At least one person was harmed in the making of this promotional poster for the next Mortal Kombat game, which may feature the one-of-a-kind voice of actor Kiefer Sutherland. The poster comes from a post on Reddit, so it’s definitely not official (yet), but it certainly looks real enough.
Adding credibility to the possibility that the unveiling of a new Mortal Kombat game is in the very near future are a series of tweets from series creator Ed Boon, who has taken the poster’s logo and slogan and slapped it onto his Twitter profile.
After fans started hounding him about the game, he all-but gave up on the incessant teasing, saying “I don’t suppose there’s anything I can do to make you think we still MIGHT be announcing Injustice 2 in #five days is there…..?”
If you’re a fan of the series, I suggest you pay attention over the coming week. Check out the leaked poster below.
Newcomers to the comic scene Ryan Burton and John Bivens sat down with Bloody-Disgusting to talk about the inspiration for their new series from Image Comics They talk about what drives their character, their narrative, and their wish to eliminative the association between being and unstoppable force and being a man. Moreover they exchange excitement about monstrous beasts exploding and telling a massive story filled with mystery.
I’ve had a peek at what these dudes are up to, and it’s simply masterful. This is a book you don’t want to miss.
With ribsword in hand, with gore in her curling locks, Sym has been sent to the distant past to murder her creators’ enemies. But the twisted alchemists who made Sym do not know that the engine that powers her is sentient, that it is the seed of their destruction. By blood and by fury, Sym will carve out her destiny in this new ongoing series.
“DARK ENGINE” is about the evil things that lurk inside us all. Some drive us, some are alive and thinking. And Sym will learn just exactly what drives her, and why she was sent back in time to essentially murder anything standing.
Bloody-Disgusting: Right now only one teaser image exists for “Dark Engine.” How would you guys explain the series in your own words?
Ryan Burton: Essentially it is a woman who’s built to destroy her master’s enemies. She’s sent back in time powered with this alchemical engine that they don’t realize is sentient. They’ve unknowingly sent their own destruction to the past. It’s a book for those who like a lot of Lovecraft, Conan, or fans of that wonderful, weird, and beautiful thing from Brandon Graham and Image “Prophet.”
John Bivens: I’d call it a lovely romp through an alternate time line with tentacles and blood.
RB: It’s just John and I having a lot of fun with the comic and putting everything we can into this really intense storyline. This is a woman who goes back in time to kill everything. We see her in different time periods, which allows us to get a very interesting lens on her character.
BD: Would you say horror is one of the main genres of inspiration?
JB: In the monster sense and the brutal killings yes, but there’s no jump scares. It’s not that type of horror. Definitely it has the visceral feel of 80’s horror.
RB: John’s art is really quite fascinating for this kind of story. He’s got a really good hold on anatomy from the monstrous to the human. When we show what John can really do with monstrous actions by Sym and he gigantic ribsword against whatever beast she’s fighting.
JB: I work a day job as a butcher. I’m bringing it to the work in a way.
BD: You cited Lovecraft and Conan, which are strange bedfellows. Are you building on that mythos for yourselves?
RB: The truth of the matter is, there is nothing really comparable to our story. We’ve mentioned those influences, but really it’s just a savage individual facing off against these nightmarish beasts. I’m not a huge Lovecraft fan or of Robert E Howard’s work, but when you look at the source material of this unstoppable force that’s really how Sym is. Think of Kratos from God of War. Sym will get stabbed one hundred times over just to get closer to her kill. There’s a method to her madness.
BD: It seems you guys have a really big plan for the series as well. Was it pitched as a miniseries or as an ongoing?
RB: It was pitched as a miniseries, and heard back from Image. They basically said if you’re crazy enough to do an ongoing, why don’t we do that instead. It was pretty bananas. It was batshit insane for a couple of days. Really it just allows us to have a greater opportunity to tell a fuller story. I have no doubt that when people see John’s art they’re going to want a lot more.
JB: We did hear back from Image relatively quickly. I wasn’t even prepared for the incoming insanity. Suddenly it was an ongoing. The story was so large, so it was easy to see a whole ongoing thing.
RB: Since we’re new to the game we saw this as an opportunity to keep telling a story that we’d want to read. Something that was wicked metal and absolutely visceral, something you couldn’t wait to get to the store for. Something you had to read in your car and look like a weirdo.
BD: What did your original pitch look like? How much has the story expanded since the pitch?
JB: We had a five page pitch and the cover. Ryan handled all the rest.
RB: John’s being really kind. All I did was follow the Image submission guidelines. We gave them a succinct synopsis of the story. Tag along a couple sequential pages, which John knocked out of the park. Then just cross your fingers. We heard back relatively fast. We originally pitched as a four or five issue miniseries but the opportunity of doing an ongoing, changed things completely.
BD: The art is terribly intense. The color is fantastic. The amount of detail in the work is incredible. This must be quite the collaborative process, how do you two design all of the creatures and the world?
JB: The one thing that disappoints Ryan about my art, is I don’t do a lot of pre-sketching. I’ll do a quick doodle but I’ll expand it on the page. I don’t do involved character sketches. I’m sure Ryan wishes I would send him more little things.
RB: I think it’s legit the way you work. People are going to see John’s work coupled with the story and be totally into it. It’s almost sort of charming to be left in suspense. For example that purple beast on the first page, I gave a lot of detail about him. This was the first time John and I were working together. I wanted to get a feel for how things were going to pan out. How often were we going to talk? How often to we collaborate? As time has progressed we’ve worked out a nice shorthand. I love seeing what he comes up with.
JB: It’s fun sending somebody a fully realized thing. He get’s really excited. I love his reaction tweets and emails.
RB: There’s a dinosaur exploding on page four. It’s stuff like that. That’s just one of many animals that explodes. John sent me something that actually made me unable to sleep. I got this picture of one animal exploding and it was one of the sweetest little creatures on earth. I didn’t realize how horrible it was going to be on paper when I wrote it. Sym is a survivalist. She creates from those things she destroys. She’s a crazy savage. Those first five pages she is crafting from the dead bodies of her merciless force.
BD: The story gives me “Pretty Deadly” vibes. Is it a mystery as to what Sym’s doing and why she’s doing it?
JB: She’s trying to figure it out too. She’s kind of a tool with a personality. She’s self aware and trying to figure out her own purpose.
RB: She’s figuring it out as we’re figuring out. “Pretty Deadly” is an applicable comparison in certain spots of the story. She’s coming to terms with being a tool. Although we push certain scenes around, we’ll have entire issues devoted to finding an army of warriors who don’t really contribute to her quest. The story is constantly evolving like she is. How she looks now in this first issue is not how she’ll look in the second issue.
BD: What’s your favorite part of working on “Dark Engine?
JB: I’m given the ability to draw pretty much whatever I want within the panels so long as I don’t go off on a strange tangent.
RB: Making a comic is the funnest thing for me. I have no idea if this is going to be my first or my last. So the idea of being able to work day to day on a comicbook is just so fucking awesome. That’s the best part. The absolute cake is having an idea and seeing it realized by an artist like John. He supersedes my idea every single time.
JB: The story is so much fun. I do my dayjob, but the whole day I’m thinking about getting back home to draw. It’s extremely enjoyable.
BD: What’s the motivation for wanting to tell this story?
JB: Ryan put three stories in front of me. Of the pitches he sent me, this one would be the most fun to draw. I like things that are organic. This seemed like it would have the most funky and organic stuff going on within it.
RB: We wanted to be as metal as possible. There’s something very visceral about an unstoppable force sent to achieve a goal. The lead character is always male in these stories. I’m hard pressed to think of an unstoppable force as a woman. How rad would it have been if Beowulf was a women? The essence of the idea is exactly that. Have this awesome force of nature just not be a man.
Issue #1 of DARK ENGINE hits on July 16th.
I’ve spoke often and loudly about my undying love for System Shock 2. It’s one of the first horror games I ever played, and there are certain scenes that have managed stick with me even 15 years later. If you haven’t played the game, I’m going to go ahead and spoil the big reveal, seeing as it’s been available for some time now. If you’re still planning on picking it up, this is the point where you cover your ears.
Throughout the game you’re guided by the voice of who you think is the sole other survivor aboard a starship called the Von Braun. Everyone else is dead, so Dr. Janice Polito’s voice is essentially your only source of hope in an otherwise hopeless situation. So when you finally make your way through the horrors of the Von Braun, the malevolent AI known as SHODAN reveals herself in a rather spectacular way.
It’s an amazing, unforgettable moment.
So that’s the scene Polycount forums user Mr Smo is working on recreating in CryEngine 3. So far, the results are nothing short of amazing.
MPI/Dark Sky Films has announced Bobcat Goldthwait’s Willow Creek for release in theaters and demand on June 6.
EW has “discovered” the film’s first trailer and poster, the latter which is really striking.
Here’s the most insanely long synopsis ever written:
“Set in Humboldt County, California, ‘Willow Creek’ centers on Jim (Bryce Johnson, ‘Pretty Little Liars’) a Bigfoot believer whose idea of a romantic getaway is to head deep into Six Rivers National Forest in Northern California, video camera in tow, trying to shoot his own Bigfoot footage at the site of the Patterson-Gimlin film. That 1967 fragment of footage purporting to show Sasquatch striding along a dry riverbed became a key artifact in the cryptozoology community, and Jim dreams of nothing more than setting foot on the actual location where it was shot. His long-suffering girlfriend, Kelly (Alexie Gilmore, World’s Greatest Dad), agrees to tag along for the ride, despite the fact that she thinks Bigfoot has about as much chance of being real as leprechauns.
The two stop off first in Willow Creek, the Bigfoot capital of the world and home to an annual Bigfoot festival, where various locals talk to Jim’s camera, warning them to keep out of the woods, singing ballads about Bigfoot, and generally enjoying their 15 minutes in the spotlight while Jim and Kelly have a blast, cracking wise amidst all the touristy Bigfoot kitsch on display. But when they strap on packs and head into the forest via a two-hour drive down a dirt road, they start to feel like they might be in over their heads. Well, Kelly does, at least. Jim, as he approaches what he considers hallowed ground, is in heaven.
That night they’re awakened by mysterious sounds echoing through the woods, and whooping vocalizations that might be Bigfoot, but that might also be locals screwing with them. Either way, they’re not welcome here and so Jim and Kelly decide to get out come sun-up but, as they quickly discover, it might already be too late, and as the sun goes down for the second time and they find themselves retracing the steps of Roger Patterson and Bob Gimlin they discover the truth behind Bigfoot and the disturbing meaning of the term “forest bride.”
CineFix has done it again, and this time they’ve tackled one of my all-time favorites with their excellent 8-bit version of Donnie Darko. I actually just watched this film again about a week ago and it hasn’t lost any of its dark, brooding edge since its release back in 2001. If you haven’t seen it yet, I suggest you get on that, but only after you watch this.
Independent production company MonsterBuster Entertainment shared with Bloody the poster for its first feature film, Invasion of the Undead, an 80′s-style horror comedy in the vein of The Evil Dead and Big Trouble in Little China. It was designed by comic artist Brian Hardison (“Run by the Gun”) and was modeled after the painted artwork that graced movie theaters and VHS boxes in the eighties.
The micro film is said to feature sword fights, stop-motion monsters, practical creature effects and video game-inspired boss battles!
Partially funded through Indiegogo, “Invasion follows Allison, a young woman who gets more than she bargained for when she enlists the aid of two freelance paranormal exterminators to combat an undead infestation in her new home.”
Currently in post-production, the ambitious $17,000 indie film will receive a limited theatrical release in October 2014 with VOD and DVD/Blu Ray to follow.
About three weeks ago I did our first Remake vs. Remake segment in which I pitted Fright Night (2011) against Rob Zombie’s 2007 Halloween remake. In that piece I discovered that, while I’m pretty far from loving either of those movies, I didn’t hate the Fright Night update as much I remembered upon its release.
But if I’m going to keep doing these Remake vs. Remake brackets I can’t continuously mire in failures and mixed success. I’m going to have to be unfair in order to keep myself motivated. I need to remind myself that these kinds of enterprises can work on occasion. I need something that knocks it out of the park.
And Zack Snyder’s 2004 remake of Dawn of the Dead knocks the Fright Night remake out of the f*cking park. It might not have the same kind of social commentary as George Romero’s original 1978 classic and it will never match that film’s legacy, but the script by James Gunn is heads and tails better than what we’re normally served up when a studio decides to capitalize on its IP. It’s a complete story with real characters and a propulsive narrative that doesn’t shove them to the side.
Snyder does fantastic work here as well. While 300 has proved to be visionary in hindsight (it took me a few years to accept this) and The Watchmen for my money actually works, Dawn is most certainly the film of his that I revisit the most. It’s a complete experience (and the opening 10 minutes alone could get any director meetings for years). The cast is great as well. Sarah Polley, Ving Rhames, Ty Burrel and Michael Kelly (et al) might not pack the marquee names of Gillespie’s film, but they’re one of the more successful ensembles in modern horror history.
It may seem unfair to pit a rare example of the remake nailing it against the standard example of one flailing for thematic and narrative purchase, but sometimes life is cruel. Dawn of the Dead (2004) kills Fright Night (2011) and leaves it bleeding on the floor.
Any of you disagree?
Ever been ignored? If you’re a human in this story, that’s exactly how the invading horde treats the entire population. Don’t you just hate it when the world is invaded and said invaders don’t tell you why? How rude. Master storyteller Warren Ellis’ latest sci-fi tale is “Trees” #1. It’s straight-to-the-point and thrilling to read.
Reviewed by: Your Friendly Neighborhood Brady
Humanity. We think we’re so important to the universe. How utterly humbling and degrading it must be to be completely ignored in our first encounter with alien life on Earth. Genre-bending writer Warren Ellis gives us this engrossing new story about extraterrestrial invasion. Giant Trees have sprouted all over the globe. They have been no demands or any contact of any kind made from them. They do what they want to Earth and ignore us intelligent life forms. They have been here for ten years and show no signs of going anywhere. It’s a fascinating approach. I’m captivated after only one issue of what Ellis has planned for this tale.
The art by Jason Howard is just the right amount of coarseness for this story. I imagine the world would feel much more unsettling with these gigantic alien Trees everywhere. There’s a simplicity and grand amount of detail at the right moments in this chapter. The intersecting perspectives all feel like different parts of the world impeccably. New York, the city of SHU, and the arctic BLINDHAIL Station all look distinctively diverse. And they should since no two parts of the world look the same, especially after aliens move in.
This is a great first issue to what I’ve no doubt will be a great chronicle of how humanity makes our alien visitors notice us and leave. The perspectives are so unlike one another that I can only anticipate what gloriously profound things they will all discover. Trees #1 is as solid a start as you can ask for. Pick it up and pay attention.
“Sheltered” #9 ups the ante before delivering a thrilling conclusion to it second story arc. Full of shocking twists, the “Sheltered” series keeps readers riveted with its nail-biting suspense. I can’t wait to see “Sheltered” and its edgy characters on the big screen.
With bad luck on his side, Clifford discovers the bloody massacre that went on behind the closed gates of the Safe Haven compound. Lucas and his sadistic teen followers murdered their parents, hoping to save themselves from the volcanoes exploding and the upcoming apocalypse. If Clifford reaches civilization and communicates with the outside world, the police will raid upon the compound and arrest every teen for cold-blooded murder. Victoria though just wants to put a bullet in the head of Lucas, the cult leader who killed her father.
Wrier Ed Brisson puts readers in the minds of the troubled teens at Safe Haven. Nancy’s dialogue echoes disenchanted feelings from those who have been brainwashed by cult leaders.
Nancy saw herself as a nurse but her parents wanted a different path for her. This is teen rebellion heightened to the extreme. Nancy wants to believe she did the right thing, getting rid of her parents, even though she doesn’t see it as murder.
Clifford is the underdog everyone else has given up on and can only rely on himself. This unlucky loser will just about surprise you, even when all the odds are against him. I lost count at how many times Clifford has faced death and somehow managed to save himself at the last second. Every time he survives and makes it to the next issue, I end up rooting for this guy more and more.
Artist Johnnie Christmas knows how to deliver suspense, especially when there is no dialogue and the panel is just silent. Victoria and the others are so uncomfortable being in the same room together, they cannot look at each other. If you notice carefully, Lucas’ eyes are pointed at another direction, towards the windows. Lucas is still planning something, even though his arms and wrists are tied up.
Christmas’s illustrations of the teens getting killed are indeed shocking, but they are never aimed to be gratuitous. The drawings never depicts the teens as morally strait-laced; instead presents them as murderers at their core. Curt could’ve been simply portrayed as an annoying brat. Christmas adds details to his twisted facial expressions, showing him more as a psychotic nut job.
“Sheltered” #9 closes its second story arc with a promising open-ending. Readers will definitely have lots of wicked fun with “Sheltered.”
With Radius-TWC finally releasing Bong Joon-ho’s absolutely phenomenal Snowpiercer in theaters on June 27, they have now released the film’s official “theatrical” trailer that boasts even more insane post-apocalyptic footage. It looks like a live-action Manga, in my opinion.
It is rumored that U.S. audiences will be treated to the original cut, which had caused a rift between director in studio over the past year.
The film takes place, “In a future where a failed global-warming experiment kills off most life on the planet, a class system evolves aboard the Snowpiercer, a train that travels around the globe via a perpetual-motion engine.”
Chris Evans, Song Kang-ho, Tilda Swinton, Jamie Bell, John Hurt, Octavia Spencer, Alison Pill, Song Kang-ho, Ewen Bremner, and Kenny Doughty all star.
An impressive first installment, “Clive Barker’s Nightbreed” #1 delivers a surreal nightmare with exotic and monstrous creatures. Based on Clive Barker’s “Cabal” novella, this prequel comic explores the inhabitants that live in the subterranean city of Midian. Just like with the “Hellraiser” series, I think there’s potential here to tell new and original stories that could make “Nightbreed” a real winner.
Down in the bayou swamps of Louisiana, an innocent couple is being hunted down by a group of racist murderers. Lizzy continues to paddle through the murky waters, hoping to find salvation. She unfortunately bumps into the disfigured and violent stranger, known as Peloquin, hiding in the shadows. Will Peloquin be Lizzy’s saving grace from the real monsters chasing after her? While Peloquin decides whose side he is on, a politician steps into a secret brothel, where a mysterious girl will fulfill his every sexual desire.
Though I have memorized every single line of “Cabal,” and “Nightbreed: The Cabal Cut” is my all-time favorite movie, I am so glad Barker decided not to retell Aaron Boone’s story in comic book form. Barker keeps the essential themes, such as monsters seen as outcasts, in the narrative while co-writer Marc Andreyko gives larger roles to minor characters. Peloquin looks visually interesting and I really like how his back-story deals with racism.
What’s interesting about Andreyko writing is the juxtaposition between Peloquin’s quick-paced slasher subplot and Senator Emery’s slow trip to the brothel. I want to know more about Peloquin and the history of the location Emery stepped into. As a reader, I’m wondering how these two subplots will connect to each other in later installments. There’s enough mystery and intrigue to make me want to come back for more.
Artist Piotr Kowalski captures two distinct time periods, the 1850s and the 1940s, in his illustrations. Notice how different the wardrobes and settings are in Kowlaski’s drawings. Kowalski takes readers on a visual trip to the Louisiana swamps, then to the seedy and upscale Boston streets. I also noticed something weird about the working girls of the brothel. Kowalski draws the prostitutes with the same hairstyle and facial expressions, as if they are all supposed to be twins.
Kowalski stays true to Peloquin’s character design that was memorably created in the cult classic film. Though hideous-looking, Peloquin has scars and wounds as if he was persecuted, which harkens back to the racism theme. Just like in the movie, Peloquin’s hair looks more spiky, like a twisted form of dreadlocks. His dirty and rugged wardrobe suggests he may have been a prisoner and escaped from his cell.
Horror fans will definitely enjoy every bit of “Clive Barker’s Nightbreed” #1. After finishing the first promising first issue, the “Nightbreed” comic makes me want to reread Clive Barker’s novella and check up on “The Cabal Cut.”
Featuring genre favorites Sharlto Copley (District 9, Elysium) and Joseph Morgan (“The Originals,” “The Vampire Diaries”), the zombie apocalypse film that takes psycho thrillers in a new direction, Open Grave, awakens on Blu-ray and DVD July 15 from Cinedigm and Tribeca Film.
Directed by Gonzalo López-Gallego (Apollo 18), the film also stars Thomas Kretschmann (Wanted, Resident Evil: Apocalypse), Josie Ho (Contagion), Erin Richards (The Quiet Ones) and Max Wrottesley (“24: Live Another Day”).
“A complicated story that pits characters against each other, Open Grave examines how important memory is to a person’s identity by forcing six strangers—stripped of all recollection—to confront their inner demons. While these strangers seek to identify their past, evil demons lurk beneath them, forcing them to fight for survival, even if it means betraying their allies.
A man wakes up in a pit of dead bodies with no memory of who he is or how he got there. Fleeing the scene, he breaks into a nearby house and is met at gunpoint by a group of terrified strangers, all suffering from memory loss. Suspicion gives away to violence as the group starts to piece together clues about their identities, but when they uncover a threat that’s more vicious and hungry than each other, they are forced to figure out what brought them all together—before it’s too late.“
With shades of The Explorers comes Zsolt Bernáth’s Hungarian sci-fi thriller Aura.
You can tell this film is micro as it looks to take place all in one location – in a field. But, the concept is so interesting I can see it being engaging for a full hour and half.
In it, “Four kids wake up in their stranded car in an abandoned field only to find that the Sun did not rise. What’s more, they discover that a strange, 30 foot diamater, almost invisible, bionic “aura” is covering their surroundings. It reacts to their touches and soon mysterious things start to happen. There are much more than they would have ever hoped for.”
Szénási Bálint, Szénási Kristóf, and Kapócs Panka star.
For the sake of your sanity, pray it isn’t true!
Scream Factory brings you The Legend of Hell House (one of my personal favorite horror films) on Blu-ray on August 26!
Special features include a new interview with Director John Hough, a new audio commentary with actress Pamela Franklin, and the theatrical trailer.
“It sits here, shrouded in mist and mystery, a nesting place for living evil and terror from the dead. It’s Hell House. Roddy McDowall heads the cast of this exciting chiller about four psychic investigators and the dark, brooding mansion they call “the Mt. Everest of haunted houses.” It’s already destroyed one team of researchers. Now this brave quartet ventures in for another try at unraveling its secrets. But before they succeed, they must suffer through madness, murder and everything else that the spirits who dwell here have in store for them. Yet learning the truth just might drive them all insane.
An ingeniously devised ghost story, The Legend Of Hell House will thrill and delight veteran horror fans from the first creaking door to the very last slithering shadow.“
BAFTA award-winning composer Jason Graves – known to horror fans for his work on the Dead Space scores – has been announced as the composer for the upcoming supernatural detective thriller game Murdered: Soul Suspect, which will be released by Airtight Games and Square ENIX.
The game, which won 10 E3 awards, “…sees players take the role of Ronan O’Connor, a detective with a checkered past, whose life is brought to an untimely end by a brutal and relentless killer. Unable to move on and stuck in the limbo world of Dusk, he won’t find peace until he can bring his killer to justice from the afterlife. Using his new-found supernatural abilities, Ronan is free to explore the town of Salem, Massachusetts, from his shadowy afterlife. Unable to communicate with the detectives on his case, Ronan must read the minds of the living, influencing their thoughts and actions. As part of his investigation, he must interrogate the ghosts of Salem’s past citizens to piece together the puzzle, while battling demonic spirits to save his soul and uncover the shocking truth about who is responsible for his death..
Head on below to listen to some of Graves’ work.
HBO has finally revealed official plot details for their seventh and final season of “True Blood,” which returns June 22 at 9PM.
In episode #71: “Jesus Gonna Be Here” (airing Sunday, June 22; 9:00-10:00 p.m. ET/PT), “A band of rogue H-vamps crashes the vampire-human mixer at Bellefleur’s, with shocking results. As Sookie (Anna Paquin) seeks refuge from accusations that she’s somehow to blame for the chaos in Bon Temps, the “one vampire for every human” plan moves forward. In the face of a vigilante insurrection led by redneck Vince (Brett Rickaby), Bill (Stephen Moyer) receives aid from an unexpected source.”
It was written by Angela Robinson and directed by the one and only Bill Compton, Stephen Moyer.
In episode #72: “I Found You” (airing Sunday, June 29; 9:00-10:00 p.m.), “A trio of hostages taken in the Bellefleur’s attack looks to a familiar face as a possible liberator from the H-vamps. Sookie and Jason (Ryan Kwanten) visit the neighboring town of Saint Alice, where a young woman’s diary offers clues to the potential fate of Bon Temps. Spurned by Lafayette (Nelsan Ellis), a desperate Lettie Mae (Adina Porter) turns to Willa (Amelia Rose Blaire) to channel her family past. Vince whips his fellow vigilantes into a dangerous frenzy. Pam’s (Kristin Bauer van Straten) search for her maker leads her to a very familiar place.”
This was penned by Kate Barnow and directed by Howard Deutch.
In response to our rants yesterday about this insane Predator costume, readers sent us a link to the following video that trumps it – by a million.
I’m ready to trade fathers after seeing what Carsten Riewe assembled for his 13-month-old daughter.
Created for the Karneval Parade in Germany, what you see below is the little girl “driving” the Caterpillar P-5000 Powerloader from James Cameron’s 1986 Aliens.
The arms and legs are full moveable and the top-light and LED were powered by an 12 Volt battery pack stored in the backpack. The on/off switch is in the left arm. Also in the backpack a Bluetooth boombox is installed to play mechanical robot sound fx or music if preferred. It took 100 working hours to finish the costume and I built it for the “Karneval”-Parade in my hometown in Germany February 2014 . My 13 months old daughter enjoyed to be carried and moved in her harness safely.
It looks pretty safe until he walks the Powerloader into the street and a car flies by (now that’s suspense!).
The MPAA has been especially bad.
Anytime I hear about the MPAA censoring a poster it reminds me of how they forced Universal to remove a single sperm from the one-sheet of the 2004 Seed of Chucky (see it here).
Apparently, Eva Green is just too sexy for the poster of her upcoming sequel to Sin City, or so the MPAA believes. The actress is seen in a sheer robe in the poster for Dimension Films’ and Frank Miller’s Sin City: A Dame to Kill For.
Page Six shares the art and reports that the poster was disapproved by the MPAA “for nudity — curve of under breast and dark nipple/areola circle visible through sheer gown.”
Dimension declined to comment but it is believed execs are working on a compromise with the MPAA before the sequel opens August 22.
The Pact director Nicholas McCarthy’s newest supernatural horror, Home, world premiered at SXSW this past March where it was acquired by IFC Midnight.
Newly titled At the Devil’s Door, IFC Midnight will release the film pre-theatrically on VOD/digital on August 8 with theatrical release to follow on September 12, Bloody Disgusting learned exclusively.
“After IFC acquired the movie at South by Southwest they floated the idea that a more genre-direct title might help the movie reach its audience,” said McCarthy. “I agreed and came back at them with AT THE DEVIL’S DOOR. I love the title and think it captures what this movie is. I can’t wait to unleash it on to the world!“
In the supernatural horror starring Naya Rivera, Catalina Sandino Moreno, Ashley Rickards, Wyatt Russell and Ava Acres, when ambitious young real estate agent Leigh is asked to sell a house with a checkered past, she crosses paths with a disturbed girl whom she learns is the runaway daughter of the couple selling the property. When Leigh tries to intervene and help her, she becomes entangled with a supernatural force that soon pulls Leigh’s artist sister Vera into its web — and has sinister plans for both of them.
The film was produced and financed by Sonny Mallhi’s Candlewood entertainment.
Check out this clip!
We continue our teasing for Michael Moreci’s new sci-fi series today (see 1 & 2) with a rather mysterious looking gentlemen beckoning you to the unknown. No news on who the artist is, but this teaser looks to be the fine work of Colin Lorimer, who also worked with Moreci on “Curse”.