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‘Paranormal Activity 5′ Is Going to Be In 3-D (Exclusive)

Wed, 11/26/2014 - 17:56

Some last second holiday news as we head off to go eat some turkey.

We have just confirmed our scoop from this past July that Paramount Pictures’ Paranormal Activity 5: The Ghost Dimension is being fast-tracked. In fact, we’ve learned that filming has already begun with plans on getting the sequel into theaters by the original March 13, 2015 date.

Greg Plotkin is directing from a screenplay by Jason Pagan and Andrew Stark.

The interesting bit, though, is that the plan is to release PA5 in 3-D, and will be done using post-conversion technology. It can only be assumed that the 3-D is specifically for the “Ghost Dimension”?

The fact that Paramount is toying with the technology for PA means Friday the 13th could be next…

Some plot details were teased in this leaked casting breakdown from this past January.

Categories: Horror News

New ‘Jurassic World’ Dinosaurs All About Selling Merch?

Wed, 11/26/2014 - 14:54

Just yesterday Universal Pictures unloaded the official trailer to Colin Trevorrow’s Jurassic World.

Personally, I thought it looked wild, but not everyone is on my side.

I’ve seen complaints about the weird transportation pods (joked to be from Tomorrowland) to the shots of the park that look like they were filmed directly on the Universal Studios grounds (the theme park, not the studio). Even paleontologists are blasting the science behind the Jurassic Park sequel. It just goes on and on (people are even pissed about the crane flies in the sap).

Frankly, I think most of the haters need to STFU and save their criticism for the final product. How can you judge a movie this early?

This is how…

The implication given by The Verge and “Wired” writer Tim Carmody is one that’s too stomach churning to ignore.

As we all know, Jurassic World is based around the concept of humans “toying” (this is an awesome pun) with the DNA of dinosaurs and creating hybrids (like the D-rex). Allegedly, the reason for this is so Universal can own the intellectual properties of the dinosaurs*. Clearly, Uni does not own any rights to the dinosaurs in Jurassic Park, and anyone could create knock off shirts and toys based on the T-rex, Velociraptors, etc. So, the question remains, was the concept of the hybrid dinos organic, or forced much like the scientists agenda in the film? I’m not sure we’ll ever know, but it sort of hurts my soul just knowing that the entire movie’s heart and soul could be about greed. It’s sort of ironic and perfect when you really think about it, though. John Hammond would have been proud.

Chris Pratt, Bryce Dallas Howard, Ty Simpkins, Jake Johnson, Nick Robinson, Irrfan Khan, Vincent D’Onofrio, BD Wong, Omar Sy, Judy Greer, Katie McGrath, Andy Buckley and Lauren Lapkus star in the Jurassic Park sequel opening June 12, 2015.

This time Universal Pictures will be opening the actual park. If you’re curious what the new park has to offer, check out these leaked brochures!

(*There’s nothing wrong with Uni wanting to create merchandise and make as much money as possible with their massive investment. We just hope the movie wasn’t compromised in doing so.)

Categories: Horror News

[Comic Review] “ODY-C” #1 Bends Gender, Minds, and Probably Spoons

Wed, 11/26/2014 - 14:12

To adapt Homer’s Odyssey in any form is a ridiculously difficult task. But to adapt it into a gender bending, space opera, fantasy-esque, psychedelic comic book takes “difficult” to a whole new level. Matt Fraction and illustrator Christian Ward have started a mission so colossal it’s scary, a feat of great proportions, an epic journey. “ODY-C” #1, their (almost entirely) female cast Odyssey reimagining in space, will have readers perplexed, fascinated, and charmed. This is not a tool for education. It’s not a dumbing down or easy-reader version of Homer’s original work with pictures. If anything, it’s more complex than the original, carving out its own place in the history of ambitious comics.

WRITTEN BY: Matt Fraction

ART BY: Christian Ward

PUBLISHER: Image Comics

PRICE: $3.99

RELEASE: November 26, 2014

Homer wrote of the Greek hero Odysseus and his ship-bound voyage home to Ithaca after conquering Troy in the Trojan War. In Fraction and Ward’s reimagining, Troy and Ithaca are planets and Odysseus is Odyssia, the female captain of a spaceship. As Fraction stated himself, essentially all cast members have been gender swapped and it’s the women who comprise the military heroes we read of in high school literature classes. Troy is now Troiia; Ithaca, Ithicaa. As a war-worn Odyssia sets about to make her way back home, the gods, as with Homer’s Odyssey (only with different genders) especially Poseidon, take it upon themselves to make this space voyage a challenging one.

I’m not going to go into a lot of plot detail because ideally, we all know the story of Homer’s Odyssey. I want to focus on the manner in which Fraction and Ward have adapted such difficult source material and made it uniquely their own, frankly, against all odds. I haven’t seen any adaptation this unique since “O Brother, Where Art thou.”

First and foremost, Fraction’s script would be nothing without Ward’s art. It’s Ward’s insanely stylistic take on both the space opera genre and unique female form that carry the weight of this comic. Without it, Fraction’s words would simply be a slightly reformatted and pared down (albeit very Fraction-esque) adaptation. And by Fraction-esque, I mean…the Sebex, the updating of language, the numerical captions! So him. It’s so entirely like him to take such great risks that always pay off.

And although there are plenty of times that Ward’s art resembles an acid trip, you just need to power through. On second read, it makes much more sense. But don’t try to understand everything that’s taking place within the art. It will pluck you out of the story and you’ll not be able to follow it for your life. But there’s so much to love. The colors and loose structure, the shapely women and their abnormal forms, the vague spaceship innards that leave much to the imagination, and my favorite, the scenes with Odyssia’s memories of war, which break style for Ward in that the coloring is a complete red-wash; dark tones that move away from his rainbow of colors. It’s a beautifully offset scenery of images that truly engage and perhaps are the most traditionally adapted bits of the comic.

Many of you will go through this once, and say to yourself, what the fuck did I just read? I did. That’s okay. This is not an easy comic to digest. But it’s worth it. Read it again. Unfortunately for some readers, this is not a “stand-alone” as it were. To understand a great deal of “ODY-C” one must have a working knowledge of the source material. But this series has so much promise, and the world is ready for a space age, female dominant Odyssey.

Categories: Horror News

[Comic Book Review] “The White Suits: Dressed To Kill” Is Wholly New And Awesomely Original

Wed, 11/26/2014 - 14:06

If you’ve ever wondered what a fever dream / crime / tale of revenge looked like, you definitely have to read The White Suits: Dressed to Kill. I cannot believe how utterly original and blood-soaked this collection is with only three colors. If you miss the great conspiracy / crime sagas like 100 Bullets, this book is a worthy successor to that illustrious mantle.

WRITTEN BY: Frank J. Barbiere

ART BY: Toby Cypress

PUBLISHER: Dark Horse Comics

PRICE: $17.99 US / $19.99 CAN

RELEASE: 26 November 2014

Reviewed by: Your Friendly Neighborhood Brady

Twitter: @mrbradysteele

I know my reviews tend to point out similarities between current books and books from days gone by. Like music fans, comic book fans can talk to someone and get a feel for books they would like based on their likes and dislikes. If you like this, then you should try this, and so on. With all due respect to Brian Azzarello and Eduardo Risso’s epic crime book, this feels like this is the next step for crime comics. Seeing writer Frank J. Barbiere’s influences confessed in his afterword, this tale feels like something wholly new and original.

Not only is the story of a mysterious group of Russian killers in white suits simple in its premise, the details that unfold only add to the mix of a great read. The art by Toby Cypress just makes this an entirely unique visual experience. His style is so unpredictable and yet utterly hypnotic. Nothing looks like quite you expect it to but it still looks incredible. I could see these pages take over an art gallery easily. Cypress’ style is so fluid, so detailed and so visceral that it makes the story feel like it’s moving at light speed. The action is so tangible you can almost feel the bullets and blood fly all over the place when violence gloriously ensues.

Story, lettering, art and coloring are all covered by Frank J. Barbiere and Toby Cypress. That, in itself, is an impressive feat. Are these men selfish or passionate? I think you can answer that yourself when you start absorbing the visuals and the storyline of this tale. I know previous reviews have raved about the initial debut and I can categorically say all the praise this book received is well deserved. I definitely want to see what happens next and whatever these creators do next, I will be there and you should too.





Categories: Horror News

[Comic Book Review] “Gotham By Midnight” Staggers Into Horror

Wed, 11/26/2014 - 13:57

“Gotham by Midnight” offers a devilish look at a different type of seedy underbelly of Gotham. The all too often neglected supernatural elements of the Batman universe are brought to the forefront here, and it’s a haunting reminder of just how sinister a place Gotham can be.

WRITTEN BY: Ray Fawkes

ART BY: Ben Templesmith


PRICE: $2.99

RELEASE: November 26, 2014

The Batman renaissance continues this month with something slightly different than all the rest. This is a supernatural book more in the vein of Constantine than of Batman proper. However, you have a little bit of Gotham Central in the mix and a hint of The X-Files and you’ve concocted Ray Fawkes’ recipe for “Gotham By Midnight.”

And while all the ingredients are fantastic, the actual final result feels a little undercooked. It’s not an easy task to launch an all new storyline in an established universe. There is a lot of heavy lifting that needs to be done in order to service the story, and sadly Fawkes’ script concerns itself with the lifting more than anything.

There is a terrible amount of exposition. Even by first issue standards. The pacing is out of wack because of it and it all doesn’t really amount to much either. We’re introduced to the mysterious precinct thirteen through the eyes of newcomer Sergeant Rook. He’s pitted against our Midnight team. The people who clean up the more unsightly monsters in Gotham, or so we’re told. We don’t often get to see much in the way of creepiness in these opening pages. Instead there is a constant reminder of what could lie in wait, and Rook’s incessant disbelief that such a place or concept could exist.

Fawkes’ script is more concerned with telling rather than showing, a shame really, given the incredibly creepy talent Ben Templesmith’s pencils bring to the book. His moody use of color shows a Gotham unlike we’ve ever seen in the New 52. It’s awash in pale moonlight, dirty browns stain the walls and earthy tones constantly unnerve.

Templesmith’s fantastic character designs are as gaunt and unsightly as the city itself. Furrowed brows and pale skin are normal things here. Although one wonders if Rook is capable of smiling… Templesmith’s art does its best to bring the creepy factor up to ten whenever given the opportunity, but doesn’t really let loose until the final page.

“Gotham By Midnight” should be a worthy addition to anyone’s pullist because the premise is just so damn awesome. Yet, Fawkes fails to deliver on the promise of the premise here in the debut issue. He instead offers a by the books introduction to a world we’re already pretty familiar with. Despite this, the dialogue is pointed and chilling. The art is captivates in its depiction of the most horrific parts of the already dreadful Gotham, and Jim Corrigan is an irresistible protagonist.


I can’t wait to see more, if only because I feel shortchanged by this debut issue.


Categories: Horror News

[Comic Book Review] “Arkham Manor” #2 Needs Less Batman

Wed, 11/26/2014 - 13:47

Now that Bruce has returned home, and determined to solve a double homicide in the newly formed “Arkham Manor” things can really get started. This month we’re treated to a briskly paced adventure through the former safe haven that offers further psychological analysis of what makes Batman tick.

WRITTEN BY: Gerry Duggan

ART BY: Shawn Crystal


PRICE: $2.99

RELEASE: November 26, 2014


It’s going to be hard for “Arkham Manor” not to compare itself to the seminal classic “Arkham Asylum” from Grant Morrison. Each story has a variety of similarities, and I applaud Gerry Duggan for being so bold as to emulate the story in his own way. Now that Batman is fully immersed in another personality, much akin to Matches Malone he can begin to understand the inner workings of the labyrinth.

It’s nice to see an oddly confident Batman in light of what Scott Snyder is doing on “Batman.” Duggan showcases his protagonist as overly confident to a point, and plays with the idea of reducing him down to nothing. Inside Arkham Manor he may have a home field advantage, but he’s got none of the tools he’s used to.

Instead we see Bruce attending group therapy and given what we know now about the identity of the Joker, things have an especially sinister tone in this issue. I can’t help but giggle when the whole group notices that Jack Shaw is hiding something. What’s more is their laser focus on Batman. They have him figured out there, even the petty thugs know why he does the vigilante thing.

Shawn Crystal is a sight to behold. His muddy pencils add a certain level of gritty charm to the newest member of the batman mythos: Arkham Manor. His pencils bring the property to life with such vigor that the building itself feels like the newest character in the book. Over the course of twenty two pages we’re treated to the inside, the outside, and the grand halls of Wayne Manor.

Combined with the dark sunken in eyes of the characters you really have something different and approachable. “Arkham Manor” doesn’t look like most other Bat books and it’s a good thing. It’s got a darker charm on its sleeve than it first lets on. It’s perfect too, because the final showdown on the last few pages plays with the darkness in such a perfect way that you’ll be on edge right until the final panel.

This book doesn’t do much yet to justify its own existence. We’ve learned nothing new, and so far it just reads like an extension of the Bat-book formula which is to say a different writer taking Batman on monthly adventures against a different set of backdrops than the core series. I can’t help but wonder where things will go when the trapped inside the manor storyline resolves itself. Because this book could survive without Batman, in fact at this point it’s just what the Bat-books need: less Batman.

Categories: Horror News

[5 Skull Comic Review] “Roche Limit” #3 Will Seep Into Your Soul

Wed, 11/26/2014 - 13:37

“Roche Limit” #3 exceeds my wildest expectations again and absolutely oozes quality. All those dangling threads from issues 1 and 2 begin to come together and the picture they paint is gorgeous. Existentialism and space are two things that get me on board with a book in an instant and Roche Limit is 110% bringing it. If you’ve been on the fence about Roche Limit or have never read it, this issue will seal the deal.

WRITTEN BY: Michael Moreci

ART BY: Vic Malhotra

PUBLISHER: Image Comics

PRICE: $2.99

RELEASE: November 26, 2014

Reviewed By: Torin Chambers

Roche Limit opens similarly to the previous issues with a monologue by an incredibly insightful man. Who this is is still very much a mystery, but a mystery that’s welcoming and will only become clearer in time. We’re treated to another infographic about ‘Roche Limit in Focus.’ Giving us a clearer idea of how the colony works with major landmarks and just the right amount of potential foreshadowing. This issue has it’s major focus on Ford and Sonya’s continued quest to find Bekka. As the issue unfolds it becomes more and more clear that Bekka’s disappearance is tied into everything. Their search eventually leads them to a genuine space-cockfight, but they’re not the only ones there. Three other parties are also attending and the way they intertwine or don’t intertwine is excellent.

If you’re eager for more of those ghouls that’ve been teased then you’re in luck. They play much more directly into the story now and are given a bit more context.

Last issue I was sure Moscow would be spilling a lot of blood in the coming issues, but I didn’t think it’d start so soon. He’s going to truly become a force to be reckoned with.

Michael Moreci is crafting a science fiction epic on par with the likes of 2001: A Space Odyssey. I would even say it already far surpasses the current sci-fi story everyone is grooving on, Interstellar. The best part about all this is its still only beginning, there’s so much more to come and I am clamoring for it. Roche Limit is a smart and engrossing book, with fluid writing that seeps into your soul.

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

Categories: Horror News

[Comic Book Review] “Toe Tag Riot” #1 Is Dead On Arrival

Wed, 11/26/2014 - 13:35

“Toe Tag Riot” #1 is a conundrum. On the one hand, it’s touching on important issues, such as sexism and racism, that are rarely brought up in comics – and that’s commendable. On the other hand, it’s lackluster, with no real focus, and it fails to deliver a meaningful commentary. For what it’s worth, the book is very different, that in and of itself is always a good thing. It is so content with just breaking the mold, however, that it never attempts to rebuild anything meaningful in its place.


WRITTEN BY: Matt Miner

ART BY: Sean Von Gorman

PUBLISHER: Black Mask Comics

PRICE: $2.99

RELEASE: November 26, 2014

Reviewed By: Torin Chambers

The aforementioned title is also the name of the band that all our protagonists belong to. There’s Paulie- the guitarist/band leader, Dickie – their hot headed and impulsive lead singer, and Evie – the high-spirited amputee drummer [who’s also in a relationship with] Annie – the sassy bassist. Together, they form the punk band Toe Tag Riot, but they’re all bonded by more than just the band. They all turn into zombies whenever they perform on stage, complete with rotting green flesh and soulless yellow eyes. The duration of this affliction has gotten greater each time, their hunger for human flesh also seems to be growing.

The reason for their curse is briefly and vaguely touched on, but gives no answers or even hints at where it comes from. This is consistent with most of the book. Everything seems to happen just because. Such as Andy Hurley’s guest appearance – he adds nothing of value and could have been filled by that one guy who takes the same bus route as you and nothing would change.

The worst offender of this is the time period. Toe Tag Riot is set in 2004 and I cannot find anything that suggests this choice is anything but arbitrary. There are numerous references that make no sense if the book is really based in 2004, such as a flashback to 2002 with a Napoleon Dynamite reference. Napoleon Dynamite didn’t come out until 2004. Andy Hurley is recognized as being from Fall Out Boy, but they didn’t achieve fame until the following year, 2005.

The Westboro Baptist Church is referenced, and if you’ve been following Toe Tag Riot in any capacity, you’d know that they are going to become the antagonists. However, The Westboro Baptists are not represented in this first issue at all. This seems strange to me considering Miner’s Toe Tag Riot slogan was essentially “Punk Zombies vs. The Westboro Baptist Church.” In 2004, I bet you’d be hard pressed to find anyone who had knowledge of the Westboro Baptists. Sure they were founded in 1955 but they only came into the mainstream public eye in the last few years- another reason that I cannot understand why this book isn’t set in the present.

Matt Miner is a super awesome dude who is by no means a bad writer. He wrote a truly enthralling story in Vertigo’s CMYK Yellow that our own Zac Thompson loved to tears. Miner is trying to send a great message but the delivery leaves much to be desired.

It fucking sucks to see something that appears to be progressive but in actuality is just as hollow as the bullshit it’s trying to attack.

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


Categories: Horror News

First Look at ‘Jennifer’s Body’ Director’s ‘The Invitation’

Wed, 11/26/2014 - 13:27

Twitch scored the first ever images from Aeon Flux and Jennifer’s Body director Karyn Kusama’s dark thriller The Invitation.

Logan Marshall Green, Tammy Blanchard, Emayatzy Corinealdi, and Michiel Huisman star in the film, which is now in post production.

“Will and Eden were once a loving couple with a beautiful child. After a tragedy took their son from them, Eden disappeared suddenly, leaving her grieving husband behind. Three years later, out of the blue, she has returned with a new husband… and as a different person, profoundly and eerily changed.

On a dark night in the Hollywood Hills, Will returns to the house in which they lived for a reunion with Eden, his new girlfriend, Kira, and the group of friends that fell apart in the wake of the tragedy. Over the course of the evening, Will is gripped by mounting evidence that something very insidious has taken hold of his ex-wife, and that the new people in her life have a mysterious and horrifying agenda. But can we trust Will’s hold on reality? Or will he be the unwitting catalyst of the doom he senses?

By the end of the night, the ramifications of what happens in this house will spread far beyond its doors.

The Invitation is a pressure-cooker adult thriller that explodes into a truly shocking climax, steeped in the dark mythology of Southern California. It’s about the way grief can form or deform us, the horror of not knowing what’s inside the people you once loved, and about systems of belief and the terrifying promises they can make.”

Categories: Horror News

[Crowd Fund This] ‘Portal to Hell’ Is John Carpenter Meets Lovecraft

Wed, 11/26/2014 - 13:10

Director Vivieno Caldinelli (Picnicface, This Hour Has 22 Minutes), writer Matt Watts (Michael: Tuesdays and Thursdays), and star Roddy Piper (They Live) have teamed up with executive producer Todd Brown (The Raid, ABCs of Death), executive producer Andrew Rosen (Todd & the Book of Pure Evil), and FX guru Steve Kostanski (Manborg) to bring horror fans the slimiest genre mash-up ever seen!

With assistance from the Harold Greenberg Fund, the short film will be moving forward in early 2015 – but with fan support via IndieGogo, the filmmakers can create bigger stunts, crazier effects, and put the gears in motion to turn Portal to Hell into an ass-kicking, feature-length adventure.

Jack (Piper) is a simple man with simple needs. Mostly he just needs to be left alone to read his book. It’s a good book and he likes it… or, at least, he would if the tenants of the building he manages weren’t so damn needy.

And it’s not just blown fuses and clogged toilets… No, when the building power goes out, the culprit is a pair of Cthulhu-worshiping tenants opening a portal to the demon city of R’lyeh in the basement.

Does this count as building maintenance? Is battling the supernatural part of Jack’s job description? Maybe not, but if Jack can’t close the portal the entire building and – let’s face it – the whole world is screwed.

Categories: Horror News

[Comic Book Review] “Edward Scissorhands” #2 Carries Authentic Emotion

Wed, 11/26/2014 - 13:10

“Edward Scissorhands” #2  doesn’t waste any time reminding you of the story; the parts that are most relevant, after all, have been part of the cultural canon since 1990. Instead, it concentrates on bringing the two vignettes– Edward’s solitary life in his castle with his brother/son/prototype, and Megs’ typical teenage life minus her beloved grandmother– to an intersection.


ART BY: Drew Rausch


PRICE: $2.99

RELEASE: November 26, 2014

Reviewed By: Katy Rex

This issue does a lot of things right. Let’s start with the design of Eli, a character who must have been hard to nail down– he’s an earlier, older version of Edward, but he’s been created most recently so he also is a newer, younger version. He walks a line between childishness and violence, not dissimilar to the one Edward walked 24 (oh my god, has it been that long?!) years ago.

Rausch’s design addresses all of these facets of the character, making him at once a timeless and an old-fashioned childlike robot. Special mention must be made of the colorist, Jeremy Colwell, as the colors are what really brings Eli’s character design together, in particular his use of red. By muting the colors and focusing on cooler shades, rather than doing a grayscale with red highlights, we get a nod to the over-the-top aesthetic of the original movie while still allowing this series to stand on its own feet.

The mother/daughter dynamic, too, is exactly right– Leth communicates the way in which teenage daughters and their mothers practically speak another language. When Megs fights with her mom, it’s clear that as much tension and hostility they have, they’re both coming from a place of good intentions, and they love each other. Edward Scissorhands has a certain authenticity to its emotions, even in the midst of ridiculous pageantry, and the comic continues this tradition.

In all the things this issue is doing right, it’s still very clearly an exposition issue. This isn’t the story, this is the lead-up. It’s paced very slowly, and there are a lot of parts that seem like they could be filler (unless, in some unlikely twist, some small detail in the many panels of Eli hiding in or walking through the woods gets a call-back). Two issues is a long lead-up in comics, and it could probably have been done more concisely, but I’m very enthusiastic about what it’s leading up to.

Katy Rex writes comics analysis at, and She also writes scholarly articles for various academic journals. She really likes butt jokes, dinosaurs, and killing psychos and midgets in Borderlands 2. She has a great sense of humor if you’re not an asshole. Twitter: @eotucomics Tumblr: Instagram: @katy_rex Email:


Categories: Horror News

[Comic Book Review] “Clive Barker’s Nightbreed” #7 Keeps Readers Hooked

Wed, 11/26/2014 - 13:09

An awesome step in a new direction, “Clive Barker’s Nightbreed” #7 keeps readers hooked as the pages move at breakneck speed. Based on Clive Barker’s “Cabal” novella, this spinoff explores the back-stories behind the underground inhabitants living in Midian. Like the “Hellraiser” series, there is a lot of potential here to tell original stories within the “Nightbreed” mythology.

WRITTEN BY: Clive Barker and Marc Andreyko
ART BY: Piotr Kowalski, Emmanuel Xerx Javier
PRICE: $3.99
RELEASE: November 26, 2014

Reviewed By Jorge Solis

Since the day he was born, there was something special about Aaron Boone. What made him beyond average is certainly what led him straight towards Midian. Haunted by the victims of Dr. Decker, Boone refuses to believe anything that Lylesberg tells him. Whether or not destiny played a hand, Boone doesn’t want to be the victim again, but he will have to rediscover the secret lies of his past.

Though Decker’s name is mentioned in dialogue from Clive Barker and co-writer Marc Andreyko, the narrative strays as much as it can from the novella and the film; which is a fantastic idea. Because I’m not bogged down with a recap, I’m seeing things from an original perspective. Did Boone end up in Midian because he was destined to be there? Or was it just plain bad luck? The narration points at both aspects of the theme, letting the readers interpret for themselves.

Because Boone is now a central figure, we’re also learning more about Lylesberg. From previous issues, Lylesberg has become a mentor and a savior to the members of Median. The more he witnesses Boone’s tragic past, Lylesberg feels incredible sorrow for him. I’m wondering if Lylesberg will transition from mentor to father figure as this story arc progresses.

Artist Piotr Kowalski has done a great job presenting Boone from his early days to the present.

There is this innate sense of sadness when Boone appears in the panel. He has had the burden of being alone and tortured for so long. Boone just wants to belong somewhere, find a home for himself, and have a family. He has found meaning, but the irony is that it’s with freaks and monsters.
Emmanuel Xerx Javier keeps his illustrations in tune to their locations and time periods. We follow a cocky reporter as he tries to smooth-talk his way to find the truth behind his missing person case. Though Javier’s artistic segments are calmer and comical, the story leads to a shocking cliff-hanger.

“Clive Barker’s Nightbreed” #7 takes the series in a new surprising direction. I can’t wait to re-watch the director’s cut of “Nightbreed.”

Categories: Horror News

[Comic Book Review] “Dark Engine” #4 Intrigues and Confounds

Wed, 11/26/2014 - 13:06

“Dark Engine” #4 is the most foreshadowing issue yet.  It begins, as each issue does, with The Dragon’s journey towards the Gigahul he intends to pilot.  After a close call with a terrible flying beast, 2 things are revealed, one that The dragon is in a life-or-death time crunch, and two that he is heading directly for the Alchemist’s tower.  Meanwhile Sym is doing what Sym does, which turns out to be blindingly macabre at this point, and the alchemists are having some internal issues; the skull crushing kind.  “Dark Engine” is concludes its first arc and is a book every fantasy fan should be reading.

WRITTEN BY: Ryan Burton
ART BY: John Bivens
PUBLISHER: Image Comics
PRICE: $3.50
RELEASE: November 26, 2014

Reviewed By Eric Switzer

I feel like I am on top of the language of “Dark Engine”, and in only four issues I actually pretty impressed.  I read Prophet for years and never figured out what was going on.  I called it Dune-syndrome, and as I’ve said before, I was at first afraid this book suffered from it, but now I realize the slight learning curve has an incredible reward.

There are at least two more incredible reveals in this issue that I wouldn’t dare spoil because it gives this series such great depth and new energy.  I was at once shocked and embarrassed that I didn’t pick up on it before hand, but this isn’t a book you can make assumptions about.  To enjoy “Dark Engine” you really have to submit Burton and Bivens and enjoy the ride they are taking you on.  Not every twist and turn will blow your mind, but it is consistently weird and fantastic and disgusting and beautiful.  This is the action/horror/hard-sci-fi you’ve been waiting for.

I said about the last issue that it didn’t suffer from the crowded panels and incomprehensible action that the first two issues did, but a couple of times in this issue I paused to speculate what I was looking at.  It isn’t particularly uncommon, but it does always seem to take me out the action.

This is a spectacular finale to the first arc and one that intrigues as much as it confounds.  I highly recommend “Dark Engine”.  It takes a few issues to get a handle on the world, but once you figure it out, you won’t be ddisappointed

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



Categories: Horror News

[Comic Book Review] “POP” #4 Is Profound.

Wed, 11/26/2014 - 13:04

“POP” #4 concludes Curt Pires’ and Jason Copland’s critical examination of pop culture.  The series has had its narrative ups and downs, and has invoked more than it has actually said.  But in the end, as a whole, these guys have created a really solid story that is as visually spectacular as it is smart.  “POP” isn’t exactly what I thought it was going to be, but for such a high-concept mini series dealing with the kinds of themes its dealing with, I’m really impressed.  We need more stories like “POP”.

WRITTEN BY: Curt Pires

ART BY: Jason Copland


PRICE: $3.99

RELEASE: November 26, 2014

Reviewed By Eric Switzer

As a reviewer, I try to ascertain the intention of the creators before giving a qualitative assessment of their work.  I want to judge things for what they are, or what they are trying to be, rather than weigh them against the success of other creators or my own expectations of what something ought to be.  The “success” of a book critically lives and dies on one factor: did it accomplish what the creators set out to accomplish?  Did the themes, style, plot, characters, and everything else draw a straight line back to mission statement of the book.  “POP” has been one of the more difficult series for me to critique for reasons that I will get in to.  The answer to the question, did “POP” do what Pires and Copland set out to do, is emphatically yes.  The book is a successful piece of art, and one that I enjoyed thoroughly from beginning to end.

When a new series begins there are an infinite number of possible directions the book could take narratively and thematically.  After reading “POP” #1 and knowing a little bit about Curt and Jason, I expected “POP” to continue examining these themes, addressing cultural phenomenons, and ideally to hold a mirror up to the consumer.  A tall order for a 4-issue miniseries to be sure, and one that ended up being unrealistic.  Instead, Pires chose to focus on character and story over themes and social critique.  My “POP” would have been a different book, but as I said before, objective criticism is about judging art for what it is and not what you want it to be.  This has been difficult as I’ve examined “POP”.

That isn’t to say the themes are present, even pervasive at times.  It is clear that Pires and Copland are inviting us to reflect, but “POP” never really traverses beyond that initial question.  Instead the focus is on our fleeing protagonists, their would-be captors, and the men in charge that make it all happen.  It isn’t an entirely new kind of story, but it is in a sense that the themes sort of serve as a backdrop for the story.

“POP” is a book that encourages you to read deeper.  It almost appears to alternate from straight forward plotting to rich, thematic storytelling, and I really want to believe the message is there, deep within the page.  A lot of my theorizing revolves around the deus ex figure that saves the day and what he represents.  Perhaps it is like the big boss says on the last page, “There are no answers”.

Whether “POP” accomplishes everything it was capable of, or meets my own personal expectations is another issue, and one that is sort of irrelevant outside of this review.  But if nothing else I say resonates with you please pay attention to this: go buy “POP”, read “POP”, talk about “POP”, encourage art like “POP”, be part of this conversation.  I think this kind of media is really important.  “POP” may not be this generation’s “Fight Club”, but it inserts itself into a pretty profound issue.  It deserves your attention.

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


Categories: Horror News

[Comic Book Review] “Aliens: Fire and Stone” #3 Is Constantly Surprising

Wed, 11/26/2014 - 13:04

“Aliens: Fire and Stone” #3, the 10th release in the “Fire and Stone” series still manages to impress with shocking violence, new monster types, and strong character interaction.  This issue has the camp spitting up, half going to take on the aliens aboard their ship and the other half realizing that that is a nonsense idea and staying put.  Meanwhile, Russell has seemingly lost his damn mind as he discusses his revelations with a lifeless probe and makes a crazy map on the wall.  This book stands apart from the other “Fire and Stone” series in a number of ways, but it lacks nothing in comparison.  Halfway through, and I still wish it would never end.

WRITTEN BY: Chris Roberson

ART BY: Patric Reynolds

PRICE: $3.50

RELEASE: November 26, 2014

Reviewed by Eric Switzer

This issue is narratively different than issue 2: we don’t have the consistent monologue from the perspective of Russell over the action.  I praised issue #2 for the way his narration undermined the struggle to survive that the rest of the crew was going through, but this issue works just as well without it.  It would seem the reason is to remove us from Russell who is beginning to disassociate and generally show signs of craziness.  The emphasis put on the silent probe in certain frames is a clever and effective way to communicate Russell’s state of mind.  What he does next will certainly impact the rest of the “Fire and Stone” series

This is the certainly the climax of the series, things are happening as expected, but there are still some good surprises in this issue.  In fact that is something I like best about this event: it has never become predictable.  It would be understandable, given the genre and source material, but “Fire and Stone” is constantly surprising, which is part of the reason I have been so engaged with it.

I’m really starting to run out of things to say about the series, it is consistently well written, consistently clever, consistently well drawn, and has never lost the sense that it is building towards something truly awe-inspiring.  If you haven’t gotten on board yet, you may want to wait for the trades or read them digitally, but you won’t regret it if you are a fan.

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


Categories: Horror News

Anchor Bay Enters ‘The Atticus Institute’ In January

Wed, 11/26/2014 - 12:29

Anchor Bay Entertainment presents the new horror thriller The Atticus Institute, from producer of The Conjuring Peter Safran, available on DVD and Blu-ray January 20st, 2015.

Written and directed by Chris Sparling (writer of “Buried”) in his directorial debut, The Atticus Institute stars Rya Khilstedt (“Dexter”), William Mapother (“Lost”, The Grudge), Harry Groener (“Buffy The Vampire Slayer”), John Rubenstein (“Angel”) and Sharon Maughn (The Bank Job) and was executive produced by Dan Clifton.

Dr. Henry West founded The Atticus Institute in the early 1970s to test individuals expressing supernatural abilities – E.S.P., clairvoyance, psychokinesis, etc. Despite witnessing several noteworthy cases, nothing could have prepared Dr. West and his colleagues for Judith Winstead. She outperformed every subject they had ever studied – soon gaining the attention of the U.S. Department of Defense, who subsequently took control of the research facility. The more experiments they conducted on Judith, the clearer it became that her abilities were the manifestation of evil forces within her, prompting the government to take measures to weaponize this force. But they soon discovered there are powers that exist in this world that simply cannot be controlled. Now the details of the inexplicable events that occurred within The Atticus Institute are being made public after remaining classified for nearly forty years.

Special features include “The Making of The Atticus Institute” and deleted scenes.

Categories: Horror News