The full musical lineup for Rob Zombie‘s Great American Nightmare on Halloween night has been announced! Previously, Andrew W.K., Modsun, and Beware Of Darkness were slotted. Now they will be joined by punk rock legends Jello Biafra And The Guantanamo School Of Medicine and Agent Orange! The event will take place at FEARPlex in Pomona, CA on Thursday, October 31st.
Tickets for the event are available here.
The Bloody Comics Crew is happy to kick off our first ever Question of the Week. It’s a simple concept. I ask the comics writing staff one question every week, and they offer their answers. Of course, we want to hear your thoughts in the comments section as well.
This week’s question: Which Comic Do You Really Want To See Adapted As TV series Or Film?
Lonmonster: Without question, I would die to see Bryan Fuller take on the epic project that is Gaiman’s “Sandman”, though it has been “in development” for YEARS. After witnessing what Fuller can do with dark content like Hannibal and his hyper-stylized Pushing Daisies, I don’t think anyone in TV is more suited for the project. Apparently Neil already has the script done, so I really hope it’s only a matter of time before this hits the small screen. I would also love to see Daniel Knauf, creator of HBO’s Carnivale, take on Scott Snyder and Scott Tuft’s “Severed” as a mini series.
Jorge Solis: I’d like to see Scalped made into TV series. It’s about an undercover cop infiltrating a mob boss. It works like Wiseguy TV series or the Martin Scorcese movie, The Departed, but it’s so different because of its setting and Native American mythology. I think you can follow a season with one of the arcs and do something different as well.
ShadowJayd: Given recent Marvel Studios history — and the fact that I’m currently re-reading the first story arc of Brian K. Vaughan’s fantastic teenage superhero series — a movie adaptation of “Runaways” is something I’d love to see right now. Incidentally, the tremendous success of the Marvel Cinematic Universe is exactly the reason why my dreams are being shelved along with Drew Pearce’s completed screenplay; but my hopes are still alive.
“Runaways” is a series that operates outside the mainstream format, yet — provided with the right cast and direction — could be a big hit amongst a mainstream audience. There’s action, compelling drama, humour, plenty of supernatural aspects; as well as a motley crew of dynamic young characters that just scream massive potential for a great ensemble project. The first volume is pretty much primed for film considering the origin tales involved; and the charmingly modest world-building won’t intimidate those unfamiliar with series.
Jimbus_Christ: In the era we live in, where cheap fantasy like Once Upon a Time rules the airwaves, my hope is for some more intelligent fantasy to take hold. That’s why I remain vigilant that Jeff Lemire’s amazing Vertigo series “Sweet Tooth” makes the transition to the small screen. The show would be incredibly effects heavy in the creature designs, and the right child actor would have a lot of heavy lifting to do as Gus, but given the right ingredients the property would kill in television.
For the uninitiated “Sweet Tooth” follows Gus, the product of a horrible apocalypse which killed most of humanity, and resulted in new children being born as hybrids between human and animal. After the death of his father Gus finds himself attached to the large and mysterious hunter Jeppard. Together they journey the wastelands of the world in search of safety. Along the way they encounter all sorts of danger and the true nature of the apocalypse.
Given a cable network home, “Sweet Tooth” could show us the emotional core of the apocalypse through the eyes of a child. The story is touching; gut wrenching, and violent all at the same time. The stakes are always stacking higher and the relationship between Jeppard and Gus would stand the test of time. With each of the six separate volumes serving as a shortened season of television (5-6 hour long episodes) the story could be communicated in its original form, and allows time to breathe on its way to its predestined conclusion.
Bree Ogden: I would love to see Dr. Harleen Frances Quinzel in film format (PLEASE no television! We’ve seen that never works for DCU female characters). What we need is a truly uncompromising and graphic Harley Quinn. HQ is one of DCU’s most complex female characters and to portray her as anything but, would dishonor the few writers who have really explored the depths of her insanity, obsession, raw self loathing, and overwhelming passion. I would be deeply disappointed if they were to create a film version of HQ as 1.) a main character, she is not a lead and b.) a sex object. All too often (or always) female superheroes and villains are simply there to steal cars and wear latex. A gritty, realistic, intelligent-psychiatrist-turned-sociopath-for-love, HQ is what I’d like to see in film.
GreenBasterd: I contemplated a lot over this question, in particular because I think additional Hellboy or Dredd movies would be amazing. These having been done I decided to step outside the box and suggest that a great movie, or more possibly even a TV show, would be an adaptation of Image Comic’s “Chew”. Not really knowing what to think I began reading the first volume with some skepticism but quickly became addicted and bought the next 4 volumes.
A show or movie adaptation could be hilarious and action packed covering a topic that is both ridiculously stupid and incredibly awesome at the same time. One of the main antagonist makes himself have the appearances of a vampire which no doubt fits into the pop culture fad these days.
Alright readers, tell us what you think, and if you have a question you’d like to as us, hit me up on Twitter.
Kurtis J. Wiebe’s “Rat Queens” is an invigorating reminder that fresh, female-driven, fantasy content is still alive and kicking ass. Expect an effortless blend of bloody violence and gratifying comedy in “Gold, Guts and Grog” Part Two.
WRITTEN BY: Kurtis J. Wiebe
ART BY: Roc Upchurch
PUBLISHER: Image Comics
RELEASE: Wednesday 23, 2013
Whether they’re defying death and severing limbs, or hurling quips and getting belligerently drunk, the Rat Queens do it with a charming intensity — and just the right amount of boorish style. The second installment follows Palisade’s boisterous battle maidens on their action-packed monster hunting quest assigned by Mayor Atticus Kane. With the realization that the ragtag adventuring party has been set up, tensions are running high and weapons are drawn; but it’s the hilariously relentless warring of minds that really forms the core of this issue.
Part Two opens with some awfully entertaining back and forth between Violet the bohemian dwarven fighter and Hannah the contentious elven mage. The dynamic between these two characters is as ridiculous as it is comical, but their fierce personalities play off each other really well. The same can be said for Hannah’s verbally — and physically — combative relationship with Tizzie, the leader of Palisade’s Peaches gang. Their fiery character interaction is an easy highlight from issue #2, but Wiebe and Upchurch’s ability to demonstrate the fragility in these strong warriors is what’s most impressive.
There will always be casualties and unavoidable injuries in battle, and Wiebe and Upchurch work seamlessly together to present these moments as effectively as they can in both script and art. This installment sees the Rat Queens fighting against a giant troll while nailing a few standard high fantasy tropes in the process. From staple asskicking poses, to calling the attacks out before launching their assaults, they’ve got it covered. With that said, anticipate the awesome “Betty Climber” because Upchurch illustrates something so viscerally badass, and mortifyingly adorable with Wiebe’s hippy smidgen. It took two issues, but she’s wormed her way onto the top of my Rat Queens list.
The artwork delivers a thrilling visual atmosphere as Upchurch brings Wiebe’s universe to life. How he manages to maintain a subtly light tone to compliment the script, while also incorporating spectacular illustrations of bloody violence, is beyond me. There’s an increase in blood splatter and injuries this time around, and he’s nailed the imagery perfectly. In this issue readers will get to see Dee’s cleric healing powers in action as she tends to one fantastically gnarly battle wound, courtesy of Upchurch’s pencils. He continues to demonstrate his knack for illustrating smooth and effortlessly fluid narrative drawings when the scenes call for wild action. Personally, besides the fantastic explosions of blood and violence, his facial expression work is exceptionally good, especially when the Rat Queens are angry, indignant, or ready to kick ass. It’s a sight to see.
“Rat Queens” #2 delivers just as hard as the series opener. Wiebe and Upchurch give readers a better sense of the character dynamics, and offer a great portrayal of the natural, unforced chemistry the battle maidens have as a unit.
Starting with “Rat Queens” #3, the creative team will be incorporating a letters column into the books, so direct your love and affection to this email address: firstname.lastname@example.org
Reviewed by – ShadowJayd
In “I, Frankenstein,” the monstrous creation of Victor Frankenstein might be mankind’s last chance at survival. Hated and feared at the same time, Adam Frankenstein walks the thin line between man and monster. Wanting to be left alone, Adam finds himself unwillingly involved in a deadly war between two immortal clans. No stranger to comics, screenwriter Kevin Grevioux then turned his Adam Frankenstein into a comic book character.
Bloody-disgusting spoke with Grevioux about how the inspiration came about, what actor Aaron Eckhart brings to the role, and adapting his screenplay into a comic book.
Bloody-Disgusting: Tell me how the concept came about?
Kevin Grevioux: Basically after I created “Underworld,” I tried to do something similar, which was traditionally a horror character, and spin the concept on its on its heels, and turn it into an action-type character. And I thought, the next logical choice was Frankenstein. How can I take Frankenstein, which is traditionally a horror character, born out of sci-fi of course, but turn him into an action hero, and that’s basically I did.
BD: What is it about Adam Frankenstein that interests you?
KG: Basically I like that he’s a big monster, that’s first and foremost. I also think it’s the way he was created. He was born into a world that he never made. He didn’t ask to be here. He is the ultimate abandoned child. Here you have this character who was created by man, created by God, and he was left to his own designs without any instructions from his father. God did the responsible, the only thing you could do with Adam, and he taught him right from wrong. But Victor Frankenstein didn’t do that with his Adam. He just looked at him as a monster, abandoned him, and the monster resented that. And so now that creates within the monster a kind of duality. Am I man or am I monster? Or am I both? Which one is it? Frankenstein is the search for his particular identity.
BD: What is it that you think Aaron Eckhart brings as Adam?
KG: I think he brings an amazing gravitas in terms of acting ability. He can say a lot with just one word, or a movement of his body, or a look. Since he is not a large man, those attributes loom large and really help to create a viable and visceral character.
BD: The film deals with gargoyles, demons, and Adam. Tell me about building the dark world of “I, Frankenstein.”
KG: It’s different than I originally conceived it. My thing was to have this world full of monsters and creatively we weren’t able to make it happen. So Stuart Beattie came in 18 months later, after we were in development with another director, he had a way to pair it down to two, gargoyles and demons. And so, where I had Dracula, the prince of darkness as the protagonist, Stuart came along and changed him to a demon prince. Where I had vampires, he changed them into demons. But the story, or the thrust of the villain, the protagonist, remained the same. I discover the secret of Frankenstein’s creation and use that to create more monsters like him, reanimate life, so they could use those bodies for something sinister, which is to takeover mankind.
BD: You have also written “New Warriors” and “ZMD: Zombies of Mass Destruction.” Tell me about the challenges of adapting the screenplay into a comic book?
KG: There really were no challenges. My thing is, it was about taking what I had already done and just breaking it up. If there were any challenges, it was trying to find the right artist; so that I could convey what I wrote in my screenplay to an artist that could really do something with it.
BD: The images of “I, Frankenstein” comic can be found on your Dark Storm Studios website. What was important to you to bring from the comic to the big screen?
KG: In terms, monsters that we had never seen before in a way that we had never seen them. That’s what my goal was. Of course we had seen Frankenstein before but I want to see him in a different light. Of course, we have seen vampires before, Dracula. Let’s go a little bit further and what more can we do with that particular character. So that was my goal.
BD: Tell me about writing the comic through Adam’s noir-ish first-person perspective?
KG: That’s what it was. It was a film noir story about Adam Frankenstein in the modern world. And I thought that was the best way to convey the story since it allowed us to get into Adam’s head, and go through what he was going through, being able to think or see what he was thinking, and that was important.
BD: What are your expectations with the audience when they see it on January 24, 2014?
KG: Yes, I think they will have a good time. They will have a blast!
BD: What other projects are you working on now?
KG: I just created a comic book company. I’m working on a CGI animated film. I’m also working on a children’s animated TV series about monsters called “Monstroids,” which is based upon my original comic. So I’m doing a couple of things.
Interview by – Jorge Solis
From IDW Publishing, “The Shunned One” centers on the Angel of Death refusing to take any more innocent lives. This guilt-ridden death angel then begins to make his own judgments on humans based on their sins. In “Crawl To Me,” a young couple discovers there is an evil entity hiding behind the walls of their home. As their torment continues, the two begin to wonder if they have the strength to hold onto their marriage.
Alan Robert: “The Shunned One” is really personal to me because with all the acts of violence in society lately, Newtown and Aurora. It really hit home for me especially being a father with a toddler. To me, it was just like, I can’t imagine that this could happen to families that are just going out trying to enjoy their day or dropping their kids off at school; the unthinkable happens. And so, that was really the inspiration. How does this all make sense? Why do these lives need to be taken? What did these kids do to anybody? So for me, it was like, how does life work anyways? It kinda pushed me into different theories of forces of nature. Some people grow up with their angels, demons, and the Devil.
I started thinking about guardian angels, death angels. I started to think about, what if one of these death angels didn’t want to take any more innocent lives? What if he stood up against the whole premise of it? He was forced in 2013 to wipe out a school because that was destined to happen. What if he decided to go against that? How would that affect the world? Would things get shifted out of accordance? These are questions that my mind started asking. I started developing characters around this idea. What would happen if a death angel went rogue and decided to take lives that deserved to be taken? A lot of times in real life, the bad guys outlive the good guys. Here’s this one angel who has the power to change all that. That was really the origin of it. Once I went into a tangent, I ended up going into a bottomless pit of ideas. But that’s kinda my process, it starts out with something as a simple little emotion and ends up layering it.
BD: “Wire Hangers” feels like a tribute to artist Michael Zeck’s run on “The Punisher.” You used Brea Grant and Frank Vincent as references in “Killogy.” Tell me about the artistic style of “The Shunned One.”
AR: Each book I really try to challenge myself and push myself to really develop that style to tell that story. “Wire Hangers” was definitely a more atmospheric, moody book. “Crawl To Me” was much more psychological, almost psychedelic at times with the colors. And then “Killogy,” I was really going for that Mike Mignola, more traditional art, lots of contrast. I think with “The Shunned One,” I want to get more textual, more painterly with it. So I think that’s going to be the approach. Some of the graphics I did for the promotional teasers had been in that style. I’d like to continue that throughout the books.
BD: Tell me about your version of the angels in the comic.
AR: I definitely didn’t want to do the typical Grim Reaper, big cloak and sickle. When I got to thinking about angels, Earth, and the balance of it, if they were like the guardians of the Earth, in charge of taking all lives, what would these creatures look like? I didn’t picture them as aliens or futuristic beings. I almost pictured them as more primitive, prehistoric creatures who were one with the Earth. That’s why they kinda never evolved. They have these really long arms to swoop down, giant wing spans, and the creatures themselves are huge compared to man. But they’re basically in charge all that goes on in nature.
They can only be seen by each other. The idea is, these things are always present but we can’t see them. There’s guardian angels and death angels. There isn’t just one, just packs of them, almost like a team. They have no eyes but they can sense and feel things, like Batman uses his sonar. Everyone has a body clock. They understand who needs to go at what time. That’s what the death list is. When they start to see people coming off their radar, they know this one death angel has one rogue.
BD: You mentioned that this will be your darkest tale yet. Does it feel at times that the themes get too personal? Perhaps, “Why am I sharing this?”
AR: No, because I’m writing this stuff alone in my home office. I’m thinking about it night and day. In the bus, I’ll end up emailing myself some dialogue. It’s all so personal. Once it comes out, you don’t know how people are going to react to it. And it’s very personal to release all of it. Yeah it’s fictitious stories, but I live and breathe the characters while I’m writing it. I’m putting myself in their shoes. I’m trying to really think how these characters would react in certain situations. I’m really trying to let the characters dictate where way the story is going to go.
That’s the beauty of creator-owned books. I could write three pages of the script, and by the time I get to the art, it’s completely different. And I’ll pick up where the art takes me. I have that freedom and flexibility, whereas other writers would have to write a script, send it off to an artist, and even if they had a new idea, they wouldn’t have the opportunity to get it in there. I think what I’m doing, it completely suits my style and it also allows me the flexibility to make it better as I go.
BD: What was your impression when you saw the poster for the first time?
AR: Well, I’ve been involved the whole step of the way. Every time we make movement, whether it’s a director coming onboard, a screenwriter getting attached, or seeing the latest draft of the script, I’m involved. Every time one of these things happen, I still pinch myself. It’s such an enormous undertaking. There’s so many people that you need to get involved to make it really happen. I just get more and more excited, but I try not to get too excited. I don’t want to let myself down if it falls apart. Movie deals fall apart every day. I’m trying to be very grounded with it. I won’t know it’s really done unless I’m sitting in the seat on opening night. That’s when I’ll get excited, when I buy my first bag of popcorn. I’m really trying not to get overly excited about it. But the child in me is jumping up and down! I’m stoked about it! I’m such a movie fan and a horror movie fan.
The script is phenomenal! I watched it evolve from the first draft. The writers, T. J. Cimfel and David White, took the source material and made it their own. They fleshed the characters out, the relationships, and built it in a non-typical movie fashion. It’s not your typical haunted house story, not your typical psychological thriller. It’s so much layered than that. Fans of “The Others,” “The Sixth Sense,” and “The Machinist” will really dig what we’re doing because I think you watch it multiple times and find new things, new clues to the big reveal.
BD: Tell me what you think director Victor Garcia brings to the film version of “Crawl To Me.”
AR: Well, Victor really gets into the material. He’s super passionate about the project. We actually approached an actor to play Ryan. We really hope the actor accepts it. Once he does, if he does, we’ll announce it. It’s very exciting!
Victor has done a lot of movies. He has a lot of experience with special effects. One of his first shorts, “El Ciclo,” really got me excited. I don’t think there’s any dialogue in it. It’s a completely visual short story. From the first scene, you’re entranced and you want to know what happens. He has that ability to really suck you in visually to tell his stories. He had some good ideas structurally about the screenplay. We had a script written about six months ago and he had a bunch of notes. Once he came onboard, the screenwriters entrusted it. It’s so much better now! Not taking anything away from the writers, but he just had an outside opinion on where the story should go and how it should build. It all fell into place. They loved his ideas and they made his idea even better by adding some of their own. I think it’s a good combination of talented people we got onboard.
One other thing, once we got Joaquin Padro, from Rodar y Rodar, the producers who did “The Orphanage,” once they came onboard, it really took on a new life. This is really going to happen now! These guys made some fantastic movies. They know how to get it done and where to do it. Once they came onboard and we met them, we clicked instantly. It seems meant to be.
BD: With comic book creators, such as Frank Miller and Robert Kirkman, becoming more involved in their adaptations, do you see yourself writing/directing one of your own projects?
AR: I mean it’s something that I think about a lot. I don’t really have a film background but I watch a hell of a lot of movies! I’m definitely learning a lot. When I was doing the band, we filmed a bunch of music videos. I worked closely with the directors to develop storyboards for those videos and concepts. I have some experience with that. I think that drawing comics and telling stories visually in a comics medium is kinda like directing in a different level. You’re framing shots, you’re choosing key moments to move the story forward. I would have a lot to offer in that area. I think I would need a really good director of photography, who would have the technical know-how to make the shots happen. It’s definitely something that interests me.
Something else that interests me too is writing prose versions of my stories; perhaps a “Crawl To Me” novel. I actually started. I’m about ten pages deep into the “Crawl To Me” novel. Maybe it’ll be ready when the movie comes out or something like that, I’m not sure. Depends on how busy I get. It’s kinda on the back-burner. It’s interesting to tell stories in different ways. It’s unlimited in what medium that you choose, it’s all about experience and it’s all these different things that require time. I would like to do them all. I really want to focus on “The Shunned One” and “Crawl to Me” movie right now.
BD: Because of your musical background, will you be contributing to the soundtrack?
AR: I would definitely love to do that! I would like to at least write one or two movie songs and possibly contribute to some atmospheric sounds. I really dig what Trent Reznor has done in that area.
BD: What other projects are you working on now?
AR: “The Shunned One” is pretty much the focus. Being that the “Crawl To Me” movie is at the stage where we’re approaching actors now, we’re really trying to find the right people to be involved. There’s a lot of meetings about that. And there’s also this idea that’s maybe soon to talk about. Possibly a “Killogy” one-shot for next Halloween, with a brand new star as one of the roles. There’s something brewing there but It’s too early to talk about.
“The Shunned One” is slated to be released in 2014.
Interview by – Jorge Solis
Freddy Chávez Olmos and Shervin Shoghian’s award-winning fantasy-horror short film “Shhh” has been released online, just in time for Halloween!
“‘Shhh’ is a tale about a young boy, who uses his imagination to overcome his monstrous bully at night. Tired of being scared, Guillermo eventually takes matters into his own hands.”
The short is inspired by the lucid dreams of director Guillermo del Toro during childhood.
After viewing the film, Director Guillermo del Toro described “Shhh” as having “strong visuals and solid atmosphere.”
“Shhh” screened globally in over 30 international film festivals so far, spanning across 6 countries, including France, United States, Japan, Mexico, Spain and Canada.
The short received recognition for the team’s hard work, including winning:
Best Short at the 2013 Leo Awards in Canada
Best Production Design at the 2013 Leo Awards in Canada
Best Fantasy/Sci-Fi Short at the 2012 Rhode Island International Film Festival in the U.S.
Best Short Film at the 2012 Festival Internacional de Cine Puebla in Mexico
Emily Kinney, who plays Beth Greene in AMC’s “The Walking Dead”, has released a brand new EP today entitled Expired Love. The music is very mellow acoustic singer/songwriter material and her vocal talents have been put to use on TWD in several episodes. The seven track EP is available for purchase on iTunes. Below is a sampler of the EP as well as the track list.
Emily is working on an album that will be released in 2014.
1 – Expired Lover
2 – Julie
3 – Kids
4 – Doctor
5 – Times Square
6 – Masterpiece
Hard rock/metal guitarist/producer Roy Z‘s soundtrack for the upcoming game Zombie Squash will be released digitally via Sumthing on October 29th. Roy Z is known for his work with Judas Priest, Iron Maiden, Sebastian Bach, and Tribe Of Gypsies.
Starring George A. Romero (Night Of The Living Dead, Dawn Of The Dead), the game is set in, “…a world where plants and vegetables like turban squash and pumpkins turn into zombie squash spawned from the evil experiments of Dr. B. E. Vil (George A. Romero), owner of a controversial bio-chemical, genetics company Monsterno Corporation. Zombie Squash is a tower defense style game where you play as Jack Stompingtail, a fearless rabbit who fires carrots, zucchini and other garden ammo at the zombie squash onslaught! The player has to try and stop the zombie squash from taking over the world.”
You can listen to samples at the above link and watch the trailer below.
Releasing exclusively on Amazon this week is the “Limited Freddy Wong Collector’s Edition” of the thriller Bear.
“Bear is a gripping a grizzly bear attack movie being released as a signed collector’s item by Epic Pictures Releasing.”
Each copy is signed by internet sensation Freddie Wong.
“Two couples, trapped in a mini-van, must use their wits and courage to fend off a vicious assault from a Grizzly Bear and survive. As they battle the cunning and intelligent creature, secrets between them begin to emerge. Will the shocking revelations tear them apart before the bear does?”
The DVD features a bunch of special extras on it including Freddie’s signature, a detailed audio commentary by FreddieW as well as a special video he made for the film.
In this new “The Walking Dead” featurette, Andrew Lincoln discusses the evolution of his beard throughout the series.
The fourth season continues October 27 with Episode 4.03, “Isolation”: “A group leaves the prison to search for supplies; the remaining members of the group deal with recent losses.”
Based on the comic book series written by Robert Kirkman and published by Image Comics, “The Walking Dead” tells the story of a group of survivors who travel in search of a safe and secure home in the months and years following a zombie apocalypse. The series stars Andrew Lincoln, David Morrissey, Steven Yeun, Norman Reedus, Danai Gurira, Chandler Riggs, Lauren Cohan, Scott Wilson, Melissa McBride, Chad Coleman, Sonequa Martin-Green, and Emily Kinney.
[Special Report] Violence, Intensity And Trying To Disturb Audiences On The Set Of Spike Lee's 'Oldboy'!
FilmDistrict will release Spike Lee’s Oldboy, starring Josh Brolin, Samuel Jackson, Elizabeth Olsen, Sharlto Copley, and James Ransone on Thanksgiving weekend this year. And I can’t wait to see unsuspecting families walk into this twisted tale.
In theaters November 27th, “The pic is a provocative, visceral thriller that follows the story of an advertising executive (Josh Brolin) who is abruptly kidnapped and held hostage for 20 years in solitary confinement. When he is inexplicably released, he embarks on an obsessive mission to discover who orchestrated his bizarre and torturous punishment only to find he is still trapped in a web of conspiracy and torment.”
Last year I spent some time on the New Orleans set of the film. While I wasn’t there for the infamous “fight” scene, I did see plenty of cool stuff and had a nice long chat with the cast and crew of this new “reinterpretation.”
A Phantom Rolls Royce idles on a street nearing the outskirts or New Orleans, Louisiana. It’s parked in front of a bar ensconced in a faded green building – the sign reads “Chucky’s: Open Damn Near 48 Hours.” The car pulls away, heading towards the semi-deserted neighborhood beyond the bar’s enclave. On the sidewalk outside of Chucky’s lays a man, deposited there by whomever was in the car. He’s beaten, bloody and bruised. A broken heap dressed all in black. That man is Josh Brolin.
No, it’s not the aftermath of a bad night out for the actor. It’s the set of Spike Lee’s reinterpretation of Oldboy and the Rolls Royce belongs to Sharlto Copley’s villainous character. Michael Imperioli, the “Sopranos” actor who is clearly the Chucky mentioned on the sign above, rushes out to the curb to help his fallen friend.
As Brolin gets up, it’s immediately clear what fantastic shape he’s in (bruises and blood aside). I’ve never seen the actor this lean, muscular and chiseled. It’s a far cry from how he appears in the opening minutes of the film, out of shape and designed to look bloated from alcohol. Brolin comments on the shift between his weight in the film, “I gained some weight and I lost some weight. Some people think it’s impossible. I would never do it again, but yeah I gained a lot of water weight.” How did you do it? Can you tell us? ‘No. It was a difficult thing. I came in good shape, then I put on a lot of weight and lost it again.”
While there’s still an active setup outside Chucky’s bar, the crew quickly preps another shot which has Brolin and his co-star Elizabeth Olsen (Martha Marcy May Marlene) getting into a cab. The camera pushes in on the passenger side window and Brolin tosses of an intentionally goofy glare that has most of the crew erupting in laughter. After that, they nail the shot with a more appropriately serious take.
During a break from shooting, myself and a few other journalists pile into a room in the back of the bar to speak with some of the film’s cast and crew, including legendary director Spike Lee. It was my first time speaking with him and, even though he was extremely guarded about the film’s secrets, I found him to be warm and genial with a surprising sense of humor. I had heard that the new script by writer Mark Protosevich (I Am Legend, The Cell) was even more intense than the original 2003 film. Lee replied with a simple, “True.”
Josh Brolin explains how the film got off the ground in the first place, “I called up Chan wook-Park. I tried to get him for ‘Jonah Hex.’ And I almost had him! And then I let him go at the last second, ‘you know if you’re heart’s not in this we can do something else.’ But we became good friends and talked once every couple of months. And Spike and I have been friends for a few years. So when this came up, it sounded good but I needed to get his blessing first. So I called him and asked what he thought about us doing this. And he said, ‘Absolutely. Just don’t do it the same.’” Brolin adds, “It’s become its own very original film.” We noticed the production sign (the yellow signage leading us to set) said ‘Octopus.’ Is that scene still in there? We’re creating our own iconic moments. There are some homages to original movie and then there’s some new stuff.”
Lee adds that he and Brolin had been circling each other for a while, trying to find the right project to work on. “For me it started with two parties. One for ‘American Gangster’ and the other one for ‘W.’ [Brolin and I] talked and I told him I was a big fan of his work. And it was mutual. And we just said, ‘let’s work together.’ But even if you want to work together you still need material, something both people feel passionate about. We were at the same agency and the script came in and we called each other up and said, ‘let’s do it.’ The script was great.”
We notice that Brolin has a tattoo indicating that he’s been counting down 20 years of imprisonment as opposed to 15 (depicted with notches similar to the imagery featured on the film’s teaser poster). Protosevich acknowledges that his script changes the time from 15 to 20 years. “In terms of childhood development, anything prior to 3 years old can be pretty much forgotten. I should be careful here… ” Lee interjects, “You should.” Protosevich continues, “It seemed proper to me.” Brolin offers a final thought on the subject before we move on, “The original Manga was 10 years. Chan wook-Park’s film was 15 years. This is 20 years. The sequel will be 25 years.”
Lee latches on to Brolin’s mention of the Manga. For him, this new retelling of Oldboy is a continuation of the story’s journey through different cultures, and this new version has a decidedly American sensibility. “Here’s the thing. People don’t realize that the original source is Japanese. It’s not Korean. It was reinterpreted in Korea and now we’re doing it in the United States of America.” He continues, perhaps the most animated we’ve seen him thus far, “I don’t call this a remake. I call it a reinterpretation. You can have Oscar Hammerstein’s “My Favorite Things” but when John Coltrane plays it, that sh*t sounds different. It’s a great film, and this is a reinterpretation of it. It’s not Julie Andrews singing “My Favorite Things,” it’s John Coltrane. That’s the way I look at it. And that’s gonna happen anyway, because we’re shooting in the United States of America. A very diverse United States of America as evidenced by this last election.” He adds, “‘Oldboy’ is a phenomenal film, and there’s room in the universe for this one.”
Elisabeth Olsen, who has been sitting quietly with Brolin and Lee up until now, agrees with the concept of reinterpretation. Olsen, “Good stories should be re-told. And this is a good story. So [it makes sense] to remake it for a different audience at a different time.” She also feels like there was a lot to chew on in regard to the updated version of the character she’s playing, “I think that it’s a completely different character than the original story. She has a before and after in her life outside of the context of what happens in the film.”
But will this American version latch on with American audiences? We’re notably more concerned with sexual taboos. Protosevich grabs the ball on this with a brief, “I think sometimes it’s okay to disturb people.” If he seems confident in his work, he has every right to be. He’s been attached to the project for “a minute” as Lee puts it, and has had years to refine his draft. “I’ve been involved with this now for four years. So for me it’s been a ling process to get to this great point. I love the source material, but it really was an opportunity for me to really challenge myself as a writer. I became incredibly obsessed with it and passionate about it. And I think it’s the best thing I’ve done. It feels right, it feels like the reason I got into the business in the first place.”
Was it that script that brought Michael Imperioli on board? Not quite (but it couldn’t have hurt) “I didn’t look at the material. But Spike called me and I’d worked with him five times before so I said ‘yes.’ If he’s got something, I’m in. It doesn’t matter what it is.” Sharlto Copley, who was a bit late joining us due to a last minute trip to the dentist, suggests that the intensity is why he took the gig in the first place, “For me it was a little bit darker than something I would have done. But I felt that the first film was so good, in the story specifically, that I figured if you’re going to do something dark you might as well go all the way.”
Speaking of darkness, the original film is full of hardcore violence. And if this one pushes the envelope even further, is Lee nervous about the MPAA? Lee, “I’m not nervous but I know that historically they’ve been much more lenient with violence than with sex. They do what they do. We might have to have some resubmissions on various things. But we’re going for a hard “R”, that’s what we want.” Brolin adds that there’s also, “a lot more emotional violence in this movie.”
After we disperse from the chat we head back into the front of Chucky’s. Our plane leaves in a few hours, but we’re able to see one more simple shot. Michael Imperioli sits at the bar, sipping a whiskey and typing on his MacBook. Suddenly he stops and grabs the phone, his mouth agape. “It’s Chucky. It’s not about him, it’s about her. The whore. Remember? Jesus, call me!” Lee guides him through this a few more times until we depart, getting it just right. For those of you who have seen the original, you may know the pivotal nature of this moment. Or perhaps not… because not everything is the same in this retelling.
Brolin approaches us before we leave and we quickly grill him on the fight scene. You know… THE fight scene. Has anything changed? How did Spike Lee approach it? He can’t give us any real details but smiles, “I guarantee this will be the most intense fight sequence you ever see.”
Is he right? You’ll just have to go see Oldboy on November 27th. Remember, that’s over the Thanksgiving holiday. If you know what you’re doing you’ll take the whole family just to watch the look on their faces.
We now have some brutal first imagery from The Devil’s Women, the new horror thriller from director Guillermo Martínez that started filming on June 9th.
“The story revolves around Irene, a young woman who is recovering from a brutal beating perpetrated by her former lover. She decides to regain her energy and zest for life wich she believed impossible after finding out she had lost a baby due to the multiple injuries she had suffer from the violent act. Her best friend recommends some kind of activity that revitalized her strenght. Irene enthusiastic believes she has found the answer in a booklet: theater classes. Once registred into the academy she never imagined being the only student at the mercy of a pair of deranges psychopaths who truly whorship women’s flagellation as the solution of sins.”
The film has a cast conformed entirely with actors from the city of La Plata. The main cast will fetaure: César Genovesi,María Soledad Navarro and Alexia Encalada, with the appearences of Javier Batic, Noelia Vergini, Fernando Leiva, Ignacio Ardaiz, María Elena Morete and María Laura Albariño.
The shoot will take place on locations of the city of La Plata, Buenos Aires, Argentina.
The film is co written by Lucio Ferrante and its produced in association with Wolframia Audiovisuales and Juan Chiaradía.
Things will go bump in the night when The Conjuring (read our review) arrives onto Blu-ray Combo Pack, DVD and Digital Download TODAY from Warner Bros. Home Entertainment. From acclaimed director James Wan, The Conjuring follows a pair of paranormal investigators who help a family haunted by a demonic force, only to find themselves trapped in their own horrifying nightmare.
In addition to an awesome exclusive clip from the release’s bonus features, we also have (5) Blu-rays that come accompanying an Annabelle doll! The clip takes us into the real world that inspired Conjuring, and features footage of the real Lorraine Warren.
TO ENTER: Put THE CONJURING in the subject line and then send your FULL NAME and ADDRESS to email@example.com. Winners chosen at random. No PO Boxes. U.S. only.
Directed by James Wan (Saw, InsidiousThe Conjuring stars Vera Farmiga and Patrick Wilson as Ed and Lorraine Warren; Ron Livingston and Lili Taylor as Roger and Carolyn Perron. The film also stars Joey King, Shanley Caswell, Hayley McFarland, Mackenzie Foy and Kyla Deaveras as the Perrons’ five daughters; Sterling Jerinsas as Judy Warren; Marion Guyot as Georgiana; Steve Coulter as Father Gordan; Shannon Kook as Drew; and John Brotherton as Brad.
“Before there was Amityville, there was Harrisville. The Conjuring tells the true story of world renowned paranormal investigators Ed and Lorraine Warren (Patrick Wilson, Vera Farmiga) who were called upon to help a family terrorized by a dark presence in a secluded farmhouse.
Forced to confront a powerful demonic entity, the Warrens find themselves caught in the most horrifying case of their lives.”
The Conjuring will be available on Blu-ray Combo Pack for $35.99 and on single disc DVD for $28.98. The Blu-ray Combo Pack features the theatrical version of the film in hi-definition on Blu-ray, and the theatrical version in standard definition on DVD. Both the Blu-ray Combo Pack and the single disc DVD include UltraViolet which allows consumers to download and instantly stream the standard definition theatrical version of the film to a wide range of devices including computers and compatible tablets, smartphones, game consoles, Internet-connected TVs and Blu-ray players.
The Conjuring Blu-ray Combo Pack contains the following special features:
· The Conjuring: Face-to-Face with Terror
· A Life in Demonology
· Scaring the “@$*%” Out of You
The Conjuring Standard Definition DVD contains the following special features:
· Scaring the “@$*%” Out of You
We now have the UK trailer and poster for Anthony Leonardi III’s Nothing Left to Fear, which was produced by Guns N’ Roses’ Slash. Already out in the States, it will be released in the UK on DVD through Anchor Bay and VOD, On Download and On-Demand through Content, February 2014. Catch it before the 2014 release from October 26th at the Film4 Frightfest All Nighters.
“Nothing Left to Fear was inspired by the legend of Stull, Kansas. Wendy (Anne Heche), her husband Dan (James Tupper of “Revenge”) and their kids have just moved to the small town of Stull, Kansas, where Dan is the new pastor. But in this sleepy community of friendly neighbors, a horrific series of occurrences awaits them: Their teenage daughter (Rebekah Brandes of Bellflower) is being tormented by grisly visions. Her younger sister (Jennifer Stone of “Wizards Of Waverly Place”) has been marked for a depraved ritual. And deep within the heartland darkness, one of The Seven Gates Of Hell demands the blood of the innocent to unleash the creatures of the damned.”
Anne Heche (HBOs “Hung,” ABCs “Men in Trees”) , James Tupper (ABCs “Revenge,” Mr. Popper’s Penguins) , Ethan Peck (In Time, ABC Family’s “10 Things I Hate About You”), Jennifer Stone (“Wizards of Waverly Place,” Mean Girls 2), and Clancy Brown (Cowboys & Aliens, The Shawshank Redemption) all star.
Ethan Peck (“10 Things I Hate About You”) and Clancy Brown (The Shawshank Redemption) co-star in this demonic shocker featuring original music by producer Slash and inspired by the real-life paranormal legacy of Stull.
K5 International (Girls Against Boys) has enlisted Robert Eggers to pen The Witch, formerly Witch of New-Canaan Woode, for pre-sales at the upcoming American Film Market. Eggers was originally intending to direct but is not listed as attached anymore…
“1630s. Sam, the new-born baby has disappeared without a trace. William’s eldest daughter, Thomasin, 14, has become idle and temperamental. Caleb, 12, often wantonly glances at Thomasin and believes he hears the voice of God. The little twins Jonas and Mary make up strange nursery rhymes and play with the family’s billy-goat all day. Mother Katherine believes she has lost faith. Is God punishing them? Is it the devil? Is it truly a witch? Is it one of the family members who is possessed? The animals die, the food is scarce, the family members turn against themselves. And the remaining ones are susceptible to the Witch of New Canaan Woode.”
Lars Knudsen and Jay Van Hoy produce.
The film was announced as part of last year’s AFM, so it’s not great news to see there hasn’t been much movement in over a year.
“The end of the world, as we know it, came to an end two years ago…”
No One Lives and Midnight Meat Train director Ryuhei Kitamura is making yet another English-langue pic, as the Japanese director behind Versus will helm Dead Water, sources tell Bloody Disgusting.
Currently in production with a shooting budget of $3-5M, the film will be on sale at the upcoming American Film Market in Santa Monica, CA.
“Dead Water follows a heroine and a few scientists who become sealed inside an Eco Station -a self-sufficient environment deep in the desert. The survivors in the Station know the deadly truth. They know that when the end finally came, and it wasn’t what anyone expected.
It wasn’t a virus that killed the planet. It wasn’t a curse from Hell.
It was the water…
A chemical process, triggered somewhere in the world, got out of control and changed the molecular composition of H2O as we know it. Suddenly drinking it, bathing in it, even touching water would change a human into…
Album review written by Lauren Rae
Ah, Korn. One of the integral factors to the soundtrack of my angsty youth. What’s been surprising to me is how much staying power these guys have had over the years, with lineup changes, controversy and personal troubles amongst all the band members galore. There have been a few occasions where upon learning that Korn was set to drop a new album, my first words were, “They’re still around?”
Granted, I’ve grown up quite a bit since my days as 16-year-old little gothybopper. But there’s always a place in my heart for those who leant a hand to shaping my current musical landscape. I still have some of their albums and a few songs have made their way onto my iPod. It had been a long while since I had listened to any new material by the quintet out of the cow fields and nothingness that is Bakersfield, California. (They really weren’t exaggerating about that.) So when I was given the opportunity to give The Paradigm Shift a go, I took it, curious to see if they had grown along with me.
To which, it’s a yes and also a very huge no.
Musically, there has been immense growth. I can still sort of hear bits of Korn of old; bass strings that rattle so hard you think they’re gonna pop off their neck, drum beats that can give you heart palpitations. But the key difference is maturation. They sound cleaner, more fluid, especially considering that original guitarist Brian ‘Head’ Welch is back with the band. I’m guessing going solo and having his own tour helped hone and develop a whole new sound. This much I enjoyed immensely. And therein lies the yes.
Lyrically, I wanted to rip my hair out. It’s like I’m still listening to Follow the Leader and Issues. And I expected that lead singer Jonathan Davis would have grown beyond songs like “Never Never”, “Prey For Me” or even “Spike In My Veins”, which all seem to channel his trademarked-but-overused formula of “I’m so broken inside but don’t cry for me even though I really wish you would!” Literally the only song that had potential to show his age and wisdom is “Mass Hysteria”.
Jon, sweetie, hunnie. We all know you have depression, and you had it rough as a kid. You made that abundantly clear, and I get it. I’m Bipolar, I deal with it every day, and I probably had a shitter childhood and adulthood than you. But at some point you’ve got to grow up, deal with your issues and get the hell over them. You can only use your damaged heart and mind material for so long before it becomes old hat.
But, not all is lost! And I’m not a total bitch for saying all this, because we can draw a positive out of this. While there may not be any growth with The Paradigm Shift, at least they’ll always have a core audience. After all, there will always be angry, whiny teenagers to cater to.
One thing I’m terrible at is predicting twists in a movie before they happen. I suck at it.. That being said, I could see the reveal coming a mile away in Static‘s first few minutes. Even the worst (me) armchair detective can tell what’s really going on. Sometimes having the twist ruined doesn’t matter, as long as the story and characters are engaging enough to keep an audience holding on. Static, however, is a weak thriller that takes a fairly interesting premise and throws it away to play a cheap game of cat-and-mouse. By the time the “big twist” drops in our laps in the film’s final moments, I’m not sure anyone is going to care.
Jonathan and Addie Dade are going through some serious marital doldrums. Their young son recently drowned, leaving the couple reeling in his wake. Addie (Sara Shahi) has turned to the bottle while Jonathan (Milo Ventimiglia) immerses himself in his writing. They haven’t really addressed their feelings and have taken a more passive aggressive route to their martial turmoil. Then one night a stranger (Sara Paxton) shows up on their doorstep, saying that someone in a gas mask is chasing her. They reluctantly take her in and soon they become the targets of masked aggressors in a scenario that’s equal parts home invasion thriller and domestic drama.
These elements – a mourning couple and a home invasion – make for a unique take on a thriller with characters that are easy to sympathize for. The way Static plays out is frustrating though. Once the intrusion of the home begins, there are some suspenseful little moments peppered throughout that are genuinely well-crafted. These tense moments are dismally shattered when Johnathan and Addie start bitching at one another. The two elements aren’t handled cohesively. It loses its momentum to the point of exasperation.
The film ends on a terribly down note, which I actually enjoyed. I’ll take a bummer ending over a happy one any day. The problem is, Static makes it a point to not have Jonathan and Addie’s marital state at the end of the film be the focus. This couple, who we’ve just witnessed go through hell, is put aside so that the filmmakers can put all their cards on the table and show the audience how crackerjack their twist is.
And the thing is, I really dug the premise of the twist. If he had made the film more concerned with the reason for the invasion rather than their melodramatic marital troubles, writer-director Todd Levin would have one interesting movie on his hands. Instead it never really focuses on anything and can’t decide if it wants to be a home invasion thriller or a deep meditation on loss. It’s possible to be both, but Static never pulls it off.
A/V: Oh, I forgot to mention that Static is in 3D, for some reason. The wide shots of the landscape that kick off the film look fantastic, with depth clearly established. Once the film’s action kicks into gear, everything is so dark that the 3D is barely noticeable. The 1080p transfer is crisp and detailed – when it’s not nearly pitch black. Like I said, this is a visually dark film. The DTS-HD Master Audio 5.1 sound is terrific, with loads of creepy elements to the design.
Special Features: The audio commentary featuring Todd Levin, producer Gabriel Cowan, and editor John Suits is best left for people who really dug the film. They discuss the usual aspects of filming, with some fun anecdotes thrown in. Overall it’s pretty bland though.
Filmmakers Eric Bross, Sean Albertson and Matt Lazarus announced today the January, 2014, online release of their short film Goliath. The 10-minute film will be available worldwide to watch for free. The announcement is accompanied by a teaser trailer shared below.
Goliath tells the story of a prison with a gang problem that installs a 12-foot robot guard: Goliath. When it goes berserk, the convicts must work together to take it down.
Principal photography was completed earlier in the year, starring Luis and Daniel Moncada of “Breaking Bad” fame, as well as Fernanda Andrade (The Devil Inside), with a cameo by Godsmack’s Sully Erna.
The short film is based on an original concept by Bross, and his brothers Jonathan and Scott Bross. Goliath was written by Lazarus, directed by Bross, and co-produced by Albertson, Bross and Lazarus. Kenny Roy is overseeing visual effects duties along with visual effects supervisor Rob Stauffer.
“We completed a successful Kickstarter campaign to raise funds to finish animating Goliath, and Kenny Roy and Rob Stauffer are working on that now,” said director Eric Bross.
Producer Sean Albertson adds, “While we are looking forward to producing this as a feature film, we thought the story was too cool to wait to get something out there for people to see. So we did everything ourselves on a much faster time line for this short film.”
Visual effects supervisor Kenny Roy says, “For Goliath I’m excited to bring a level of detail that the industry normally reserves for tent-pole projects; the robot is too badass not to pull out all the stops.”
Goliath aims to follow in the footsteps of Neill Blomkamp’s District 9, which began as the sci-fi short film “Alive in Joburg,” before being adapted into a feature film and released by Sony Pictures.
Watch the teaser trailer below. Goliath will be released for free online in January, 2014.
In an interview with Absolute Punk, ex-Misfits singer Danzig has stated that he has recorded a new song with Doyle, who is also an ex-Misfits member. Danzig stated that the song was recorded in April and is, “…bizarre. I don’t know. I really couldn’t… It’s weird.”
Make sure to check out our exclusive interview with Danzig here.