Prom Night is one of the many slashers released in the wake of Halloween’s success. And just like many of its ilk, Paul Lynch’s film barely grazes Carpenter’s greatness. Despite the presence of Halloween star Jamie Lee Curtis, Prom Night failed to make a splash on its initial release. It did, however, amass a strong cult following. The reasons for this reverence are explored on the special features of Synapse’s impressive looking Blu-ray package, which features a great retrospective (minus Curtis) and feature length commentary with Lynch and screenwriter William Gray. Fans of the film are going to want this on their shelves ASAP.
Like a lot of slashers, Prom Night kicks off with a with a tragic accident. During a startlingly hostile game of hide-and-seek in an abandoned hospital, a young girl named Robin is so badly taunted she falls from a window to her death. The kids ditch the scene and the murder is pinned on a local sex offender. Fast forward years later and Robin’s family is still heavily feeling their loss. Her sister Kim (Curtis) and brother Alex (Michael Tough) are getting ready to attend prom, but they can’t help think about how Robin is missing out. But hey, life goes on and there’s disco dancing to be done!
Yeah, Prom Night came out as disco was in its death throes, but its waning popularity didn’t stop the filmmakers from infusing it with annoying music and dance numbers. There’s even a Prom Night disco theme, which is actually kinda funny (they were sued over the music, which is discussed in the retrospective). The teen partying is cut short when a masked killer starts slaying all of the kids involved with Robin’s death. First he calls them and in a wicked creepy voice asks if they’re going to prom. Just like Laurie in Halloween thinking Lynda being choked out is a phone gag, the kids think these phone calls are just their friends goofing off.
There’s a lot of red herrings in Prom Night and none of them really work. There’s a jail break and a creepy school janitor that no one trusts. Seasoned viewers aren’t going to fall for any misdirection though. The killings don’t pick up until near the end, so the first two acts are essentially Kim and her friends getting ready for the prom. There’s also a petty revenge plot involving Kim’s friend Wendy (Anne-Marie Martin) and a sleaze ball named Lou (David Mucci). Their attempt at revenge against Wendy’s ex-boyfriend is a nice distraction from the heaping portions of ‘80s cheese going on before the murders.
For one of the second-tier slashers of the period, Prom Night isn’t too bad. It has some entertaining thrills and I like that the killer is actually made out to be sympathetic. Curtis is great and the rest of the young cast is fun as well. Many will be drawn in by the ‘80s nostalgia and if you find yourself in that camp, Synapse’s Blu-ray is a must-buy.
This is the first time Prom Night has been released on Blu-ray in the U.S. and the transfer is fantastic. It comes from a new 2K scan of the original 35mm negative and it shows. Dirt and other blemishes are nearly non-existent and details are sharp. It’s a truly impressive transfer from start to finish. Bravo, Synapse. The 5.1 remix is also terrific and offers an immersive presentation. I hope you like disco!
The special features nicely round out a great package. “The Horrors of Hamilton High” is a 40 minute retrospective featuring nearly the entire cast (minus Curtis) as well as Lynch, and the producers. They obviously look back fondly on this film and Leslie Nielson’s pocket fart machine.
The feature commentary with Lynch and Gray is a lively one detailing the filmmaking. Not much of the information is rehashed in the retrospective, so if you really, really dig the movie, then check out the commentary.
The bonus scenes added for TV broadcast are introduced by the editor. These are basically more character moment with Curtis, Nielsen and others.
There’s also 20 minutes of outtakes, trailers, TV and radio spots, and a motion still gallery.
With the upcoming October 21st release of .5: The Gray Chapter, the excitement level for Slipknot fans is at a near sky high level. Due to several factors, such as the passing of bassist Paul Gray and the departure of drummer Joey Jordison, the album has taken over six years to reach audiences, the longest stretch between releases. But that wait is nearly over!
In celebration of this, we’re going back 15 years (yeah, it’s been that long) to the band’s self-titled album and their first major single, “Spit It Out”. The video, which was directed by Thomas Mignone (Megadeth, Mudvayne), is a direct homage to 1980′s The Shining, with each band member portraying a different character from the film.
As always, leave a suggestion in the comments with your TMVOTW!
I was disappointed with both Focus Features and LAIKA’s ParaNorman and Coraline, although I am hearing wonderful things about their latest stop-motion animated 3-D extravaganza, the “Jungle Book” and “Frankenstein”-esque The Boxtrolls
In this new featurette, learn how The Boxtrolls found their unique language in “Trolls off the Tongue”.
We also have the first clip in which we meet Winnie, who asks for the trolls’ treasures. The result is a cute little montage.
Directed by Anthony Staachi and Graham Annable, the pic opens in theaters September 25.
“A family event movie that introduces audiences to a new breed of family – The Boxtrolls, a community of quirky, mischievous creatures who have lovingly raised an orphaned human boy named Eggs (voiced by Isaac Hempstead-Wright) in the amazing cavernous home they’ve built beneath the streets of Cheesebridge. When the town’s villain, Archibald Snatcher (Academy Award winner Ben Kingsley), comes up with a plot to get rid of the Boxtrolls, Eggs decides to venture above ground, “into the light,” where he meets and teams up with fabulously feisty Winnie (Elle Fanning). Together, they devise a daring plan to save Eggs’ family.“
The voice cast includes Ben Kingsley, Isaac Hempstead-Wright, Elle Fanning, Jared Harris, Toni Collette, Simon Pegg, Nick Frost, Richard Ayoade, and Tracy Morgan.
Halloween maze fun turns into slasher horror?
The super fun and unique The Houses October Built is getting a limited theatrical run through Image and RLJ Entertainment October 10, and it may just be the perfect Halloween-time indie to seek out.
You’ll get a taste of the insanity in the first trailer. We’ve also shared the newest one-sheet.
“Beneath the fake blood and cheap masks of countless haunted house attractions across the country, there are whispers of truly terrifying alternatives. Looking to find an authentic, blood-curdling good fright for Halloween, five friends set off on a road trip in an RV to track down these underground Haunts. Just when their search seems to reach a dead end, strange and disturbing things start happening and it becomes clear that the Haunt has come to them…“
Bobby Roe directs this new spin on found-footage that stars Brandy Schaefer, Zack Andrews, Bobby Roe, Mikey Roe and Jeff Larson.
LA’s dark side has long been a fascination for filmmakers. Artists such as Michael Mann (Collateral) and David Lynch (Lost Highway) have used the City of Angeles as a predominant character on more than one occasion. Most recently it played the central role in David Cronenberg’s seedy and often shocking Hollywood satire Map to the Stars. In Writer/Director Dan Gilroy’s directorial debut, the hypnotic Nightcrawler, the film’s central character is very much embedded within the environment.
Leo Bloom (Jake Gyllenhaal) is a driven young man trying to get ahead in life in any manner that he can. The audience is introduced to him as a petty thief. He soon stumbles upon the nocturnal underbelly of freelance crime journalism, a field Bloom soon realizes he has a real knack for. Gilroy does an impeccable job of establishing this grimy world where amoral ethics is a prerequisite. This neo-noir take of LA is expertly captured by Gilroy’s top notch team including Cinematographer Robert Elswit (There Will Be Blood and The Town). Like vampires, the “nightcrawlers” seemingly only come out at night to hunt for their next paycheck. The character of Leo Bloom is one of the most fascinating and chilling characters to come around. His unrelenting and abrasive personality is both admirable and genuinely discomforting. We don’t get any real insight into his past. Bloom could very well be a byproduct of the times where it’s becoming increasingly tougher to survive and make ends meet. His survival instincts and single-minded focus to obtain the American Dream at all costs has blinded him completely. The socially-awkward, alien-like Bloom is devoid of anything resembling a moral compass.
Jake Gyllenhaal, one of our finest actors, has an endless stream of memorable performances. His portrayal of Leo Bloom is without a doubt his finest to date. You haven’t seen Gyllenhaal quite like this before. He’s particular great at conveying the artificial perception of affability, the mask Bloom must wear whenever he encounters others. The end totally justifies the means to this guy and he’ll do whatever it takes to reach his goals regardless of the wreckage he leaves behind. Superficiality has never felt so unnerving. Gyllenhaal’s complete commitment to the part is nothing short of remarkable. His emotive eyes draw you in as often as they make you repulsed. This performance sets a new standard in creepiness. His supporting cast is just as memorable. Rene Russo is at her finest as television producer Nina. Her character is similarly unredeemable. Bill Paxton is top of his game as Joe Loder, Bloom’s veteran competition. He’s obviously having a blast playing such a slimy yet comfortable in his own skin type of character. Riz Ahmed gives a poignant, career-making performance as Rick, Bloom’s assistant, the only one who has anything resembling a moral compass. It’s difficult to witness the character’s reluctant tolerance of such inhumanity; all for a lousy thirty bucks a day to make ends barely meet.
Nightcrawler, in particular Gyllenhaal crawls right under your skin and stays there long after it’s over. LA has often been portrayed as a sinister place, waiting to swallow up yet another soul. Here is no exception. Leo Bloom is another shadow within the city you don’t want to waltz into at night. I would be extremely dumbfounded if Gyllenhaal wasn’t up for a plethora of nominations during awards season. He’s that good. Gilroy’s confident first at bat as director deserves as much attention as well. Nightcrawler’s vampiresque-like mood places an intoxicating spell on whoever dares to enter. This is not only one of the best films of 2014 but one of the most haunting character studies ever.
Well, this is it. The last day of BD’s Resident Evil Week, where we’ve brought you a ton of content, editorials, contests, and opinions on one of gamings most terrifying franchises. It’s been a blast for all of us and we hope that you have enjoyed yourselves!
That being said, I’ve still got an article up my sleeve for all of you. Today, I’m tackling the stylistic differences and tonal shifts from the first three Resident Evil games and 2005′s Resident Evil 4, which went from a more orchestral approach to a sinister, almost alien sounding score.
Read on for more!
The original game was released in March of 1996, a mere 15 months after the Playstation 1 console itself came out. We all remember the clunky controls and the questionable graphics (which were admittedly pretty amazing at the time), both of which were a representation of the console’s limitations. After all, there’s only so far you can push a 32-bit system that plays CDs, which don’t exactly have the most storage space on them.
Also, it is my belief that the short time in between the release of the console and the release of the first game contributed to a certain sound and musical style, namely that it still had a lot in similar with the music and stylings of the still relevant 16-bit era. While the music used better, deeper, richer samples, there were still very heavy nods to the days of the SNES and Sega Genesis.
Composers Makoto Tomozawa, Koichi Hiroki, and Masami Ueda were able to craft some very unsettling music, much of it I believe to be inspired by Bernard Herrmann. The main focus of Resident Evil 1 was on organic, string-based music, reflecting the warm interior of the Spencer Mansion and even to some extent the laboratory underneath.
The music in Resident Evil 1 was focused very much on how organic the game was. If you think about it, the game was very…meaty. Zombie people, zombie dogs, zombie crows, zombie plants (yup), zombie insects, zombie reptiles, etc… Even Tyrant was a human that was experimented on beyond what should ever happen. What they all shared was that they were of the flesh, which influenced the music and gave it that warm string-based style, which felt more comforting and “human”.
Another trend within the soundtrack was an overall grandiose flair, a bombastic approach, especially when it came to action sequences. The more intense the scene, such as a boss fight, the more intense the score, with large attacks and grand orchestrations.
This musical style continued through Resident Evil 2 and Resident Evil 3, where the music was predominantly string-based, still sharing that 16-bit mentality (although it became less of an influence as each sequel was released) and overall bombastic tone.
Resident Evil 2 had some moments of 50′s and 60′s sci-fi/horror cinema, a slight air of cheesiness and B-quality hovering over it. Still, it also had some truly memorable cues, such as the Police Station theme, which still haunts my dreams.
Also, while the Spencer Mansion was primarily wooden and carpeted, and therefore warm, a great deal of Resident Evil 2 took place in city streets or buildings that used a great deal of stone. That’s why the music oftentimes felt very cold, piano melodies reverberating and echoing through rigid, unyielding hallways.
Resident Evil 3 was a bit more militaristic, as evidenced by the story of the game. There was more of an emphasis on marching percussive elements as well as a healthy mix of the the cold pianos and warm strings from the previous entries.
The third game also began using sound design more heavily as music, something that Resident Evil 4 would take to a whole new level.
It would be unfair of me to not mention that Resident Evil 4 came out on the Gamecube, which had higher technical capabilities than the Playstation. Also, the physical format of the Gamecube, the mini discs, held nearly double the amount of info that a Playstation CD could hold, which allowed for richer sounds and more complex instrumentations.
Whereas Resident Evil 1, 2, and 3 took place in overall familiar territories – houses, buildings, streets, which could be in any city or town – Resident Evil 4 took us away from those and instead placed us in a location that was unsettling due to its unfamiliarity. We went from our “home” and traveled to somewhere foreign and mysterious, with locations that we don’t experience on a daily basis. Everything felt alien and outdated, creating a strong sense of unease. This was a strange land and we were never meant, nor allowed, to feel safe.
The strings and organic instrumentation from previous entries more often than not took a back seat to the more foreign, almost tribal sounds that pervaded. And while Resident Evil 3 began to use sound design as part of the music more than the previous two, it was this game that really embraced this concept.
From strange howlings to unsettling ambience, this game definitely took a page from Akira Yamaoka and Silent Hill, creating backdrops that were did not stand out but rather created dread without the player realizing it. It’s like when watching a really suspenseful scene in a horror movie and you don’t realize that there’s eerie music in the background, amplifying the tension to unbearable amounts.
Another reason for this change in style was that the creatures felt more alien and outlandish. Gone were zombies, replaced by the Ganados, who were infected by Las Plagas. These enemies, while resembling humans, never shared that humanity that zombies seem to have. This allowed the music to detach itself from organic methods, showcasing their lack of organic humanity.
While each composer has offered something special to the series, creating music that has stayed with us for years, the stylistic differences are something that should be noted and ascribed to how the game itself evolved over time. From the story to the technology of the system itself, the music has always been a reflection of what was presented.
We’re continuing to rollout exclusives for Warner Bros. Home Entertainment’s Disaster L.A.: The Last Zombie Apocalypse Begins Here, this time with the above image displaying a survivor clinging on for dear life.
Independent filmmaker Turner Clay’s newest sci-fi zombie thriller arrives September 16 Direct-to-Video Blu-ray and DVD release, plus Digital Download.
Clay wrote, directed and produced (with John Will Clay) Disaster L.A.: The Last Zombie Apocalypse Begins Here which “tells the story of a group of friends desperately trying to escape the toxic smoke that is the deadly result of a meteor shower strike in the middle of Los Angeles. In its wake, neither friends nor strangers are safe from each other. The only hope for survival is to try to reach the coast before it’s too late.”
Justin Ray and Jerod Meagher star and Stephanie Estes, Ron Hanks, Michael Taber, Dennis Leech, Ali Williams, Morgan Jackson and Kendall Mayhew are featured.
The newest assortment of Universal Monsters action figures is out now at Toys”R”Us and is coming soon to comic shops and specialty stores, as well as an all-new figure of the greatest monster hunter of all time, reports Figures, who also shares some new pack shots.
Currently at Toys “R” Us are two brand-new 7-inch-scale action figures: Frankenstein’s Monster as he appears in Son of Frankenstein, and a super-poseable version of the Creature from the Black Lagoon. Both feature entirely new sculpts by Jean St. Jean, and both come packaged on a blister card with a small display base. Additionally, the Monster comes with the prosthetic arm of Inspector Krogh.
As a bonus, hanging alongside the Creature and Monster is Diamond Select Toys’ original take on the famous monster hunter, Van Helsing! Also sculpted by St. Jean, Van Helsing stands around 7 inches tall, and comes armed with an axe, a sword, a crossbow and a rifle, all of which can be carried on his back.
If you don’t have a Toys”R”Us near you, adds the site, all three figures are also coming to your local comic shop in Deluxe Select versions. On September 17th, the Universal Monsters Select editions of the Monster and Creature arrive, and each comes with a larger diorama base. The Monster’s base replicates the laboratory wreckage from the end of the film, and the Creature comes with an undersea rock formation, complete with tropical fish and a human skull.
The Select version of Van Helsing includes a cemetery base, featuring two headstones and a female vampire rising from the grave. All three Select figures come packaged in larger, display-ready Select packaging, which has spine artwork for easy shelf reference.
After Capcom’s debut Resident Evil game scored its first wave of notoriety in the late ’90s thanks to a controversial depiction of graphic violence – earning it one of the industry’s first “M for Mature” ratings – gamers with a taste for the splattery living dead epics of George Romero (and their Italian clones) lined up in droves, as the game finally offered a chance to play a virtual starring role in a real-time interactive zombie flick. RE‘s subsequent sequels, along with the expected advances in imaging and animation, also upped the gore quotient, offering a more inventive variety of super-moist kills.
Not only was gameplay bloodier than ever, but the video cut-scenes which tied it together became increasingly cinematic in scope. Naturally, a transition to the big screen was inevitable, and while Romero himself was attached to the project at an early stage, it was ultimately Paul W. S. Anderson who fused his previous experience in staging video game action sequences (Mortal Kombat) and gothic sci-fi horror set-pieces (Event Horizon) for the first Resident Evil feature film in 2002.
That one scored some sweet box-office coin, and before long a steady stream of hit-and-miss sequels followed, with production budgets and effects sequences stepping up with each installment. Since part of the game’s mass appeal is the visceral thrill of gunning down zombies and other boss beasts in massive quantities, the filmmakers pivoted the sequels’ (admittedly flimsy) plots around scenes of maximum carnage, inventing some visually memorable kills of their own.
Even for non-gamers, some of these sequences do manage to capture the same excitement of the RE gaming experience – and it doesn’t hurt that the films’ heroine Alice, played by the lithe and lovely Milla Jovovich, is not only easy on the eyes, but has since joined the ranks of horror cinema’s all-time badass monster hunters.
Since the body counts in these films are nearly impossible to tabulate (especially when it comes to zombies), I narrowed my list down to those scenes which depict the most fist-pumping, heart-stopping and gut-wrenching kills from the RE films. If you have a favorite death scene not listed here, be sure to add it in the comments!
[P.S. Spoilers ahead. Like, ALL the spoilers.]
This October just got a wee bit more exciting, now that the 2D survival horror game Silence of the Sleep has finally been given an official release date. The game will hit PC on Oct 1, a week before Alien: Isolation and two weeks before The Evil Within in what’s gradually becoming an immensely exciting month for horror fans.
I was given a substantial chunk of the game in April, and over the course of my 2-3 hour playthrough I found a lot to love about it. Its unnerving atmosphere, eerie monsters and clever puzzles remind me of a 2D Silent Hill.
Written by Vikki Blake, @_vixx
Get ready, because we’re about to take a long hard look at the constitute parts of Resident Evil and Silent Hill to decide which infamous series is the definitive champion of survival horror shenanigans.
Round One: Storyline
To be fair, both series have offered a surprisingly rich array of tantalising tales over the years. Resident Evil’s various storylines pack man-made horror into narratives just believable enough to be a teeny bit concerning, whereas Silent Hill has adopted an altogether more otherworld-y tone, complete with alternate dimensions, demons, human sacrifice and satanic cults.
Do we love Silent Hill’s lore? You bet we do. It’s dark, deep and undeniably effective. But in terms of B-movie horror couched in everyday Americana? Oh, it’s a close one, but this time, the shenanigans of the Umbrella Corporation get our vote.
11 years ago today Eli Roth became a household name, especially with the theatrical release of his 2002 festival hit Cabin Fever.
I remember us horror fans clamoring for a glimpse at the film described as “a modern Evil Dead.”
The splatterfest followed a group of five college graduates whom rent a cabin in the woods and begin to fall victim to a horrifying flesh-eating virus, which attracts the unwanted attention of the homicidal locals. Jordan Ladd, Rider Strong, James DeBello and Cerina Vincent starred.
Cabin Fever originally premiered at the Toronto International Film Festival where Lionsgate quickly nabbed for distribution. It spawned two sequels, thus far, and a forthcoming remake.
It grossed an impressive $33,553,394 at the box office worldwide.
Roth has since gone on to direct two Hostel films, The Green Inferno and episodes of Netflix’s “Hemlock Grove.”
During the recent Image Expo, an all-new horror/sci-fi series was announced from writer Becky Cloonan (‘Batman‘) and artist Andy Belanger (‘Kill Shakespeare‘). Take a terrifying trip into a dimension of terror in ‘Southern Cross.’
An Interview by Jorge Solis
In the vastness of space, Alex Braith is determined to solve the mystery of sister’s death. Her investigation leads her to a dark and terrible secret that was never meant to be unearthed. Cloonan and Belanger spoke to me about their upcoming title, the look and design of the comic, and why readers will be frightened by this twisted space mission.
Bloody-Disgusting: How did the premise come about?
Becky Cloonan: It’s funny because Andy has been talking about working on a sci-fi project for a very long time. I stepped into it like, “All right! I’ll write one for you!” [Laughs]
Andy Belanger: Yeah that’s pretty much how it went. I’m a horror movie fan. I love horror, science fiction movies, like ‘Alien’ and ‘Event Horizon;’ stuff like that. I’ve been dying to work on something like that. I’ve been working on ‘Kill Shakespeare’ for years now, doing sword and medieval stuff for the last bunch of years. I really wanted to do anything that was in space, preferably something that had to do with horror. In many comics, that sort of storytelling is perfect.
BD: How did Image Comics become involved?
BC: I had an idea for a short mystery, but when Andy was talking about working on a sci-fi together, I kept going back to that idea. It kept building and building, and soon we had enough material for an ongoing series. Image Comics seemed like the right time, the right publisher, so
I sent an email to Eric Stephenson like, “Andy and I have this idea…” He said, “Let’s do it!” No hesitation. I’ve been dying to work with Image for years so this is really cool.
AB: Yeah, I think a lot of stuff that’s happening with Image right now is the place to be and they’re just doing really cool stuff. Half of the comic book store is pretty much all Image now. I think even our friends that work at Marvel and DC are all starting books at Image. The cool thing is that we own it too, which t makes it even more special.
BD: Tell me about the plot, which we at Bloody-Disgusting have called, ‘The Shining In Space.’
BC: That’s a pretty fun way of describing it. The story starts off quietly. We follow Alex Braith, a passenger on board the Southern Cross tanker bound for Saturn’s refinery moon Titan. Her sister Amber was working for Zemi, an oil company that owns the rigs up there, when she suddenly passed away. Alex is making this trip to recover her sister’s remains and belongings, but as the days go on, she starts unraveling the mystery surrounding her sister’s mysterious death, and taps into a horror much bigger than she ever imagined. What starts off as an Agatha Christie in space turns weird fiction by the end. A little Lovecraft, a little F. Marion Crawford… but at its core ‘Southern Cross’ is very much a mystery.
BD: Tell me about the cover that also came out with the announcement.
BC: The clothes are actually Andy’s design work. I was just going off with what he designed for the characters. He had ideas for costumes. He is making this story feel like a well-realized world.
AB: As far as the fashion stuff goes, the problem that I find when you do science fiction is, especially with comic book artists, most of our influences come from movies and animation. A lot of that stuff I’m looking at is more from fashion designers and melding that with analog/junkie tech. Everyone else has a look but you’ve seen it before. We’ve all seen ‘Blade Runner,’ ‘Star Wars,’ and ‘Star Trek.’ I wanted something where it was cool to be different. ‘Southern Cross’ definitely has its own look now that it is pretty unique. Our main character has some cool duds.
BD: In the overall design, the sci-fi is not extreme and more urban. Tell me about this.
AB: Urban is a good word to use for what we are doing. It’s perfect word to describe it. We definitely aiming for stuff you’ve never seen before.
BC: The first story arc is set aboard this ship, and so we focus on the people who work on the oil rig of Titan. The look, the feel of the ship, the clothing, and the design, it all leads to a bigger tapestry that we’re weaving.
AB: I have some crazy ship designs already finished. I’ve designed a bunch of characters. As far as getting into the story, all of the other work I’ve done has been work-for-hire. I’m going to get obsessed with the design for sure. I’m actually really excited about that!
BD: Because you are both artists, do you feel you can communicate with each other better.
BC: I’ve been writing Andy full scripts. Usually I try to make a few notes, but I also trust him. Andy is an incredibly proficient storyteller and artist. I mean, when I’m writing a script, of course I have an idea how the page should be laid out and I’ll make a note of that, but if Andy has a better idea, I am down for it! Plus, his comics have way more sense of humor than mine do, and I’m trying to play to that. Being so familiar with his storytelling, the beats he uses, I can make this script better for Andy. Plus like, I know I can write crazy things and not have to draw them! [Laughs]
AB: You’re like, “I don’t want to draw this space hanger.” And I’m like, “Space hanger!!”
BC: Andy is going to knock it out of the park. And he’s one of the hardest workers in comics today. It’s been a lot of fun!
AB: It’s going to be cool! Expect a lot of creepy hallways!
BD: What can you tease about the first issues?
BC: The first six issues as its own story arc. We’ll be establishing these characters, setting the mood, and getting to know the ship. There is a few creepy moments in the first issue as well, that I am psyched to build on in the next few.
AB: A lot of times in science fiction, we think the same thing. When is the alien going to show up? When is the psychopath guy going to show up? We’re really going to do stuff that you haven’t seen before. We don’t want to say too much. We want it to be a surprise!
BC: I will say this too, there is a level of actual science happening. That’s actually fun to work with, even if I end up embellishing on a lot of these theories. I fell into a pit of science research.
AB: I’m looking forward to how creepy this is going to be. It’s going to be neat!
BC: The main goal is to make a book that will slowly get under your skin. And hopefully, by the end, you’re going to want to flip back and read it over again.
What other projects are you working on now?
AB: For me, I’m finishing up on the last issue of’ Kill Shakespeare.’ The next couple of years are going to be straight-up ‘Southern Cross.’ I have smaller projects and another big project that I’m developing, but all of that stuff is on the super back-burner, while I’m working on this book for Image.
BC: I’m co-writing ‘Gotham Academy’ with Brendan Fletcher. Karl Kerschl is doing the art for that, it comes out in October from DC comics, which is exciting. Besides doing some cover work, I’m also working on a graphic novel that is unannounced. I can’t say too much more than that!
“Clive Barker’s Hellraiser: Bestiary” is a provocative collection of short stories set in his most infamous universe. The book had the potential to be run of the mill, but issue #1 proved it was anything but, by pushing the mythology of the series into new and interesting territories, while featuring a story where the tables are tuned on Pinhead. I was in love with the debut, and now I’m thrilled to offer this exclusive look at issue #2.
CLIVE BARKER’S HELLRAISER: BESTIARY #2
Authors: Christopher Taylor, Ben Meares, and Mark Miller
Artists: Jason Shawn Alexander, Amancay Nahuelpan, and Carlos Magno
Cover Artists: A: Conor Nolan B: Jason Shawn Alexander
The journey into the Bestiary continues! In this issue, Christopher Taylor and Jason Shawn Alexander tell a tale of a blues singer who possesses a very unique guitar, while in the second part of “The Hunted,” we learn just who hired the mercenaries tasked with stealing Pinhead’s pins.
One of the most talked about films ever out of the Midnight Madness portion of the Toronto International Film Festival is Kevin Smith’s Human Centipede-esque Tusk (read our review), about a man (Justin Long) who is surgically turned into a walrus by a mysterious seafarer (Michael Parks).
In theaters September 19, A24 shared with us an exclusive alternate one-sheet that’s both artistic and creepy. It shows Long’s shadow as a walrus, with the tease that man in the most dangerous animal. It’s a nice little social reference that plays into the film’s plot.
Wallace (Justin Long) co-hosts a popular podcast with his pal Teddy (Haley Joel Osment), focusing on cruel, mocking cringe humour as part of their mission to keep it “real and raunchy.” After his trip to Winnipeg to interview the “Kill Bill Kid” — a teen whose unfortunate samurai-sword video has gone viral — comes up empty, Wallace decides to make the trip worth his while and find a good story north of the forty-ninth parallel. A handwritten flyer he finds in a bar bathroom leads him to a grizzled old swab (Michael Parks) full of tall tales to share from his life of adventure at sea — and this is where Wallace’s voyage to the Great White North descends into straight-up madness.
As an added bonus, the official website will now allow you to “Tuskify yourself” – upload your picture and go full walrus!
IFC Midnight is showing off the impressive effects work in The Vicious Brothers’ (Grave Encounters) upcoming sci-fi thriller Extraterrestrial (read our review), arriving on VOD October 17th and in theaters November 21st. We’ve added a handful of new images to go with the trailer that crash-landed earlier this week.
“The film follows April (Brittany Allen), who is still reeling from her parents’ divorce when she’s dragged back to the vacation cabin she spent fond summers at as a child accompanied by a group of friends. Her trip down memory lane takes a dramatic and terrifying turn when a fireball descends from the sky and explodes in the nearby woods. Lead by her boyfriend (Freddie Stroma), the group ventures out toward the crash site and discovers the remnants of a ship from another planet along with footprints that suggest its alien occupants are still alive. The college friends soon find themselves caught in the middle of something bigger and more terrifying than anything they could ever imagine.“
Extraterrestrial also stars Gil Bellows (The Shawshank Redemption, House at the end of the Street), Jesse Moss (Final Destination 3, The Uninvited), Melanie Papalia (The Den, Smiley), Michael Ironside (Terminator Salvation, Starship Troopers), Emily Perkins (Ginger Snaps Trillogy), Sean Rogerson (Grave Encounters, 12 Rounds Reloaded) and Anja Savcic (I Love You Beth Cooper, Repeaters).
“Following the devastating events of the mid-season finale, Rick and the group are still reeling from the loss of their home, family, and friends. With the destruction of the prison, we see the group of survivors broken apart and sent on divergent paths, unsure of everyone else’s fate. What was a challenging life behind fences and walls grows that much more perilous and precious as they are exposed to new dangers, new enemies, and heartbreaking choices. They will have their faith thoroughly tested — a faith that breaks some of them and redeems others.”
“The Walking Dead” returns on Sun., Oct. 12th at 9/8c.
On October 7 Fox Home Entertainment releases the Alien 35th Anniversary Limited-Edition Set, which includes both the theatrical version and director’s cut on Blu-ray, along with audio commentaries, deleted scenes and more — PLUS — a reprint of the original “Alien” illustrated comic and all-new, collectible art cards as a tribute to the late H.R. Giger, creator of the iconic movie monster that started it all.
“When the crew of the space-tug Nostromo responds to a distress signal from a barren planet, they discover a mysterious life form that breeds within human hosts. The acid-blooded extraterrestrial proves to be the ultimate adversary as crew members battle to stay alive and prevent the deadly creature from reaching Earth.”
Directed by Ridley Scott and starring Sigourney Weaver in her breakout performance as Ripley, this legendary first film in the Alien saga will leave you breathless.
Audio Commentary by Director Ridley Scott, Cast and Crew
Audio Commentary by Ridley Scott (Theatrical Version Only)
Introduction by Ridley Scott (Director’s Cut Only)
Final Theatrical Isolated Score by Jerry Goldsmith
Composers Original Isolated Score by Jerry Goldsmith
Deleted and Extended Scenes
A reprint of the original “Alien” illustrated comic.
All-new, collectible art cards as a tribute to the late H.R. Giger.
Do you like handmade puppets, toy soldiers, ballerinas and dolls? Charming elderly toymaker Gabriel Hartwicke and his wife Hilary have the perfect play toys just for you!
From celebrated cult filmmaker Stuart Gordon (Re-Animator), executive producer Charles Band, producer Brian Yuzna (Society) and screenwriter Ed Naha (Troll) comes a campy, horror cult classic that combines the pint-sized playmates of childhood with bone-chilling fun.
The 1987 horror film Dolls is a bloody good terror trap that delivers its frights, fun and fantastic effects in equal measure. On November 11, 2014, Scream Factory is proud to present Dolls Collector’s Edition Blu-ray on home entertainment shelves everywhere. Arriving for the first time on Blu-ray, this highly anticipated release contains insightful bonus content, as well as a collectible cover featuring newly rendered retro-style artwork, a reversible cover wrap with original theatrical key art.
“A precocious girl, her nasty parents, two punk-rock losers and a weak-kneed salesman inadvertently become the guests of two ghoulish senior citizens in their dark, haunted mansion. The old couple makes and collects dolls that, when not sitting still like good little mannequins, creep around in the night, offing the guests one by one! You may laugh at first, but if they turn on you, you’ll regret it…for the rest of your short life!”
The film stars Stephen Lee (The Pit and the Pendulum), Guy Rolfe (Puppet Master III, Mr. Sardonicus), Hilary Mason (Don’t Look Now), Ian Patrick Williams (Re-Animator), Carolyn Purdy-Gordon (From Beyond), Cassie Stuart (The Hunchback), Bunty Bailey (Spellcaster) and introducing Carrie Lorraine (Poltergeist II: The Other Side) as Judy Bower.
NEW! Toys Of Terror: The Making Of Dolls – An All-New Retrospective Featuring Interviews With Director Stuart Gordon, Producer Brian Yuzna, Stars Carolyn Purdy-Gordon, Ian Patrick Williams, Executive Producer Charles Band And More!
Audio Commentary With Director Stuart Gordon And Writer Ed Naha
Audio Commentary With Cast Members Stephen Lee, Ian Patrick Wiliams, Carolyn Purdy-Gordon And Carrie Lorraine
With the HD update of 2002′s Resident Evil REmake just over the horizon, I can’t help but feel the need to have a few of the more underappreciated RE titles from that era make a similar triumphant return.
An Editorial By Clark and Zac Thompson
Back in 2003, before the core Resident Evil games were forever changed from the classic format, series fanatics were treated to a truly unique and exhilarating experience that was Resident Evil Outbreak.
The game was truly a dream come true for this RE fan in a few pretty big ways. In the early core games of the series, where you routinely bump into, and occasionally fight alongside different support characters, the idea of these characters being controlled by a friend was something I’d routinely daydream about. That was now a reality.
In addition, Outbreak‘s setting, which was Raccoon City during the viral outbreak, gave players the opportunity to experience the area along with the early to late stages of the chaos culminating the the cities ultimate destruction, like never before.
However, the gameplay was a little stilted and disjointed. The core experience had the heart of Resident Evil but something felt off. Now that the online gaming community is exploding, there is no time like the present to make Outbreak a defining multiplayer experience through a crisp remake that would help pull the series back to it’s roots while taking the pulse of more modern gaming experiences.
The besieged Racoon City is the perfect setting to bring the heart of Resident Evil back to the series and the multiplayer experience of terror has yet to be perfected, but with Capcom in the drivers seat, I believe a RE Outbreak Remake could do the trick. There are the minor experiments in Resident Evil 5 and 6, but those feel like cheap examples compared to Outbreak.
To put it bluntly, Outbreak — along with its sequel — deliver on almost every level.
First of all, instead of just you and one other friend, game sessions were comprised of of four characters selected from a group of eight, each possessing their own strengths, weaknesses and special abilities. There was even melee combat and some mild weapon crafting, not to mention the ability to move with your weapon drawn.
The ten scenarios, five for each game, sprawled a great deal of interesting areas over the course the the mayhem. And best of all, it was all presented with the same dynamic camera angles that made the series famous, but in a fully 3D world. The end product feeling very similar to Resident Evil: Code Veronica in it’s visual aesthetic, with an added polish reminiscent of the Resident Evil REmake. It was a beautifully rich and atmospheric experience.
With all that in mind you’ve got the recipe for the perfect rebirth of the franchise. There is a certain magic to these scenarios that begs to be in a faster paced multiplayer world. With the introduction of full voice communication and tossing the predetermined vocal cues you can help create a more modern experience, but use it is a location based way that only allows those close to you to actually hear the things you’re saying.
That’s true horror, especially if you can’t tell someone’s dead, only to enter a room and hear screams of agony before their mic goes dead.
The game also had you exploring the underground facility from Resident Evil 2, the hospital from Nemesis, the underground tunnels, a burning hotel teeming with Lickers, Raccoon City University, a forest outside the city and my personal favorite, The Raccoon City Zoo.
If we want a rebirth of the magic of the first few installments are retooled Outbreak experience is the only answer. The games have always been about bands of survivors, and elevating the terror through friends will both increase the fear and fun. It allows Resident Evil to evolve in a new way, still keep a more action oriented pace that made it successful as of late, but still keep the roots of what made it great in the first place. Plus, you’ll still have zombies.
At the end of the day, both of these games were classic Resident Evil experiences that were largely swept under the rug. The gameplay, atmosphere, visuals, enemies and music were all fantastic. These titles truly deserved a wider audience, and with a few tweaks, mainly the addition of voice chat, and perhaps some new content, now would be the perfect time for an HD overhaul. Especially with the current popularity of co-op play, combined with faster connection speeds and the current love of gaming nostalgia.Clark Thompson is a 31-year-old horror fanatic currently residing in Kelowna B.C. His main goals in life are to one day experience a zombie apocalypse, and/or undergo surgery to have his heart mounted on the exterior of his chest. You can reach him at firstname.lastname@example.org or on facebook Clorkwork Torange.