If you’ve seen Mad Max: Fury Road, you’ll know that one of the coolest characters of the film is “The Doof Warrior”, the guitarist that drives the troops of Immortan Joe forward with his metal chugs. He rides atop a truck built almost entirely of speakers, four war drummers pounding away behind him, his guitar shooting forth flames. It’s just one of those badass characters that shouldn’t make any sense but is perfectly rational, 100% normal in world that is built upon insanity.
Director George Miller spoke in an interview with Fandango and explained that there’s actually an origin story to this character:
One character who didn’t get his own comic was the Doof Warrior. I want to tell a story about him in a comic if there’s an opportunity. For me, it was all about how someone who is blind survives in this place. How does someone weak survive the apocalypse? He survived because he was blind – because he lived deep in an unlit mine, where it was an advantage to be blind.
So, deep in the mine, he would sit there and eat rodents and get the water from the sea bed — and he would also play his guitar where no one could hear it. One day Immortan Joe came past, and someone heard the music. Then he was called upon when [Joe] needed a bugler or the bagpipe — someone who helps call everyone to war.
A casting call went out this weekend for Warner Bros. and New Line Cinema’s The Conjuring 2, which is to be directed once again by James Wan.
The casting call is looking for new siblings to join returning stars Vera Farmiga and Patrick Wilson in the spook sequel that’s said to be inspired by the “Enfield Poltergeist,” which took place at a council house in Brimsdown village, borough of Enfield, England during the late 1970s. (You can read all about that here.)
Filming to to take place in Los Angeles, California and England.
AGE 11 · CAUCASIAN
She is a thoughtful and curious girl from Enfield, London. Working class. We are looking for an exceptional child with emotional intelligence for this role. London or standard British accent.
She must be able to handle dialogue and convey strong emotions.
AGE 8 · CAUCASIAN
Billy is the youngest of the Hodgson siblings and suffers from a stutter. He is cute and playful – the baby of the family. London or standard British accent.
He must be able to handle dialogue and convey strong emotions.
GREAT SUPPORTING ROLE
AGE 14 · CAUCASIAN
Margaret is the oldest Hodgson child. She is a sympathetic and supportive young woman. She is academic and mature. London or standard British accent.
She must be able to handle lots of dialogue and convey strong emotions.
GREAT SUPPORTING ROLE
AGE 10 · CAUCASIAN
He is quick witted and picks fights with his siblings. He is a good footballer – boyish. London or standard British accent.
He must be able to handle lots of dialogue and convey emotion.
GREAT SUPPORTING ROLE
The Conjuring 2 haunts theaters June 10, 2016.
Bethesda has released a very short teaser of gameplay footage from their upcoming horror-based FPS Doom 4, which seems to simply be titled Doom. There’s only about three seconds of footage but holy shit is it awesome! A double barrel shotgun gets loaded and then it shows a highly detailed revenant screaming against a backdrop of chaos. Count me in!
The company plans on unveiling a full gameplay reveal at their E3 showcase, which will take place on June 14th at 7pm PT.
‘The Shining’ Retrospective: Wendy’s Journey From Victim to Hero, Tony, and the Maze that Swallowed the Torrance Family Whole
It’s a beautiful sunny day as Jack Torrance drives down the road to the Overlook Hotel in Sidewinder, Colorado. Hugging the curves along the path through the mountains, Jack appears at peace, comfortable and hopeful, a harsh contrast to the dreadful brassy tones that fuel the scene with fear; a sense of inevitable doom from composer Hector Berlioz with his epic Symphonie Fantastique. A piece of music originally meant to illustrate a man’s self-destructive love for the woman he adores, the orchestra thrashes out a warning, for Jack, too, will soon face the repercussions of falling prey to the Overlook’s charms. Inside, Manager Stuart Ullman awaits Jack for an interview, cramped in a small pink room; signaling a new beginning for Jack, as he temporarily takes over as caretaker for the hotel for the next five months. To him, this feels like the opportunity of a lifetime, especially after he lost his job and nearly his family as well after a drunken incident involving his latest writing project, and his son Danny’s broken arm. But all of that is behind him now, because he finally has the solitude he’s been craving to get back into the writing grind. Little does he know, this hotel has been waiting for him for years, like a forgotten lover, and now that she has him in her grasp, she’s never letting go.
In a way, Jack has always been in charge of most of the concerns in his life. He has his wife Wendy pinned under his thumb; a stay-at-home mom who spends most of her time looking after Danny and abiding to Jack’s every whim and desire. Not only is he the father of their boy, but to Danny, Jack is the end-all be-all of parents. Despite Wendy’s more prominent love and affection, Danny can’t help but show some favoritism towards Jack, cementing Wendy’s belief that if she ever left her husband, her son would never forgive her. Up until recently, Jack was also a school teacher, but his drinking left an irreversible stain on his record, in addition to a frightened family in his home. However, the loss of control Jack felt when he was fired has been regained somewhat since he took on his new title as caretaker of the Overlook Hotel. Now, he has a second chance to finish his novel, prolong his sobriety, and prove to his family once and for all that he is a man that they can depend on, as they wait out the five months of winter together on the hotel’s frozen grounds. Of course, this is where it all goes horribly wrong.
To Jack, the night that he broke Danny’s arm is just another event that he’ll always be blamed for, but to Danny, it is the first appearance of Tony. Tony is Danny’s imaginary friend that lives inside of Danny’s mouth and shows him things. Sometimes, the pictures Tony reveals are a simple harmless glance into the future, or a peek inside someone’s brain, but sometimes, they’re much, much worse. Lately, with the news about the Overlook Hotel came more horrid images; depictions of hallways permeated with gallons of slushing sticky blood, and the corpses of young girls strewn about like lifeless rag dolls, cursed to remain the same adolescent age for all of eternity. A similar thread between author Stephen King’s Carrie and his novel The Shining exist, in which children put under tremendous amounts of severe discipline begin exhibiting unusual talents when they are truly pushed to the brink. Despite director Stanley Kubrick’s extreme deviation from the source material, this important detail remains intact, and stands as a strong commentary for the impact parents have on their kids. Like an origin story for a superhero, Jack’s night of violent aggression has forced Danny to spring forth a new power, but even he does not understand the sheer strength of his gift. To this little boy, Tony is just an imaginary friend like any other, when in actuality, it is “the shining”.
It’s not until Danny meets Dick Halloran, the Overlook cook, that he begins to comprehend the overwhelming amount of power that he stores within his tiny skull. Halloran can “shine” too, as he informs Danny through telepathic communication when the two share a conversation without speaking a word. Being able to shine does not indicate an ability to speak with the powers that be, but rather, it presents a more open and honest interpretation of the world. Every single thought that a person thinks is not written out like a billboard made easy for Danny and Halloran to read, but if they are feeling inordinately guilty or frustrated about something, these two will know it. They can sense it. They do not choose what is shown to them, but sit back and receive calls, from the living and the dead, like an operator who waits on standby; stuck as a middle man between worlds. Sometimes it’s an evil thought, sometimes it’s a vision of what’s to come, and sometimes it’s an openness to the sights and sounds of the ghoulish bodies that occupy the Overlook Hotel, but undoubtedly, it is a gift that will come in handy when Jack falls into a maniacal trance towards the end of this tragic tale. Of course, Jack can shine too. It’s not as touched upon by Kubrick as it is by King, since the director prefers to present ideas visually as opposed to audibly, but Jack, too, shares this gift, which may actually be the reason why he is able to see the ghosts that haunt the halls so clearly, and why he is such an easy victim for these spirits to prey on.
From the moment he enters the hotel with his family, Jack never again steps foot outside of its walls — engulfed by its aura from the very beginning, Jack is the hostage in this situation; the hotel, the captor, and his family is just along for the ride. Wendy and Danny take walks and chase each other outside; running and laughing with glee, but Jack is always within the confines of the walls, staring out at his wife and child through a window like a soulless stone; a man who became a ghost long before he takes his final breath. Though his expression remains dull and void, the mirror in his bedroom offers some insight into his warped brain, and acts as chapter markers in Jack’s state of sanity. In the beginning, we see Jack reflected in the mirror as a little on edge, but happy as he scarfs down the eggs and bacon Wendy has brought him. Halfway through the film, however, when Danny interrupts Jack’s nap to retrieve his fire engine from their room, we see Jack reflected as a zombie-like figure in the glass; holding his son emotionless as he tells him that he wishes they could stay at the Overlook “forever…and ever…and ever…”. By the end of the film, the biggest indication of Jack’s plunge into madness is when Danny writes “Redrum” on the mirror — the same mirror that has been signaling Jack’s slow decay as he transitions from human to vengeful ghost. Moments after Wendy looks into the mirror and sees “murder” reflected back at her, Jack barges into the room, ax in hand, eyes empty and hollow, lips grinning in triumph — the hotel has won.
But perhaps the loudest, most significant piece of symbolism in the film is the hedge maze; an item that shockingly does not even exist in King’s original text. The maze and the hotel are one in the same, with the maze representing the Overlook as Jack enters and quickly becomes lost in its dreamy white glow; a place where time is irrelevant and spins in fragmented loops like a skipping record. He may have been sober for five straight months, but the five months he spends as caretaker of this damned property inevitably due him in. It’s not long before he’s back on the bottle, losing himself metaphorically with “the white man’s burden” long before he literally is inadvertently trapped within the snow-caked shrubs outside. His brief bathroom encounter with Delbert Grady signals a turning point in his story, a momentary pause that might have allowed Jack to travel down a different path if had decided that his family did not need “correcting” as Delbert Grady’s did, or more recently, as Charles Grady’s did. But alas, Jack was always meant to be here, at this hotel, on this date, and here he will stay forever. There’s a party in the ball room now, and it might as well be to honor Jack’s long-awaited coming home.
Wendy is on a journey of her own, not into madness, but rather, to heroism. At the beginning of the film, she is a wounded animal, in denial, making up excuses for her husband who hurt their son, and always the first to admit fault and back down from a fight, so long as there is peace, or a quiet resemblance of it. She does her best to keep their marriage together, for Danny’s sake, for she knows what future lies ahead for broken boys who grow up without a father. In her mind, it’s better to stay with an abusive husband and an adequate father rather than no father at all. She is impish and afraid of confrontation, but when Jack becomes possessed by the seething hatred that echoes throughout the establishment, Wendy is forced to convert to a fiercer, more primal presence; a person that is capable of doing things that she cannot. Delbert Grady was right in assuming that Wendy had gotten the better of Jack, because it was her that threw a wrench into the gears of the mechanism that had claimed so many lives throughout the years; it was she that refused to become another cautionary tale for the next caretaker of the Overlook Hotel. Wendy, the complex female character with a traumatizing arc, is the only component in this repeating tale that has been any different from the previous loops, and for that, she not only becomes the hero of the story, but one of the only people to see the underbelly of the beast and live.
Jack, on the other hand, is devoured slowly, over time, engulfed in a frozen sarlacc pit where time ceases to exist and he is forced to carry out the same fate as the previous caretakers. Delbert Grady murdered his wife and two daughters in 1921, inciting a hostile presence that would forever float and claim any other that would come along and take on his position. In the tragedy of the winter of 1970, Charles Grady, a man who seemed perfectly normal at the time, watched over the hotel during the months when the specs of light from the windows poked out like sleepy eyes from the snow-covered Overlook. A few months into his tour of duty, he, too, murdered his wife and two daughters before swallowing a bullet himself. Just a few years later, the Torrance family set up their new home in the haunted hills of Sidewinder, Colorado, and endured the same treatment from the terminal guests during their stay. In his own way, the original Delbert Grady has been dueling out corrections and leading families through the tricky winding path of the Overlook Hotel ever since he checked in, back in the 1920s. Wendy and Danny might have escaped, but the impression that the hotel left on their lives signifies that no one ever truly escapes the Overlook without having a piece of themselves caught in the spirit’s jaws; forever sprung open, awaiting its next tasty morsel.
It’s amazing just how much of the internet passes us by, especially things that are perfect for the BD audience. Such is the case with The Hillywood Show‘s parody video of The Walking Dead, which is essentially a music video for Queen‘s “Another One Bites The Dust”, only packed to the brim with gore.
What’s great about this video is that the makeup and practical FX are damn good! They went and used real blood squibs, which makes everything look super juicy and, actually, quite beautiful when spraying violently everywhere.
Tom Six’s third Human Centipede is assembling its way to theaters and VOD this coming Friday.
Many are fans of the franchise, some watch it out of morbid curiosity, and others just wanna be part of the “club”.
Whatever the case, Six promises to up-the-ante with IFC’s Human Centipede Part 3 (Final Sequence) with a 500-person centipede assembled inside a prison.
During an interview with the BBC, he talks about everything from the film’s genesis to protestors, and even the film’s long-lasting legacy (he calls it the Texas Chainsaw Massacre of its generation).
Tom Six began his career directing Big Brother, the reality TV show, in the Netherlands but he always wanted to break into feature films. The idea that helped him do it, he says, came as he watched a news report about a paedophile.
“His crimes were so awful I asked myself, ‘What is the most extreme punishment that could be handed out to him?’. That’s how the ‘Human Centipede’ concept was born.”
“When I was casting the first film in New York, I explained the concept at the auditions and almost everyone walked away,” Six says. They thought the idea was just too disgusting. They’d say, ‘I didn’t go to acting school to be degraded in this way. You are a pervert!’ Eventually we found actors with faith in the concept and the result has made movie history.”
Six describes the ‘Human Centipede’ as “the ‘Texas Chainsaw Massacre’ of its generation”.
“These are the films that teenagers dare each other to watch. I think people will be talking about the concept in 100 years,” he says. “Once you’ve watched the films the myth nests in your mind. You can’t get rid of it. People will tell their children about the idea.”
I love Six, and his Human Centipede movies. He’s unapologetic and knows exactly what he’s doing – and the one thing he’s not doing (believe it or not) is trying to punish the audience. “These films have a lot of layers. They are dark comedies. They are horrible films, not horror films,” Six explains to those who don’t quite “get the joke”.
There’s a lot more great stuff over at BCC, which I urge you to read.
As for the final Human Centipede, I can’t wait until Friday to see what madness Six has assembled this time.
Gillian Anderson (pictured; “Hannibal,” “The X-Files,” “The Fall”), Kodi Smit-McPhee (The Road, Let Me In), and Tilda Cobham-Hervey (“The Kettering Incident”) have all been attached to star in Croak, directed by Academy Award® Nominee Sam Fell (ParaNorman, Flushed Away), Bloody Disgusting learned out of Cannes.
Written by Lucy Moore, “Croak tells an unlikely love story between world-weary 17-year-old Jenny (Cobham-Hervey) and mysterious, geeky Marcus (Smit-McPhee). While Jenny is a human drawn to the dark side of life, Marcus is a young grim reaper living somewhere between the land of the living and oblivion. After several missteps in the human world, the grim “Mistress” (Anderson) declares that one more mistake from Marcus will sentence him to a lifetime of oblivion. When Marcus commits the ultimate reaper sin, the determined young lovers give a whole new meaning to the phrase ‘Till Death Do Us Part’!”
Nicole Carmen-Davis, Rebekah Gilbertson and Philippa Campbell are producing the unique romantic comedy. Alison Thompson and Mark Gooder’s new company, Cornerstone Films will handle international sales beginning in Cannes.
“Croak abandons the traditional constructs of a romantic comedy and brings a much edgier tone to the world of young love,” says Cornerstone Films co-founders Alison Thompson and Mark Gooder. “Death, love and laughter are universal themes intertwined in this unconventional love story and we’re excited to introduce this project in Cannes.”
The film’s set will be brought to life by visual effects supervisor Adam McInnes (“Game of Thrones”), Academy Award winning costume designer Ngila Dickson; and Double Negative who are an Academy Award winning visual effects company.
Back in March we told you that IFC Midnight acquired U.S. rights to Pontypool director Bruce McDonald’s Hellions (read our review), which made its world premiere in the “Park City at Midnight” section of the 2015 Sundance Film Festival.
Just ahead of the Cannes market, Bloody Disgusting landed the international sales trailer that, you should be warned, is insanely SPOILER HEAVY. You can safely watch most of it, because the trailer is pretty dope, but don’t let yourself catch the final seconds or you’ll regret it. With that said, the promise of a new Halloween horror classic looks within our grasps, even if the reviews haven’t been all too promising. I absolutely loved what I saw. Seriously, watch the below footage and tell me you’re not excited?
“Hellions takes place on Halloween night in the town of Waterford, the so-called Pumpkin Capital of the World. Hidden among the trick-or-treaters, a group of masked demonic beings roam the town and come upon Dora, a teenager home alone for the night. Cut off from the outside world and under siege in her isolated home, Dora will need to defend both her body and soul from the relentless evil beings known as hellions.”
The film, with a screenplay by Pascal Trottier, stars Chloe Rose, Robert Patrick, Rossif Sutherland, Rachel Wilson, Peter DaCunha and Luke Bilyk. The film was produced by Frank Siracusa and Paul Lenart.
This is the third Sundance “Midnight” title acquired by IFC Midnight this year, coming on the heels of the company’s acquisition of Corin Hardy’s modern horror fable The Hallow (review) and JM Cravioto’s gritty revenge thriller Bound to Vengeance (review).
Nicolas Winding Refn’s supermodel horror The Neon Demon is heading to Cannes.
With production about to wrap in Los Angeles, we have your first look at Elle Fanning as ‘Jesse,’ an aspiring model who moves to Los Angeles in hopes of breaking through. Her youth and vitality are devoured by a group of beauty-obsessed women who will take any means necessary to get what she has.
Directed by Nicolas Winding Refn (Bronson, Valhalla Rising, Drive, Only God Forgives) with a screenplay co-written by NWR and Mary Laws, the film’s principal cast includes Elle Fanning (Maleficent), Jena Malone (The Hunger Games: Mockingjay Part 1), Karl Glusman (Stonewall), Bella Heathcote (Dark Shadows), Abbey Lee (Mad Max: Fury Road), Desmond Harrington (Dexter, Gossip Girl) Christina Hendricks (Drive), and Keanu Reeves (John Wick, The Matrix series).
Alessandro Nivola plays Nicolas, a fashion impresario who taps Elle Fanning as his muse.
Here’s a shot of Nicolas Winding Refn on the Neon Demon set, too.
Elijah Wood may have garnered fame with his role as Frodo Baggins, the brave little hobbit that we all know and love from Peter Jackson’s Lord of the Rings trilogy, but since then, he has become so much more than a stand alone performance. A connoisseur of his craft, Wood has taken on the role of producer in addition to his acting, and even gone as far as to create his own production company, called “SpectreVision”. SpectreVision has distributed many films already, including A Girl Walks Home Alone at Night, the brilliant vampire noir western 2014 sleeper hit from first time Iranian writer/director Ana Lily Amirpour. At the same time, his roles are only growing more impressive with each choice. Wood might have been a child actor, but playing the legendary character Frodo for so long made his appearances in more modest projects like Alexandre Aja’s high-art Maniac remake and the American adaptation of the TV show “Wilfred” all the more eye-catching. His career continues to rise with each new exciting project, many of which are looming nearby on the horizon. Below, you’ll find a preview of a few of this multi-talented filmmaker’s upcoming gigs, which will hopefully tide you over until you can feast your eyes on the flicks themselves. Now, let’s gather round and celebrate one of the busiest men in Hollywood.
One thing that is certain about FOX’s upgraded version Tobe Hooper and Steven Spielberg’s classic haunter Poltergeist is those who haven’t seen the original are in for some frights. We have yet another TV trailer, this one showing a handful of jump-scares, most that would be impressive had they not already appeared in the 1982 classic. Though, the new spot does deliver one insane WTF moment that we put on display above. Going into the movie with the mindset that this reboot is for a younger generation, I think there’s real promise. You guys?
In theaters May 22nd from Fox and MGM, Sam Rockwell, Rosemarie DeWitt, Saxon Sharbino and Jane Adams star in the modern take, with Jared Harris playing Carrigan, a larger than life TV personality who left the world of academia behind to become the star host of basic cable TV show “Haunted House Cleaners.”
Raimi reimagines and contemporizes the classic tale about a family whose suburban home is invaded by angry spirits. When the terrifying apparitions escalate their attacks and hold the youngest daughter captive, the family must come together to rescue her before she disappears forever.
A quarantine is now in effect.
Netflix has provided Bloody Disgusting with a bunch of stills and the trailer for “Between,” a new drama that looks like a cross between “Lord of the Flies” and “The Walking Dead.”
“‘Between’ is the story of a town under siege from a mysterious disease that has wiped out everybody except those 21 years old and under. The series explores the power vacuum that results when a government has quarantined a 10-mile diameter area and left the inhabitants to fend for themselves.”
An original survivalist thriller series, “Between” was created by award-winning writer/director Michael McGowan and stars Jennette McCurdy. The series is executive produced by McGowan, Don Carmody, David Cormican, and Naveen Prasad.
The six episode, one-hour drama will be available for streaming on Netflix on Thursday, May 21 at 8:30pm PT, followed by every Thursday at 8:30pm PT.