight. If that seems like a negative, it’s totally not. This is a book that seems to plunge itself into the depths of a broken man against insurmountable odds, who fears what he may have been. The mythical White Suits cut through the pages just like they do their enemies.

Cypress is a little more subdued than the debut issue. It helps to convey some forward momentum that the story needs. Outside of the action his wild style can rest on his fantastic character designs and helps the script push the exposition out while still remaining visually engaging.

The use of only black, white, and red really helps certain elements of his style pop. The darkness of this book speaks just as much as its white counterparts, and the hand drawn sound effects lend to a visceral and gritty feeling in the action scenes. There is something about the oblong character designs, with the long limbs, the extended angles and the hard backgrounds that is irresistible.

Things actually end up moving extremely quickly in the later half of the issue. Barbiere wastes no time attempting to payoff the plot points he sets up only pages ago, and he does so in a pulse pounding race to the final page. When you finally get to the end, you’ll feel like you hit a wall and were forced to stop dead. You’ll want to keep flipping but there is no more fun to be had this month.

There really isn’t anything quite like “The White Suits” out there today. It is wholly unique and reading it provides a dynamically different experience than most comics. It’s wild, sketchy, and completely untethered. Yet, its moved along with brisk dialogue and larger than life criminal violence that never lets you catch your breath. You’ll still be trying to piece it all together by the time the last page hits but the mysteries brought on by the bigger picture should have you coming back next month.

Rating: 4/5 Skulls

Categories: Horror News

Review: “Five Ghosts” # 10

Wed, 03/19/2014 - 13:31

“Five Ghosts” does what it does best this month. It provides an action packed adventure, which further deepens its world, characters, and ideas while looking beautiful. The whole thing reads like silk. The main protagonist is noticeably absent throughout the bulk of the issue but that somehow doesn’t stumble writer Frank Barbiere for even a moment. Come away to a strange island and join “Five Ghosts” for some giant crabs, stay for the mysterious witch.


WRITTEN BY: Frank J Barbiere
ART BY: Chris Mooneyham
PUBLISHER: Image
PRICE: $2.99
RELEASE: March 19th, 2014

This comic exists in a league of its own. The storytelling is conveyed with such confidence that the larger world outside of the pages feels fully developed. The series has an incredible voice that manages to be unique and still drip with tribute. It never feels strained and it always feels unpredictable. Which is basically the highest praise I can give to a comic. If you can continue to surprise me, I’ll be back month after month.

So yet again, “Five Ghosts” surprises me. I find Fabian Grey to be magnetic, almost irresistible. His powers notwithstanding, he’s an enterprising and confident hero who is motivated for the wrong reasons. So extracting this magnetic force should create a lull in the book. Instead, it deepens the mystery.

We’re finally given some time to meet Sinbad (as she calls herself.) She has a dreamstone, and we learn what happens when dreamstones get too close. It’s not pretty, and it’s overwhelmingly ominous. Barbiere weaves the narrative around disorientation and makes Fabian all the more important by removing him. The action is still present, and the supernatural is everywhere. In fact we get a supercharged jolt of it with the introduction of a new character whose sure to mix shit up in all the wrong ways.

Chris Mooneyham and Lauren Affe are a match made in heaven. Their work compliments each other so well that the pulpy, washed out but colorful look to the paper has come to define the book as much as the characters. Mooneyham finds fantastic ways to keep the action exciting and overwhelming. The looming beasts at the beginning of the issue are only rivaled by the ship-destroying climax of the script. Everything is communicated with polish and poise.

It’s hard for me to find a fault in an issue like this. The voice is carefree, the action is heavy, and the implications for the future are far-reaching. The particulars of this book are made with such confidence that you could easily believe lifelong comics pros were behind everything. Instead it’s the commitment to creating a unique and developed world with complex characters that wins out over everything else. At the end of the day “Five Ghosts” exists in an endlessly complicated world that is communicated with relative ease. It’s not an easy task, but it sure looks that way.

Rating 4.5/5 Skulls.

Categories: Horror News

'The Sacrament' Stars Diagnosed with 'Dementia'

Wed, 03/19/2014 - 13:29

Raphael Margules and J.D. Lifshitz’ BoulderLight Pictures, who produced Contracted, begins production next week in Los Angeles on Dementia, which is said to be in the vein of Misery and Whatever Happened to Baby Jane.

Mike Testin, cinematographer of Contracted, will direct Dementia, “about an elderly war veteran who is forced by his estranged family to hire a live-in nurse after finding out he has been diagnosed with Dementia, only to find that she harbors a sinister secret.

Gene Jones, who can be seen as the Father in Ti West’s The Sacrament, pictured above, stars with A.J. Bowen (pictured below; You’re Next, The Sacrament), Kristina Klebe (Proxy, Halloween), Marc Senter (Red, White, and Blue, The Lost), and newcomer Hassie Harrison.

The script was penned by Blood List writer Meredith Berg (Faceless).

Categories: Horror News

Trailer For 'The Signal' Heavy On Vibe, Low On Spoilers

Wed, 03/19/2014 - 13:27

Yesterday Focus Features started a viral campaign for their June 13 release of William Eubank’s thriller The Signal, which Ryan Daley reviewed out of the Sundance Film Festival. Today they’ve released the trailer, which does a nice job of hinting at the film’s tone without overexplaining its surprises.

Starring Brenton Thwaites, Olivia Cooke, Beau Knapp, Lin Shaye, Robert Longstreet, Jeffrey Grover and Laurence Fishburne, the pic follows a group of college students are lured to the middle of the desert by a hacker.

Head below to check out the trailer. If you’re into viral campaigns, go to RUAGITATED.COM to access important information about your condition.“

Categories: Horror News

Review: “Curse” # 3

Wed, 03/19/2014 - 13:15

A horror story never gets better for anyone involved. Michael Moreci & Tim Daniel are very aware of that fact this month as they push all of their characters to the brink. The small town politics erupt into chaos and the mythology of the werewolf is uniquely developed in another chilling chapter of “Curse.”


WRITTEN BY: Michael Moreci & Tim Daniel
ART BY: Colin Lorimer & Riley Rossmo
PUBLISHER: BOOM! Studios
PRICE: $3.99
RELEASE: March 19, 2014

Finishing this issue actually had me utter the words “God fucking damn it.” I couldn’t believe how screwed things were for Laney, and how this guy believes he’s just trying to do the right thing.

Except he’s not. He’s a noble man with a seemingly noble cause, but he’s caught in his past. Moreci and Daniel remind us of this constantly. Yet, this month it becomes abundantly clear Laney isn’t acting with the best intentions. His motivations are selfish and blind. Within an issue of revelations the script makes an effort to put its own spin on werewolf mythology and succeeds admirably. I love the new approach and find it brings a new flavor something already so delicious.

The artwork is still dark, brooding, and gorgeous. In fact the hollow settings of the narrative actually pop off the page thanks to Colin Lorimer and Riley Rossmo. Again, Lorimer takes the duties for the bulk of the book, and manages to use hard angles to create a great sense of dread. His work in the latter half of the issue shows Laney in complete control and evokes a certain sense of domination. While Rossmo’s work in the past is completely different and stellar. He adds a layer of vulnerable reality to the character that I haven’t seen in a werewolf story. It makes the character of Anton a tragic and compelling asshole reminiscent of Cassidy.

“Curse” is one of the greatest looks at werewolf mythology there has even been. It doesn’t focus on the beast but instead opts to concern itself with the human side of the problem. The loss of being a werewolf coupled with the losses brought on by a werewolf and everyone in between. Within this balance it strikes a distinctly different chord with familiar stories and characters. It humanizes the beast and monsterizes the human.

You still root for Laney, but its becoming increasingly clear he’s not the best man that he could be. His mindless pursuit of the beast makes him unable to move on and care about the things close to him. He isolates himself in the cold in the name of some higher calling but he doesn’t manage to save himself or anyone else. It’s not even clear what his endgame is, it’s just blind pursuit at this point, driven by something he should have walked away from years ago. Yet, amongst all this he still remains compelling and sympathetic, because who among us would do anything different?

Rating: 4.5/5 Skulls.

Categories: Horror News

[Special Report] Epic Sets, Amazing Scenes, Brand New Creatures And A Sense Of Wonder On The Set Of 'Godzilla'!!

Wed, 03/19/2014 - 13:01

Back in July of last year I took a quick flight up to Vancouver to join some other journalists on the set of the new Warner Bros/Legendary film Godzilla, from Monsters director Gareth Edwards (you can read the entire on set interview with Evans here). Normally I walk away from these visits with a checklist of things I expect to go wrong and a checklist of things I expect to go right. But I typically never feel as bullishly positive as I did after this.

Not only did we see some breathtaking renderings of scenes from the film, we also got to tour the production’s war room – which gave us a vast understanding of the tone, flavor and designs of the new Godzilla. We also nabbed some killer on-set interviews and Bryan Cranston brought in an ice cream truck (complete with “Breaking Bad” and Godzilla themed concoctions) to round out the day.

The film, starring Elizabeth Olsen, Bryan Cranston, Aaron Johnson, Juliette Binoche, David Strathairn, Ken Watanabe and Richard T. Jones, is an epic rebirth to Toho’s iconic Godzilla, and Edwards seems to be paying respect to the past while making something very current.

Check out the whole report below!

Metaphors aside, the closest I’ll ever get to standing in the belly of the beast is right here on a soundstage in Vancouver. Here I am, walking around a highly detailed and slickly painted plaster spine. Giant – and I mean giant – ribs jut up all around me. If you’ve seen the trailer for director Gareth Edwards’ new take on Godzilla, and if you’re reading this I’m sure you have, then you’ve seen this massive ribcage (albeit with some of the corners of the room painted in a bit in post). Is this Godzilla? One of his ancestors? Another creature entirely? I have no idea.

But that’s not to say that we didn’t get any information on our trip to the film’s set last July. Not only did we see pre-viz of several astounding action sequences and chat with the cast and crew – we were also privy to the film’s war room. What’s the war room? More or less what it sounds like – an astounding space full of concept drawings, art, designs and models – most of which seemed to be laid out in almost chronological order. Even if what we saw in the room doesn’t tell the entire story of the film (and I’m sure it doesn’t), it gave us a nice comprehensive look at the overall flavor of the piece. And I gotta say, it looks pretty damn tasty.

One of the first things that’s made clear is that this isn’t necessarily a sequel, as some have been speculating. In fact, Edwards is keen to point out that it’s an origin story, “it’s supposed to be the beginning.” Nor is it in any way a comment or riff on Roland Emmerich’s 1998 version of the film. One of our guides explains, “The ’98 version was never even looked at. It looks like how Gareth would do Godzilla, but inspired by the classic Godzilla. I think it looks like it’s inspired by all the best classic versions of Godzilla. It has the DNA of Godzilla, but it’s how Gareth has interpreted it.

We continue our walk through the room, getting glimpses of sick bays, Hawaiian jungles, Japanese ruins, tsunami wreckage and more tantalizing visual information than we can even really process. It’s clear that something big did this. This version of Godzilla his downright huge. “Around 400 feet,” our guide replies. “At one point he was bigger, then he was smaller, but he’s big enough.” An additional piece of information to assuage any concerns? This Godzilla is 100% Toho [the studio behind the very first films] approved. “They were nervous going into it in the early days, just in how we would treat Godzilla and what he was going to look like. And honestly they embraced [both] the vision and Gareth the way we did and it’s been great.

Producer Mary Parent (who also worked on Pacific Rim – a film that this new Godzilla surprisingly has very little in common with tonally) addresses the style of the reboot amongst the art surrounding us. “It’s very ‘Close Encounters.’ That is a good tonal and visual [reference], if you had to pick a touchstone. It looks very different from when you go back and actually look at ‘Close Encounters’, but it has a 70s vibe.” Someone asks if Cloverfield had any kind of influence on Edwards’ vision, which is met with a resounding “no no no no” from just about everyone in the room. As far as the action in the film goes, Parent gives another encouraging touchstone, “There’s a ‘Black Hawk Down’ aspect to it. When you get dropped into this stuff, it’s all incredibly visceral because it’s so real. There’s nothing campy or heightened. It’s as though this is really happening. Gareth has done a really good job of making you believe that this could happen and, if it were to happen, how people would react and behave and what those set pieces would be like.

She’s not joking. Later on we sit down in an editing bay to watch a few extended pre-viz segments. In a film as large as this one and with as many intricate, expensive set pieces – it’s always a wise decision to make a detailed map of exactly what you’re going to be filming (and CGI’ing). It’s a rough form of computer animation, but it is an invaluable tool. Sometimes pre-viz looks blocky and ill-defined, a utilitarian approach just to get down the basic camera movements, edits and requirements for a scene. Other times – especially when you’re trying to sell the tone and mood of a set piece – they can be extremely detailed and fleshed out. The scenes we’re shown are most certainly of the latter, more detailed variety. In fact, it may have been the best pre-viz I’ve ever seen.

The first scene we see is an extension of what you guys saw in the teaser that hit a few months back. The one where the soldiers perform a halo jump from a plane high above San Francisco, the red streamers from their flares streaking across the sky as they cascade downwards toward the destruction below. As striking as the sequence appears in the teaser, the uncut sequence from the film is much longer and – when married to the polished look of the finished film – I expect it to be utterly breathtaking for a sustained period of time. You see the cluster plunge through more layers of atmosphere, and through significantly more frame space, to an incredibly dramatic piece of music from composer Alexandre Desplat. It’s jaw dropping and epic and I immediately got concerned that it was too good not to be meddled with.

The second scene involves a different group of soldiers navigating their way through some jungle terrain until they reach a train trestle high above a seemingly bottomless ravine. They cautiously branch out onto the tracks only to notice that they’re not alone. This sequence is fairly exemplary of that Spielberg/Close Encounters touch Parent mentioned earlier. We see the eye of a huge creature pop up over the track, below we see the legs of perhaps another creature. There’s no destruction here, and the emphasis isn’t just on suspense (even though there’s plenty of that) – it’s on wonder. That’s what Edwards really seems to be getting at with everything we’ve seen up to this point. Anyone can arrange a bunch of pixels and simulate the leveling of a city, but very few directors can make us engage with something so destructive in such an intimate way. This sequence is the cinematic equivalent of swimming next to a whale shark. It’s indelible.

But the film isn’t just about monsters. It’s about the people trying to fight, understand and perhaps even protect them. Later that day we watch Bryan Cranston and Aaron Taylor-Johnson, playing reunited father and son Joe and Ford Brody, film a scene. They navigate though the ruins of an office or lab. And I mean ruins, the place isn’t freshly pulverized – it’s grown over. Abandoned. A mystery at this point to even the man who designed it. At one point the camera lingers over the glass of a long empty terrarium, about the size of the average fish tank. A faded label on the glass reads “Mothra.”

Though we’re not exactly sure if that’s what they’re looking for (I’m betting “Mothra” is an easter egg joke since everyone else seems more focussed on creatures called “MUTOs”). On a break between set-ups, Cranston elaborates, “I go into my old office searching or something specific, something that’s alive.” Not much info, fair enough – it’s early in the game. He’s less cagey when it comes to explaining why he was eager to sign onto the film, “The reason I’m here is because this story in interestingly driven by strong character motivations. If you saw [Edwards’] movie ‘Monsters’, which is one of the things that got me involved in conversations, it was like a character-driven monster movie, and I’m much more attracted to character-driven pieces. There is very strong father-son component to this, and my character makes huge, sweeping decisions that reverberate throughout the rest of the story, that are emotional as well, which is really what brought me here.

What about all the talk about Frank Darabont (“The Walking Dead”,The Shawshank Redemption, The Mist) being brought in near the end of preproduction to overhaul the script? Cranston admits he had some initial notes on the piece but what they were in regard to is “hard to say. As you know, there are a lot of writers on this. I don’t know who did what, and whose sensibility was woven through. There were some minor things, just points of view. For instance there was a thing where my character assumes that my son is going to go with me on this dangerous excursion, and I just thought that was wrong. It was an easy fix. Nothing that I raised was, ‘Oh no, we have to draw the line there!’

If there’s one thing Cranston is even more clear on, it’s the enormity of the new Godzilla design and his appreciation of it. “My god, yeah!  Actually, the new design is basically back to an old design, I think. The scale surprised me. The extreme size of it compared to the MUTO’s that they are fighting.  Even that! When you see the MUTO it’s enormous, but it’s not nearly as big as Godzilla.

After Cranston is pulled away for another shot we’re given a few minutes with Aaron Taylor-Johnson, who is looking pretty ripped for his role here as a Marine. He carries himself like one as well, explaining, “We have a Marine sergeant/major, Jim Dever, who has worked on many films before as well. He did ‘Black Hawk Down’ and ‘Man Of Steel’. He does a lot of movies like that and works really closely with us. There’s a lot of military stuff going on throughout this so he keeps an eye on everybody and everyone. I spent a bit of time with him. It was really great fun. A new experience for me altogether. I play a lieutenant in the Navy, EOD which is explosive ordinance disposal so he operates bombs. They’re always onhand, we have Navy captains onset to approve things. And see how they go about doing things, if this was to happen the way they go about operations. Everything is as accurate as can be.

After the shoot breaks for lunch we all gather with director Gareth Edwards on the opposite end of the set. He’s obviously tired, but there’s a refreshing wide eyed quality to him – you can tell he wouldn’t want to be anywhere else. He’s even excited about the added challenge of not having Godzilla be the only monster in the film. “I’m not sure what I can and cannot say, but I’ll say that it was really important that we didn’t do a Godzilla movie where it wasn’t just one creature because you can quickly run out of people pointlessly trying to fire and stop the thing storyline, which is why Toho movies were always him versus something else. The whole “franchise” or whatever you want to call it was involved in the creatures. So when you get into it, you have to make that choice that you mentioned and we made…a choice. But without giving too much away, it’s not as simple as that.

Perhaps most importantly to, someone asks what makes a Gareth Edwards Godzilla different than, say, a Michael Bay version of the same material. “I don’t know. I think something that’s coming through that I’m quite pleased about and I’m really proud of is that there’s a lot of scenes we’ve already shot that are quite engaging. Like you’re really pulled in with the way the characters are coming together and the actors. I can’t go into too much detail because it will ruin the movie for you, but we’ve watched dailies and teared up on a few occasions, so I’m really proud. Obviously, there’s a giant, epic spectacle to it as well. I think, for me, if I’m honest, I’m personally not a fan of some of the Hollywood blockbusters that come out, and we’re trying to hark back to the movies we all grew up and loved like early Spielberg stuff, and trying to get a bit more restraint and suspense, and not this cutting-every-three-seconds and explosions-every-two-seconds mentality. So hopefully we’ve been quite brave with the storytelling that we’re doing.

While this is the type of thing most filmmakers say on set – it’s rare that I actually see them back it up. But Godzilla really looks to be something special. A film that operates within the general parameters of the modern blockbuster, but offers up a sense of wonder and awe that we perhaps haven’t seen since Jurassic Park. Of course, it’s too early to tell if this really takes hold in the final product, but I’m seeing far more positive indicators than I’m accustomed to. And that’s not just because Bryan Cranston ordered an ice cream truck for us. That happened on the way out.

Categories: Horror News

[Interview] Gareth Edwards Gets In Depth On The Set Of 'Godzilla'!!

Wed, 03/19/2014 - 13:00

It’s hard to believe that the new Godzilla, from Monsters director Gareth Edwards, will be in theaters on May 16th. I mean, that’s less than three months away. Very rarely do I get excited for spectacle films, but I’m totally down with what I’ve seen from this Warner Bros/Legendary film so far. And I’ve seen a lot, having visited visited the set last July (you can read the ENTIRE SET REPORT HERE).

The film, starring Elizabeth Olsen, Bryan Cranston, Aaron Johnson, Juliette Binoche, David Strathairn, Ken Watanabe and Richard T. Jones, is an epic rebirth to Toho’s iconic Godzilla, and Edwards seems to be paying respect to the past while making something very current.

There are excerpts of this interview in that full report, but I found the chat (conducted by myself and other journalists) engaging and inspiring enough to reprint in full here.

Check it out below!

What distinguishes a “Gareth Edwards” Godzilla from Michael Bay or any other director?  How will I know this is a Gareth Edwards film?  Is there a signature you think you have?
 
I don’t know. We talked about it a little bit. I think something that’s coming through that I’m quite pleased about and I’m really proud of is that there’s a lot of scenes we’ve already shot that are quite engaging.  Like you’re really pulled in with the way the characters are coming together and the actors. I can’t go into too much detail because it will ruin the movie for you, but we’ve watched dailies and teared up on a few occasions, so I’m really proud. Hopefully, this will be a blockbuster where you really care about the people you’re following. Obviously, there’s a giant, epic spectacle to it as well. I think, for me, if I’m honest, I’m personally not a fan of some of the Hollywood blockbusters that come out, and we’re trying to hark back to the movies we all grew up and loved like early Spielberg stuff, and trying to get a bit more restraint and suspense, and not this cutting-every-three-seconds and explosions-every-two-seconds mentality. Like this fear people will get bored.  We’re trying to respect the audience, and hopefully they want to see a good story well told and not panic every minute that they might get bored.  So hopefully we’ve been quite brave with the storytelling that we’re doing.  But we’ll see. I say all this, and then we see the edit, and it reveals itself again to you. It’s really hard at this stage to be that definite about everything in the movie because we’re still finding it.
 
In the original film, the themes are so socially and historically relevant in terms of the atomic bomb. Is there any comparison in this film to social or historical themes?
 
There’s definitely a strong theme in the film, and in simplest terms it’s kind of “Man v. Nature.” And when we started off in the process of defining Godzilla, what is he about, what makes a Godzilla movie, what makes a monster movie, and we were brainstorming and watching all the old movies again, the thing that comes through is that in some movies, he’s slightly evolved and represents different things, but he’s always a force of nature like the wrath of God that comes to put us back in our place when we kind of thing we own the world.  I would go into more detail, but I’ve been told I can only say certain things, but there’s definitely a very strong themes that hark back to the original 1954 Godzilla.  It’s the “Man v. Nature” that comes through a lot.  It’s a recurring theme on the set today the way that nature always wins.  You can’t control nature. When we start thinking we can control nature, that’s when it all starts to go wrong. And that happens a lot in our movie. You see it quite a bit, that is our arrogance always comes back to bite us. 
 
What about the secondary threat? Does that turn the tables for what you want the audiences to feel towards Godzilla?  Because obviously, Godzilla is a threat, but does he take on a heroic aspect at some point in the film like in the sequels that we’ve seen?
 
I’m not sure what I can and cannot say, but I’ll say that it was really important that we didn’t do a Godzilla movie where it wasn’t just one creature because you can quickly run out of people pointlessly trying to fire and stop thing thing storyline, which is why Toho movies were always him versus something else, and the whole “franchise” or whatever you want to call it was involved in the creatures. So when you get into it, you have to make that choice that you mentioned and we made… a choice. But without giving too much away, it’s not as simple as that. It’s not as simplistic as “Is there a good or a bad?” Through the course of the movie it starts to form, and…it’s really hard to answer these questions.
 
Is anyone going to say the classic line, “It’s Godzilla!”
 
[laughs] For a long time, we liked the idea of never ever saying his name. And we had a million ideas of how you could say that name. And it might be that one of them ends up in the movie. We’re still playing with a couple of them. But I think it’s just as good to never say his name out loud. We’re going to have it on every single poster and every single everywhere. There’s something more ethereal about a person you don’t really label. It’s so obvious to say, “It’s Godzilla,” and we have the same problem in a lot of scenes. How do you talk about this thing? Is it a thing? Is it a creature? Is it a monster? Is it an organism? Is it an animal? And we kind of use all of those, and wait for the right moment to use the actual name gag. I saw [Man of Steel] last night and thought they were quite clever about it.
 
There are these different time periods that we’ve seen, so it seems like there’s an awareness of Godzilla existing in the past, or this creature existing in the past, and now it’s going to exist again?  Is it the idea that people are making the same mistakes again and again?  Is it finding different ways for him to rise?
 
It is an origin story. It’s not about having seen another film to understand this movie. It’s supposed to be the beginning. But it doesn’t just take place in modern times. There are other aspects to it. And in a way, the mistakes we made in the past come back to haunt us in the present, and that is something that the whole movie is driven by —whether you want to call them “mistakes” or “choices”— that now we pay the price for. Because for me, a monster movie just for the sake of being a monster movie can kind of become a pointless exercise, so it’s about finding the right symbolism in what he represents and trying to find a storyline that expresses that. And I’m really pleased with the playground we’re playing in because I think it’s very much on theme. And I hope that when people see it who are big Godzilla fans, they’ll be happy with the choices we made. We definitely tried to stay as true as possible to the original in terms of thematics. 

 
Does Godzilla have his own personality in the film? In Monsters at the end, you thought they were one thing and they turned out to be something else. Did you apply the same process to Godzilla?
 
I guess with all good characters, there’s some sort of arc to their character, and sometimes that’s not theirs; it’s our understanding of that character that changes. I don’t think we could be the best film we could be if there wasn’t a perception change in the movie. So it does evolve, but it’s not straightforward, and it’s not black and white. Hopefully, it’s subtle enough that people can watch it and have their own opinion of him and what was really going on. But amongst ourselves, we’ve made decisions and hinted at certain choices, but I like the idea that if someone people just want to come and watch a big, massive monster movie, they can and have fun watching things get smashed up; and other people can come and there will be another layer and a bit more meaning to some of the things that happen. Because at the end of the day, we’re not really going to have a giant monster attack the world.  It’s not something we need to worry about—
 
You say that now.
 
[laughs] The ramifications of the giant monster attacking the world—skyscrapers collapse, whole neighborhoods are trashed, radiation is left behind — they’re things we deal with all the time, and that’s probably why we invent monsters. It’s usually sci-fi and fantasy films that get to address modern day concerns quickest because they can kind of go under the radar, and more serious films have to kind of wait more in line.  So hopefully it’s not lightweight, popcorn fodder. I hope there’s a little bit more about it than just that.
 
As a personal journey for you as a filmmaker, from Monsters to Godzilla, what have you learned about yourself?  Do you have more patience now with a crew of thousands or is the smaller stuff easier to manage?
 
I wouldn’t call it a “journey”. It’s more like teleportation. It was like this instant, “There you go. You’re making a massive movie.”
 
Has it been overwhelming?
 
Yeah. Yes, it was in the early days.  But it’s so incremental; it’s like climbing a mountain. One step is not that different than the step before.  Pre-production took — we presented the film to the studio last year, and we started filming in March. That’s quite a long time to get ready for the fact that we were going to be making this. And no matter how much people warn you and tell you what it’s going to be like, it’s still sort of a culture shock. I’ve worked in TV, and it’s like a micro-version of this.  Yeah, I guess if the previous film is like riding a bicycle, this is like flying a 747. You still go left and right, and you’re going to a destination—
 
As long as you land, it’s all good.
 
Yeah.
 
Can you talk about Toho’s involvement? Has it been a licensing thing? Has there been active involvement with the structure of the film and story?
 
I went to Japan probably over a year ago, and went to visit them, and met with the heads of the studio and the president of Toho, and they were very generous. They released Monsters, my previous film, and they had the rights to that and when I arrived, they had the DVD and Godzilla merchandise, and they were incredibly welcoming. We went to dinner and they had a few questions about the story and what we planned to do, and then from that point on, we’ve been sharing all the scripts with them; sharing the concept art and the development of the film, and they were heavily involved in the design of Godzilla in terms of approvals and everything, so it’s very much been a Toho-approved Godzilla movie, which we wanted it to be, because for us it was very important that — it would be kind of pointless if Toho didn’t feel like it was a real Godzilla movie. So we were pretty keen to try and get that right.

Were you able to squeeze in any Easter eggs that harken back to Monsters at all?
 
There’s loads of Easter eggs in this film. Is there anything to do with Monsters?  What I’ll tell you — and it doesn’t really answer your question — but on Monsters, I had a bracelet that the girl in the film, Whitney, I made a charity bracelet for her character, and the idea was it was a pretend charity for people who had been displaced by the monsters. And everyone on that film wore it, and I wore mine from the day we started filming to after the world premiere. I was adamant I was going to do the same on this, but we had a minimum run of these of 400, so we gave one to the whole crew, and you’ll spot them around; people are wearing these. [Shows us his bracelet] This is a clue to the movie; something in the movie happens and this is a clue, and that’s all I can do. But you’ve been around the war room, right?
 
Yeah.
 
Okay, then. So you can figure everything out.
 
Well when you mentioned Easter eggs, what Easter eggs? Are you throwing Easter eggs in for the previous Godzilla films at all?
 
Yeah, there’s a few in there. There’s one right over in that room [gestures to the set where they've been filming] if you have a look.  You might see it in the shot we’re setting up later.
 
We saw the dinosaur and toy soldiers on the ground…
 
Yeah, there’s all that stuff going on, but there’s something actually more specific. You’re here all day, right? 
 
Yeah.
 
Okay, you’ll see it then.
 
Is there one memory of filming that stands out in your mind from this whole production? Perhaps when you look back at this movie ten years from now, and you’re watching it on television, one memory that comes from filming here.
 
I’ve purposely not processed any of it. I think if you really comprehended what we’re doing here, it would paralyze you. You just have to look at all the cars on your way in, down the street. That’s just the crew for this film. I purposely just bank it in box in my brain, and try not to think about it. It still hasn’t hit me. Like the other night, obviously, there’s marketing aspects and visual effects aspects that have all started to happen already, and I had to quickly look at some video that was an approval thing to me, and it was like, “Oh my God, that’s cool. That’s like something you’d see in the cinema!  Wow!” And there was this excitement over “Oh my God, this could go right in the cinema the way this looks. That’s fantastic!”, and then realizing, “Oh my God. That is going to go in the cinema.” And I still haven’t really let it set in because otherwise the pressure would be too much. It’s really hard to take risks, and in doing anything slightly creative, if you’ve got too much pressure on you, it’s not healthy. You don’t do your best stuff. So it’s been really hard to get rid of all those thoughts and not think of how much this is going to be around the world for a week or so next year.

 
Frank Darabont came in for a short but perhaps sweet time. Is there one story element that he was there to help crack?
 
He did a fantastic job. There’s a particular scene we finished filming the other day — I can’t talk about it — but it was very strong, and it was all his idea.  One of the actors that was in it, as we were just chit-chatting off to the side, said “This is the reason I took this job.” And everyone felt that way when we were filming it as well. He brought a very emotional, powerful series of ideas to the story.
 
The film has been described as a “road movie”. Would you agree with that in terms of how the journey takes place?  And what about that pertinently lends itself to a Godzilla story?
 
It’s a global journey. I wouldn’t say it’s a “road movie,” but it takes place around the globe, and there probably is a general “here and here”thing that’s going on. But… I don’t know what you do or don’t know. Tell me two countries you think the film is set in.
 
Japan, Hawaii, Philippines…
 
So it felt like what we were doing with the franchise was taking something that was very Japanese, that belongs to Japan, and bring it to America. And so from a very early stage, it was the journey of this movie was a journey from Japan to America. That felt like the heart of everything. It felt the most appropriate, so Hawaii’s in the middle of it, obviously. So we sculpted the story around that basic, global path. And it’s not as literal as “something from Japan comes to America”. It’s not that straightforward. But it felt like visually we wanted that transition to happen from a feeling of a very Japanese thing to become an American thing. 
 
This is certainly a character-driven piece to a large extent, but it’s also a summer tentpole feature with Godzilla. We saw the concept art with the Battle of San Francisco. Just how big is that going to be?
 
Well, obviously, the one downside to shooting this film is that we don’t have Godzilla on set. He’s too expensive, and in the trailer, and he has to do all of his stuff against green screen… well, blue screen, because green wouldn’t key very well. I, honestly, there are certain key words that you bring up over and over, like “It’s gotta be this,” and “It’s gotta be that.”  And, obviously, “emotional” gets in there, like you gotta care, but the other one by far is “epic.” I feel like if we haven’t made an epic movie by the end of this, if you haven’t felt like you’ve gone on a massive journey, and you’ve nearly tear up and the hairs on the back of your neck have been raised and at the end of you’re just, “Man, I want to see that again,” then I probably failed at what we’re trying to do. Because that’s definitely the goal.  Hopefully it’s not spectacle for the sake of it, and not “Let’s just throw every trick at the screen and try to distract the audience.” It’s more of a cinematic style like holding back and let the audience do the maths. Like a lot of our sequences, our set pieces, people don’t talk much through them. It’s all thoughts and visual storytelling. We’ll see how it pans out, but the films I love are those sorts of movies, and everyone knows that’s what we’re trying to do.

Categories: Horror News

Jeff Lemire Fills In For 'Batman/Superman' #10

Wed, 03/19/2014 - 12:25

There will be a brief blip in the Greg Pak/Jae Lee “Batman/Superman” storyline this April as Jeff Lemire steps in for a single fill-in issue with art by Karl Kerschl and Scott Hepburn and a cover by Cam Stewart. While I would love to see Lemire take on the super duo, Pak and Lee have been doing a stellar job and they do not have plans to leave us hanging any time soon. The originally solicited story for issue #10 will now hop over to issue #11.

In Lemire’s stand-alone story, a microscopic threat invades the body of The Dark Knight, and it’s up to The Man of Steel and Dr. Ray Palmer to shrink down and eliminate the danger. But what they find will shock you! Get ready for big sci-fi thrills and high-adventure fun as only BATMAN/SUPERMAN can present!

Categories: Horror News

[Visions of Horror] Jack Kirby

Wed, 03/19/2014 - 12:15

Keeping true to our ardent vow of honouring classic horror artwork and artists that have significantly impacted the comics industry, Visions of Horror is back to feature a massively popular creative force whose award-winning work has impressively spanned the Golden, Silver, Bronze, and Modern ages of comic books. With a visually distinctive style, and a fiercely dynamic presence that still resonates within the comics community 20 years after his death, Jack Kirby’s legacy is very much the heart of the industry, and continues to grow with the increasing recognition of his extraordinary and influential career.

As one of the most innovative and prolific originators of his time, Kirby created, or had a hand in creating, some of the most iconic characters from some of the most popular titles to ever grace the comics world. And while his artistic vision paved way for such celebrated Marvel heroes and villains from the likes of the Avengers, X-Men, and Fantastic Four, it’s his lesser known, though still enduring, successes in the horror genre that naturally interests us here at Bloody-Disgusting.

In 1950, alongside notorious creative partner, and classic comics gem, Joe Simon — with whom he had co-created Captain America with 9 years prior — Kirby spearheaded an ambitiously risky, non-gore-infused, horror anthology called “Black Magic”. In fact, an anthologized story called “Beautiful Freak” from issue #29 (cover featured below), was used as a means to establish the Comics Code due to its supposedly controversial subject matter concerning human deformities and murder. The series lasted for an impressive 11-year-run before it was unfortunately canceled, but his unforgettable contributions to the book were reprinted as a nine-issue series published by DC Comics between 1973 and 1975. This, of course, occurred a few years after Kirby’s glaring disillusionment with Marvel regarding proper character credit, art ownership and payment issues, resulted in him abandoning ship and intensively negotiating a three-year contract with DC.

“Black Magic” #29 (Nov-Dec. 1953) / #17 (Oct. 1952) Original Art:

During this time, it was said that he was often forced to work on titles he held no real passion for. But even under these circumstances he managed to grace the horror genre with another significant character that has gone on to survive the competitive nature of the market, and remains a popular and reoccurring face in the DC Universe today. I’m referring to his contractually coerced creation of Etrigan the Demon, who was begrudgingly brought to life due to DC Comics’ demand for a brilliant new horror icon to set loose on the masses. For those unaware, though I imagine it is few, Etrigan is a demon from Hell, though usually prone to fight for the side of good thanks to being immortally bound to Jason Blood, a well-known ally of Batman and other DC Universe superheroes.

“The Demon” #1 (1972) – Cover Art:

“The Demon” #1 hit stands in August of 1972, and the response was so alarmingly positive that Kirby was ordered to focus all of his energy on the series, at the expense of his other unfinished titles. Since the character’s debut, Etrigan has gone on to fill many supporting roles in a number of DC Universe comic books, television programs, videos games, and movies. He made appearances in the Cartoon Network’s Justice League and Batman: The Brave and the Bold. He was even featured in widely popular award-winning titles like Neil Gaiman’s “The Sandman”, Alan Moore’s “Swamp Thing”, and Garth Ennis’ “Hitman”. Most recently, Etrigan appeared as the main character in Paul Cornell’s New 52 series “Demon Knights”, which concluded last summer.

“The Demon” #1 – Splash Page:

The fact that Kirby became a historically significant trailblazer of horror comics is both amazing, and hilarious, considering his alleged disinterest for the genre. Yet he managed to set a standard of excellence and achievement in the comics world that essentially remains unrivaled to this day.

Single Panel from “The Demon” #10 (July 1973):

——-

If you want Bloody Disgusting to cover one of your favourite horror artists, or a fantastic piece of horror-related comic book art, head down to the comment section, or hit up Farah or Lonnie on Twitter.

Categories: Horror News

Review: 'American Vampire: Second Cycle' #1

Wed, 03/19/2014 - 12:05

After a long hiatus, “American Vampire: Second Cycle” #1 returns stronger and bloodier than ever. The artwork bristles with raw energy and the sharp writing hits its mark every time. This installment of “Second Cycle” is a great recap for newcomers and serves as a fantastic reminder why “American Vampire” is easily one of the best horror comics out there.

WRITTEN B: Scott Snyder
ART BY: Rafael Albuquerque
PUBLISHER: Vertigo Comics
PRICE: $3.99
RELEASE: March 19, 2014

The times keep changing for Skinner Sweet and Pearl Jones, especially now that they are in the ‘60s. Though they are connected by blood, Pearl and Skinner have bitterly parted ways, hoping to never see each other again. Skinner belongs to the open road as a terror bandit but Pearl struggles to find herself a new life. She has just lost Henry and prefers to keep to herself. But, something ancient and more terrifying than Skinner is hunting after these two vampires. The Gray Trader is coming and there is nothing they can do to stop him.

Writer Scott Snyder splits the narrative into two short stories. We get a chance to see what has happened to Pearl and Skinner since their last confrontation. Because these vampires can survive the sunlight, they are able move to forward with the times. Skinner is more violent now that technology and transportation has modernized itself. In his introduction, we see Skinner riding in his motorcycle and holding an Uzi in his hand.

What’s interesting with Snyder’s writing is how he is able to present Pearl as a fighter and be motherly at the same time. In the opening pages, Pearl comes to the rescue of a screaming little girl. At first, you think Pearl is pointing her gun at a group of perverts. But then, Snyder twists the suspenseful shootout and surprises the readers with a shocking revelation.

Readers will not be able to look away from Rafael Albuquerque’s gritty and vibrant artwork. My favorite of his illustrations is the splash page of Pearl’s introduction. Albuquerque puts in tons of detail to the worn-out and tattered clothing Pearl is wearing. It’s the perfect pose of a gunfighter as Pearl holds the shotgun steady with one hand.

Albuquerque has done something new and different to the character design to Skinner. When the “American Vampire” series first started, I always thought Skinner was a slimmer and tall version of rockstar Kurt Cobain. Now, Albuquerque illustrates the muscles in Skinner’s arms and chest, especially since he is only wearing a sleeveless and unbuttoned jacket. Skinner has also let his hair grow long and the new digs suit him well.

An excellent read, “American Vampire: Second Cycle” #1 delivers tons of bloody thrills that horror fans have been craving for. I am very happy “American Vampire” is back and cannot wait for the next issue to get here.

4.5/5 Skulls

Review by Jorge Solis

Categories: Horror News

[Exclusive] Knee High Fox's "Valentine" Music Video Premiere

Wed, 03/19/2014 - 12:00

Bloody-Disgusting has teamed up once again with Los Angeles rockers Knee High Fox, which is fronted by Christine Connolly (Underworld: Evolution, Nightmare At The End Of The Hall). Today we’re bringing you the exclusive music video premiere for the band’s new single “Valentine”, which comes from their upcoming EP Unknown Skeleton (purchase here).

The video was directed by Spider One, who states, “The song “Valentine” has a very militaristic sound so I wanted to shoot it in an extremely intrusive, almost violent way. I wanted the viewer to feel like they were under attack. The intense colors, disturbing imagery and powerful performances all added to what ended up being a complete assault of the senses.

Knee High Fox will also be touring as support for Powerman 5000 through mid-April. Check out everything below!

The band comments: “When we wrote this song the military vibe and visual was already in our heads. We’re very hands on with our videos and concepts and our new EP ‘Unknown Skeleton’ was inspired by the seedy underbelly you can get trapped in living in Los Angeles. Its a beautiful city with an incredible dark side if you go looking for it. ‘Valentine’ is our heavy rocker big live video. We approached Spider One with the song and the idea around it and he immediately responded to it. It was a quick 3 hour shoot that left us all with extreme bangovers. This video really captured the intensity and weirdness of our band and music and live shows. Just like LA from the second the video starts the darkness sucks you in. We loved working with Spider One and definitely think its a great partnership. The band is always directing or co-directing our videos so he was some great fresh blood to add to the mix. As the lead off single we definitely think it sets the pace for the EP and shows people just what Knee High Fox really is. Were a unique and theatrical band that likes to push it. With Valentine we feel like we’ve gone all the way.

Knee High Fox online:
Official Website
Twitter
Facebook


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Categories: Horror News

14 Things You Probably Didn't Know About 'Dawn of the Dead'

Wed, 03/19/2014 - 11:22

Happy 10th anniversary to one of the best horror remakes ever made!

Or maybe you did?

The peeps over at Wish.co.uk made for us a pretty fun infographic that celebrates the 10 year anniversary of the Dawn of the Dead remake!

Originally released on March 19, 2004, the Zack Snyder-directed cult hit film is an adaptation of George A. Romero’s original Dawn of the Dead from 1978.

The following infographic, “14 Things You Probably Didn’t Know About Dawn of the Dead,” is filled with trivia and Dawn of the Dead stats.

Categories: Horror News

'The Hanover House' Sheds Blood at Auburn Fest (Trailer)

Wed, 03/19/2014 - 11:19

Corey Norman will be releasing his first feature film, The Hanover House, at the Lewiston Auburn Film Festival on April 5th and 6th. Currently nominated for five awards – Best Feature Film, Best Director, Best Actress (Anne Bobby), Best Maine Film and The Peoples Choice Award – below is the film’s official trailer.

Returning from his father’s funeral, Robert Foster is faced with the unimaginable; he hits a young girl with his car. In a desperate attempt to save her life, he seeks help at a nearby farmhouse. Little does Robert know that the house has been waiting for him his entire life. Once inside its walls, Robert must overcome his own personal demon’s in an attempt to save both his wife and himself. But there’s a problem, only one may leave The Hanover House alive.

Brian Chamberlain, Casey Turner, Anne Bobby, Daniel Noel star.

Categories: Horror News

'Hellraiser' Doc "Leviathan" Completes UK Photography

Wed, 03/19/2014 - 09:33

The Hellraiser documentary steps into next phase…

“Leviathan: The Making of Hellraiser and Hellbound: Hellraiser 2 completed its UK studio shoot this week by interviewing third assistant director, Rupert Ryle-Hidges, Beverly Pond-Jones, make-up effects and Simon Sayce, who’s main contribution to the production was the design and creation of the icon puzzle box, the Lament Configuration!

Simon shared never before seen goodies including high resolution scans of the original designs and layouts for the mechanical design, as well as the first brass etching produced for the screen used boxes.

He also revealed the proper method for making the boxes – something few outside the production know – and he shared some of the hidden meaning in the box designs.

The doc carries interviews with many people behind this classic film, including Doug Bradley, Kenneth Cranham and Geoff Portas, just to name but a few.

The documentary now heads to the U.S.to interview both Clive Barker and Tony Randall.

Watch for further updates soon.

Categories: Horror News

'The Quiet Ones' Seance Resurrects New Scares!

Wed, 03/19/2014 - 09:18

Madame Lionsgate has released a new TV Spot filled to the brim with scares!

Haunting theaters April 25, this new TV Spot from The Quiet Ones is jam-packed with new footage, including a seance and some experimentation…

From the producers behind Let Me In and The Woman in Black, “A university student (Sam Claflin) and some classmates are recruited to carry out a private experiment — to create a poltergeist. Their subject: an alluring, but dangerously disturbed young woman (Olivia Cooke). Their quest: to explore the dark energy that her damaged psyche might manifest. As the experiment unravels along with their sanity, the rogue PHD students are soon confronted with a terrifying reality: they have triggered an unspeakable force with a power beyond all explanation.

Inspired by true events, The Quiet Ones is directed by John Pogue from a screenplay by Craig Rosenberg and Oren Moverman and John Pogue, and based on a screenplay by Tom de Ville.

Jared Harris, Sam Claflin, Erin Richards, Rory Fleck-Byrne, and “Bates Motel’s” Olivia Cooke, pictured above, all star.

Categories: Horror News

'A Christmas Horror Story' Anthology Opens Presents Filled with Terror!

Wed, 03/19/2014 - 09:09

*Editor’s note: photos are not from the forthcoming film. With official details forthcoming, Bloody Disgusting learned that filming is underway in Toronto, Canada on Copperheart’s latest production, A Christmas Horror Story, a new horror anthology that will warm your heart… with terror!

Directed by Grant Harvey (Ginger Snaps Back: The Beginning), Brett Sullivan (Ginger Snaps 2: Unleashed, Darknet, Orphan Black), and Steven Hoban, the film is produced by Steven Hoban (Haunter, Splice, Ginger Snaps) and Mark Smith (Subconscious Password, 388 Arletta Ave), and executive Produced by David Hayter (Wolves, The Watchmen).

A Christmas Horror Story is written by Doug Taylor (Splice, Darknet), Sarah Larsen (Darknet), James Kee (Darknet), and Pascal Trottier (The Colony, Hellions).

A Christmas Horror Story tells four interweaving tales which will warm your hearth.

Christmas is supposed to be a time of joy, peace and goodwill. But for some folks in the small town of Bailey Downs, it turns into something much less festive.

Here’s what the shorts will be about, sources tell Bloody Disgusting.

– A mysterious disease sweeps through the North Pole, transforming Santa’s Elves into the ravenous, flesh-eating Undead! Santa and the Missus wage a desperate battle for survival.

– While Santa tries to stay alive long enough to bring gifts for good boys and girls, Krampus, a terrifying Christmas demon, brings a sack, whip and chains for bad boys and girls. The wicked Bauer family, including klepto daughter Caprice, find out the hard way that Krampus is no myth.

– Scott, a troubled cop on stress leave, takes his 8-year-old son Will and wife Kim to pick out the “perfect” Christmas tree. Unfortunately, the perfect tree is on land owned by Big Earl who is a kind of … guardian. Will goes missing on Big Earl’s land and when he turns up again, he isn’t quite himself.

Watch for more in the coming week.

Categories: Horror News

'Super Duper Alice Cooper' Documentary Hitting Several Cities For Limited Theatrical Run

Wed, 03/19/2014 - 09:00

Hailed as the first ever ‘doc opera’, Super Duper Alice Cooper is an soon-to-be-released documentary that focuses on shock horror rock legend Alice Cooper. The documentary, directed by Scot McFadyen, Sam Dunn, and Reginald Harkema, mixes documentary archive footage, animation and rock opera to create a one of a kind experience.

The synopsis reads, {The film is the twisted tale of a teenage Dr. Jekyll whose rock n’ roll Mr. Hyde almost kills him. It is the story of Vincent Furnier, a preacher’s son who struck fear into the hearts of parents as Alice Cooper, the ultimate rock star of the bizarre. From the advent of Alice as front man for a group of Phoenix freaks in the 60’s to the hazy decadence of celebrity in the 70s to his triumphant comeback as 80s glam metal godfather, we will watch as Alice and Vincent battle for each other’s’ souls. Alice’s story is told not only by the man himself, but through exclusive interviews with members of the original Alice Cooper band, Elton John, Iggy Pop, John Lydon, and Dee Snider.

The film will be making its premiere at the 2014 Tribeca Film Festival and will then have a limited theatrical run at several theaters nationwide beginning April 30th. A special pre-recorded “Keep Calm & Just Ask Alice” Q&A and welcome from Alice will be included exclusively with each screening.

Head below for the trailer, poster, and list of theaters and dates.

4/30:
CITY: THEATER/VENUE:
Fairfax, VA Angelika Mosaic
Dallas, TX Angelika Film Dallas
Plano, TX Angelika Film Plano
San Diego, CA Gaslamp 15
Honolulu, HI Ward Stadium 16
Sacramento, CA Tower Theatre
La Mesa, CA Grossmont Center 10
Rohnert Park, CA Rohnert Park 16
Bakersfield, CA Valley Plaza 16
New York, NY Village East
Manville, NJ Manville 12-Plex
Murrieta, CA Cal Oaks 17
Cleveland, OH Capitol Theatre
Cleveland, OH Shaker Square Cinemas
Pittsburgh, PA Southside Works Cinema
Peoria, AZ Arrowhead Fountains 18
Oklahoma City, OK Bricktown 16
Chandler, AZ Chandler Fashion 20
Moreno Valley, CA Moreno Valley 16
Denver, CO Northfield 18
Phoenix, AZ Scottsdale 101
Arlington, MA Regent Theatre
Claremont, CA Claremont 5
North Hollywood, CA NoHo 7
Pasadena, CA Playhouse 7
Amherst, NY The Screening Room Inc.
Chestnut Hill, MA Showcase SuperLux
Millbury, MA Blackstone Valley 14 Cinema de Lux
Dedham, MA Showcase Cinema de Lux Legacy Place
Bridgeport, CT Showcase Cinemas Bridgeport
White Plains, NY City Center 15: Cinema De Lux
Whitestone, NY College Point Multiplex Cinemas
Edgewater, NJ Edgewater Multiplex Cinemas
Farmingdale, NY Farmingdale Multiplex Cinemas
Holtsville, NY Island 16: Cinema De Lux
Lowell, MA Showcase Cinemas Lowell
Foxboro, MA Showcase Cinema de Lux Patriot Place
Providence, RI Providence Place Cinemas 16
Springdale, OH Springdale 18: Cinema De Lux
Warwick, RI Showcase Cinemas Warwick
Randolph, MA Showcase Cinema de Lux Randolph
Revere, MA Showcase Cinema de Lux Revere
Elmsford, NY Greenburgh Multiplex Cinemas
Yonkers, NY Showcase Cinema de Lux Ridge Hill
Bonita Springs, FL Prado Stadium 12

5/1:
CITY: THEATER/VENUE:
San Francisco, CA Balboa Theatre
Cincinnati, OH Esquire Theatre
Columbus, OH Gateway Film Center
Sparta, NJ Digiplex Sparta
Mechanicsburg, PA Digiplex Mechanicsburg
Camp Hill, PA Digiplex Camp Hill
Williamsport, PA Digiplex Williamsport
Bloomsburg, PA Digiplex Bloomsburg
Selinsgrove, PA Digiplex Selinsgrove
Reading, PA Digiplex Fairgrounds
Solon, OH Digiplex Solon Cinema 16
Surprise, AZ Digiplex Surprise Pointe 14
Bloomfield, CT Digiplex Bloomfield
Lisbon, CT Digiplex Lisbon
Torrington, CT Digiplex CINEROM Torrington
Temecula, CA Digiplex Temecula Tower 10
Apple Valley, CA Digiplex Apple Valley 14
Bonsall, CA Digiplex River Village
Oceanside, CA Digiplex Mission Marketplace 13
Poway, CA Digiplex Poway 10
Westfield, NJ Digiplex Rialto Westfield
San Rafael, CA California Film Institute

5/2:
CITY: THEATER/VENUE:
Phoenix, AZ FilmBar

5/7:
CITY: THEATER/VENUE:
Athens, OH Athena Grand

5/13:
CITY: THEATER/VENUE:
Tuscon, AZ The Loft Cinema

5/19:
CITY: THEATER/VENUE:
Bridgeport, CT Bijou Theatre


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Categories: Horror News

'Oculus' Reflects Katee Sackhoff's Evil Doppelgänger

Wed, 03/19/2014 - 08:57

Teased in the film’s trailers, this new clip from Oculus stares into a mirror and reflects back Katee Sackhoff’s evil doppelgänger.

In theaters April 11, “The story centers on a murder that left two children orphans with authorities charging the brother while his sister believed that the true culprit was a haunted antique mirror. Now completely rehabilitated and in his twenties, the brother is ready to move on but his sister is determined to prove that the haunted mirror was responsible for destroying their family.

Mike Flanagan has directed one hell of an indie film that’s getting a rare theatrical run thanks to the balls of Relativity. Go support and show the studios you want more awesome indie films in theaters!

Categories: Horror News

[TV] "iZombie" Meets a Nerd

Wed, 03/19/2014 - 08:44

U.K. up-and-comer Rahul Kohli, pictured, has been set as the final series regular role in the Rob Thomas/Diane Ruggiero CW pilot “iZombie,” reported Variety.

Kohli will play an enthusiastic nerd who befriends the lead character in the show based on the DC Comics/Vertigo property about a medical student-turned-zombie. Rose McIver stars as Liv, the student who winds up solving homicide cases by eating the brains of victims and inheriting their memories.

Thomas penned the “iZombie” adaptation with Ruggiero and is on board to direct the Warner Bros. TV pilot.

Categories: Horror News

'Ghostbusters' Sequel Seeks New Director...

Tue, 03/18/2014 - 20:58

In some official news, Deadline reports that Sony Pictures is finally eyeing an early 2015 production start in New York on its next installment of Ghostbusters.

There is a major change, though. In the wake of the death of his close friend and original Ghostbuster Harold Ramis, Ivan Reitman has decided he won’t direct the film, after all. Explains the site, instead, Reitman will help Amy Pascal find a new director to take over what everyone hopes will reboot what the studio considers to be one of its most important franchises.

The site breaks down the film’s long-hindered history:

“In all the years Sony has tried to get this film up and running, Reitman has been the most stable part of the equation, long locked to direct his third installment of the film. This included the long campaign to get Bill Murray to reprise his signature role, when it became impossible to even get him to read a script that Sony, Reitman and their other architect Dan Aykroyd were happy with. It has been clear for a while that Murray wasn’t going to be part of this, and momentum has been building. Then Ramis, a catalyst for some of the biggest film comedies of the 1970s and ’80s, passed away. That has changed everything.”

A lot of things happened in the last few months, the most significant of which was the passing of Harold, who was a very good friend who was extraordinarily influential in my career. We did five movies together including both Ghostbusters,” Reitman explained.

Reitman confirmed the Murray chase, one that encompassed not one but two scripts.

The first was done by Lee Eisenberg and Gene Stupnitsky, and me, Harold and Dan helped them on it,” Reitman said. “It was a really good script, but then it became clear that Bill really didn’t want to do another Ghostbusters and that it was literally impossible to find him to speak to for the year or two we tried to get it going. When Bill finally…well, he never actually said no, but he never said yes, so there was no way to make that film. We decided to start over again, and I started working with Etan Cohen, with Dan lending a helping hand. Harold got sick about three years ago, and we kept hoping he would get better. I kept pushing forward on the Etan Cohen and we now have a draft that is very good, that the studio is very excited about.

It’s a version of Ghostbusters that has the originals in a very minor role,” he continued. “When I came back from Harold’s funeral, it was really moving and it made me think about a lot of things. I’d just finished directing Draft Day, which I’m really happy with and proud of. Working on a film that is smaller and more dramatic was so much fun and satisfying. I just finally met with Amy and Doug Belgrad when I got back. I said I’d been thinking about it for weeks, that I’d rather just produce this Ghostbusters. I told them I thought I could help but let’s find a really good director and make it with him. So that’s what we’ve agreed will happen. I didn’t want all kinds of speculation about what happened with me, that is the real story.

Reitman said they are already working on a short list of directors they’ll go out to, and then it will be time to find the new cast. “I’m not going to say how many Ghostbusters there will be in the new cast, but we are determined to retain the spirit of the original film, and I am pleased that all of this seems to have happened organically,” he said. “I’m hoping we can get started by the fall, set in New York, but given the logistics and the stuff that happens, the beginning of 2015 seems more likely.

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