The Brubaker/Phillips train just keep right on rolling with issue #1 of “The Fade Out” – a 40’s era film industry noir that epitomizes and defines the genre in equal measure. For the uninitiated: Brubaker and Phillips have been writing crime books together for 15 years and have never once put out anything that wasn’t exceptional in every way. If you missed their last book “Fatale”, or if you have any interest in hard-boiled fiction, get on this book immediately. These guys are masters of their craft.
WRITTEN BY: Ed Brubaker
ART BY: Sean Phillips
RELEASE: August 20, 2014
Reviewed By Epic Switzer
I can’t believe Brubaker is finally telling this story. As the go-to-guys for crime/noir in comics it is hard to believe this is their first trip into “Hollywoodland” territory.
“The Fade Out” begins with a familiar premise reminiscent of “The Black Dahlia”: a promising young actress has been murdered at a film star’s party. I remark upon the familiarity not to admonish the book or dispute its originality, because noir relies upon the readers understanding of its tropes and conventions and the narrative familiarity is what establishes the foundation for the intricate series of events that are sure to transpire.
It is said by some that noir is more of a style than a genre, and from this perspective we can see how expertly Brubaker and Phillips control the noir aesthetics to draw us in with a familiar premise; invocative of “Sunset Boulevard”, “Mulholland Drive”, and so many others. However, if you know anything about this team of evil geniuses and their knack for genre bending and expectation advertising, you know to expect something really incredible.
I tend to look at new books with a simple rubric: new = good. What I love the most about reading image books is that they are consistently packed with fresh ideas and new stories. “The Fade Out”, on the other hand is not something entirely unique, but instead what it is is a perfectly crafted genre piece from the guys who can do it the very best.
Brubaker’s words are poetry. His concise narration complements the tight constricted frames that Phillips arranges so beautifully. If you want to introduce someone to film noir, you show them “Maltese Falcon”. If you want to introduce someone to noir comics, you show them “The Fade Out”, and there ain’t nothing wrong with that.
This may not strike you as a wholly original kind of comic book, but it is perfectly constructed in genre, style, and tone. Read “The Fade Out” and appreciate it as a perfect book that will eventually become a perfect series.
I don’t usually throw my two cents into reviews, but I can’t help but entirely echo the above sentiments about this book. It’s a perfectly crafted genre piece that fills a void you didn’t even know was empty. Holy shit guys, the Brubaker and Phillips train just keeps gaining speed.
Epic Switzer AKA Eric is an aspiring filmmaker and screenplay writer living in Los Angeles. His work tends to focus on the lighter side of entropy, dystopic futures, and man’s innate struggle with his own mortality. He can be found on twitter @epicswitzer or reached via email at email@example.com.
Inspired by David Cronenberg’s Videodrome comes the indie Promiscuities, which is now available on VHX.
The film marks the debut of Jonathan Leder, known for his commercial work for VICE and Louis Vuitton, and his extensive work with Emily Ratajkowski (Gone Girl).
We not only have an exclusive variant poster and trailer to premiere, but also (20) coupon codes to get 60% off a rental on the VHX platform. The first 20 readers to enter TeamBloodyD will receive the discount and immediately be able to watch the film. Each coupon enables unlimited HD streaming and an HD download of Promiscuities.
Diane has a problem. Prescription pills used to ease the temptation. But like pause buttons worn low, meds no longer suppress the fire inside. Pitch black memories Diane formerly repressed are now drawn into the destructive light. And the clock ticks on a spiral of promiscuities that will immolate her.
Desperate for a solution, any solution, Diane consults a psychotherapist. His track record is stellar yet his method is strict. He recommends permanently exhausting Diane’s carnal neurosis. Each unruly session will be recorded and subjected to scrutiny. Diane’s therapist promised a cure. Instead he unlocked their sickness. To traverse the nightmare, Diane must push her body to the brink.
The following trailer features an exclusive stylized intro to BD readers by lead actress Amy Hood:
AMC just shared a 10-second teaser for the return of “The Walking Dead”, set to premiere Sunday, October 12 at 9 p.m.
Rick Grimes (Andrew Lincoln), Carl Grimes (Chandler Riggs), Michonne (Danai Gurira), Daryl Dixon (Norman Reedus), Glenn Rhee (Steven Yeun), Maggie Greene (Lauren Cohan) and Abraham Ford (Michael Cudlitz) were left handcuffed in the Terminus train car, echoing the survivors’ predicament in the Season 4 Finale cliffhanger.
“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 start of a brand new chapter, “The Strain: The Night Eternal: #1” brings to life the epic third part of Guillermo Del Toro and Chuck Hogan’s giant-sized novel. As the plot moves at breakneck speed, readers have better keep up with the crazy twists and turns. If you’re enjoying the TV series, then you better get “The Strain” comic right now.
Written By: David Lapham
Art By: Mike Huddleston
Publisher: Dark Horse Comics
Release: August 20, 2014
Reviewed By Jorge Solis
The vampire apocalypse all started when Flight 753 mysteriously landed at JFK International Airport. Dr. Ephraim Goodweather and Nora Martinez, the disease detectives, were too late to stop the biological threat. The Master had won, spreading eternal darkness all across the entire globe. After triggering a series of meltdowns, the sun was completely blocked by a nuclear cloud. The rest of humanity has given up to the vampire race, but there are still a few who wish to fight.
In this adaptation, writer David Lapham delivers a somber and bleak narrative where the heroes have actually lost. Eph and his team failed to stop their enemy and now face the consequences. There’s a desperate need to keep fighting, but they have all lost faith in each other. Because he misses his own son, Eph has succumbed to his thirst for alcohol just as like the vampires have feed their bloodlust.
Nora, Epha’s love interest, has more personality in this installment. Lapham has developed her character, who was once mousy and quiet, to a more verbal and authoritative persona. There is resentment in her dialogue towards Eph, as if all her emotions are hanging by a thread. The group has separated into different teams, but there is no leader like before because Abraham is gone.
In the opening pages, artist Mike Huddleston takes us through different time periods, showing how the vampire epidemic has always been around. When Huddleston takes us to the present day, we see pieces of the world, from Washington D.C. to France, in a complete state of ruin. Because there is no more sunlight, every panel has to look like it is nighttime and the backgrounds always have shadows.
In his new character design, Eph looks more like a homeless bum because of his long hair and scruffy beard. Through her facial expressions, we can tell Nora is beyond pissed in her close-ups. In the violence department, Huddleston sure likes to let loose the stingers in the bloodsucker’s mouth. Towards the climax, there’s even a decapitated head moving around on the floor.
If you’ve been around since the beginning, there’s no reason for you not to continue with “The Strain: The Night Eternal” #1. With the creative team-up of Lapham and Huddleston, they have done an amazing job translating the bleak tone and spirit of the novel into the comic book medium.
The filmmakers behind Yellowbrickroad, one of our most successful and frightening BD Selects titles, are back with another ghostly tale.
Bloody Disgusting has learned that filming is currently underway on Jesse Holland and Andy Mitton’s We Go On, which they describe to us as “part Sixth Sense, part Jacob’s Ladder.”
We Go On is “a ghost story about a man who offers reward money to the first person in LA who can show him proof of life after death,” they tell us, “and ends up on an adventure through the Southland that becomes a twisted nightmare.”
We also have the first ever stills from the shoot, one that features leads Annette O’Toole and John Glover, the other (scarier one) with Yellowbrickroad‘s Clark Freeman and Heather Wynters of “American Horror Story”.
Laura Heisler, Peter Lucas, Edgar Nentwig and Matt McLeod also star.
Bloody-Disgusting has teamed up with Ohio horror-infused metal band Necrophagia to bring you the exclusive song premiere of “Fear The Priest”, which is a tribute to The Exorcist!
Frontman Killjoy De Sade states:
“The Exorcist” has been a main stay in my top five films from the first time I watched it. It left an impact on me as a child and has never lost any of it it’s power. I’ve viewed it literally hundreds of times. During the course of our career I’ve written many songs about “The Exorcist”. Some dating clearly back to 1984. I have never felt that any of the previous song attempts would have portrayed it’s impact or captured the true dread that the film. Finally with “Fear the Priest” I think we have done it justice. “Fear the Priest” is our ultimate homage to one of the greatest horror films of all time!
The track comes from the band’s upcoming album WhiteWorm Cathedral, which comes out October 28th. It can be pre-ordered here.
IBTrav is back with another series of cartoon drawings that imagine more horror icons as villains in “Scooby-Doo”!
The latest batch features Chucky from Child’s Play, the Creeper from Jeepers Creepers, as well as the slasher from the 1983 Curtains!
Bloody-Disgusting has teamed up with Canadian horror-inspired punk band Kill Matilda to bring you the exclusive lyric video premiere for their track “Zombie Apocalypse”! The track comes from the band’s 2014 EP #Punk#Zombie#RocknRoll available for free download at Reverbnation.
Bassist Mykel Exner states:
Kill Matilda wants to be your Halloween party band! By making this fun video the band digs into its zombie roots going back to the beginning of the zombie phenomenon and REMIXING the public domain work of George A Romero’s immortal “Night of the Living Dead”.
The band has also launched an IndieGoGo page to raise money for a touring van for their upcoming US tour.
Sept 5 – London, ON @ London Music Hall/Rum Runners
Sept 11- Buffalo, NY @ The Forvm
Sept 14 – Brooklyn, NY @ Spike Hill
Sept 18 – Washington, DC @ The Pinch
Sept 19 – Baltimore, MY @ Club K
Sept 25 – Charlotte, NC @ Tommy’s Pub
Sept 26 – Murrells Inlet, SC @ Rockin Hard Saloon
Sept 27 – North Charleston, SC @ The Mill
Sept 28 – Raleigh, NC @ Deep South
Oct 7 – Rochester, NY @ Bug Jar
Oct 15 – Brooklyn, NY @ The Trash Bar
Oct 16 – Philadelphia, PA @ Connie’s Ric Rac
Oct 19 – Columbus, OH @ O’Shecky’s
Oct 21 – Louisville, KY @ Haymarket Whiskey Bar
Oct 31 – Toronto, ON @ TBA (Halloween Show)
Nov 1 – Cornwall, ON @ Lola’s Pub & Grub
Nov 2 – Ottawa, ON @ Le Petit Chicago
Nov 7 – Montreal, QC @ TBA
Nov 8 – Montpelier, VT @ Charlie O’s World Famous
Nov 9 – Winooski, VT @ The Monkey Bar
Nov 15 – Brooklyn, NY @ Gussy’s Bar
Nov 23 – Melbourne ,FL @ Boondocks Bar
Nov 28 – Marietta, GA @ Swayze’s Venue
Dec 2 – Topeka, KS @ Boobie Trap Bar
Dec 20 – Eugene, OR @ The Black Forest
Dec 31 – Vancouver, BC @ TBA (New Years Eve Show)
Jan 2 – Seattle, WA @ El Corazon
Jan 19 – St Louis, MO @ The Demo
Jan 22- Des Moines, IO @ TBA
Feb 14 – Dunellen, NJ @ Roxy and Duke’s
Feb 18 – New York, NY @ The Delancey
Waxwork Records has announced that they will be releasing the follow-up to 2012′s City Of Quartz from supergroup House Of Hayduk. The new album, which is entitled Distant Early Warning, will feature composer Mads Heldtberg (You’re Next, Cheap Thrills), Dave Lombardo (Slayer), Billy Gould (Faith No More), Carla Azar (Jack White, Autolux), and Dean Hurley (David Lynch).
The original album featured Billy Gould, Charles Hayward (This Heat), and Anders Trentemoller.
A limited edition LP will be released in 2015. More information will be released soon.
Studio footage of drum tracking can be seen below.
Gillen and McKelvie are both incredibly talented, I have nothing but the utmost respect for both of them and their work but I sincerely cannot fathom the appeal of this book. And with “The Wicked + The Divine” #3 my confusion has hit critical mass.
WRITTEN BY: Kieron Gillen
ART BY: Jamie McKelvie and Matt Wilson
RELEASE: August 20, 2014
Reviewed By Torbin Chimners
I pick up most indie first issues I see because I’ll give anything a shot. I’ve been pleasantly surprised more times than I’ve been letdown; this is not one of those pleasant times. With the massive amount of hype surrounding “The Wicked + The Divine,” I had to pick it up. I gave it a shot. Wasn’t for me. Second issue rolled around and that Zdarsky variant cover was too good to pass up, so I picked it up too. It still wasn’t for me. Now I’m here to review issue #3, because everyone knows universal praise is no fun without a little bit of criticism.
So we’ve got a wooden protagonist who’s celebrity worship is so off the charts it’s almost sickening. She’s literally working to clear Lucifer’s name and help out any gods she can on the way. We’re supposed to care and/or feel bad for these all-powerful god-celebrities, who, instead of helping humanity in any constructive way, choose to become the cockiest, most pompous celebrities who’ve ever existed.
Sure, there’s one character who seems to be the voice of reason in issue #1, but now she’s a couple prayers away from being just part of the gang. It’s all completely maddening. Following the beginning of the issue, is what amounts to a size contest between two of the gods with hundreds of human lives at risk. They’re all basically about to become collateral damage, once again due to the unimaginable irresponsibility of these “totally cool and rad” god-celebrities. While the story is weak here, McKelvie’s visuals are outstanding, jaw-droppingly so.
That whole kerfuffle eventually leads Laura to the only likable/relatable character, Cassandra. Laura and Cassandra sit down and try to hash out where they are now and where to go next. Cassandra’s got quite a few questions but fortunately enough all of them were already answered by Lucifer, presumably last issue, to Laura who then repeats them.
If that sounds confusing, trust me it is, it’s not anymore clear when you read it. Lucifer, who’s just being repeated by Laura, proceeds to lay on some thick exposition that reads like molasses for about 3 pages. McKelvie’s art feels incredibly uninspired and lazy during this whole scene and then the issue is topped off with a line so cringe worthy I can’t bring myself to quote it.
Gillen’s story shows no signs of a course correction. McKelvies visuals are inconsistent. One moment he’s blowing me away, the next it looks like I’m watching a student film with the same dull framing reused over and over again. I LOVE the creative team, but I just don’t get why this book is so appealing.
Torbin Chimners AKA Torin Chambers is a rad dude from the nineties who does film stuff or something. Thomas the Tank Engine is his favorite transformer. Find him on Twitter @Vulgar_Rhombus
While the Giallo parody is already playing the Toronto International Film Festival, the Mayhem Film Festival will open this year’s tenth edition with a special evening with members of Canadian cult filmmaking collective Astron-6 and a preview screening of their new feature The Editor.
Astron-6, the collective behind Father’s Day, Manborg and last year’s hit short Bio-Cop, will present their most ambitious project to date, The Editor, a 70s Italian giallo-inspired comedy in which a one time (and one-handed) master film editor becomes the prime suspect in a series of brutal murders. They also provided us with a second retro one-sheet.
Adam Brooks (Father’s Day), Matthew Kennedy (Manborg) and Conor Sweener (Manborg) – three-fifths of Astron-6 – will attend Mayhem and present a short film showcase of some of their previous work, and take part in a post-screening Q&A following the preview of The Editor.
Astron-6 will open Mayhem Film Festival’s 10th edition on Thursday 30 October. More information about the programme will be announced soon. Early Bird Passes for the festival are available at the discounted price of £55. For more information and to book your passes, please visit the official website.
With “Translucid” #5 upon us, I realize I’m going to dearly miss this exceptionally captivating series. It’s been an excellent ride and although it’ll be done next month I can’t help but appreciate it’s brilliance. This is a superhero story that could only be told as a limited series. An ongoing would be too constricting by the inherent fact that it must keep going on. Next issue could be a very real end for both The Navigator and The Horse. There’s real tension here; our hero is in real trouble and the end is truly in sight.
WRITTEN BY: Claudio Sanchez & Chondra Echert
ART BY: Daniel Bayliss
PUBLISHER: BOOM! Studios
RELEASE: August 20, 2014
Reviewed By Torbin Chimners
The Navigator is firmly in the grasp of The Horse, who’s pumping our hero full of an incredibly powerful psychedelic hallucinogen that’s got Navigator tripping balls. His world is twisted beyond comprehension and it looks wicked-awesome. With our hero incapacitated we spend a good majority of this issue with Cornelius, who ended off last issue knocked out and on the floor. He’s recovering from the whole kitchen incident with his mother and wakes up to a nurse and a social worker in the hospital. He’s going to be taken to a new home, a foster home. Needless to say he won’t be suffering any more pain from his appallingly abusive father.
“Angel Guardian” Foster Home, where Cornelius is sent, is your classic Catholic Priest and Nun foster home: it even comes complete with child abuse. Even after all the traumas Cornelius has been through, he still stands up for the little guy and continues to show his convictions as a budding hero. But, things can never be good for too long. The world around Cornelius falls apart in glorious psychedelic fashion.
While I originally thought that the way Cornelius’s world would fall apart in times of great stress was just his developing brain’s way to cope, I now believe it to be something much different. It bares too much of a resemblance to the drug The Horse is administering to The Navigator. Could all of Translucid’s Cornelius sections be The Horse peering back into The Navigators past to uncover his secrets? This could just be the delusion of this reviewer.
Translucid #5 doesn’t fundamentally change things up or answer any questions in earnest. It’s probably saving all of those juicy secrets for Issue #6, but regardless, it’s a great read from start to finish. I have nothing but the utmost certainty that next month’s finale will be spectacular and mind-blowing beyond belief.
Don’t miss it.
Torbin Chimners AKA Torin Chambers is a rad dude from the nineties who does film stuff or something. Thomas the Tank Engine is his favorite transformer. Find him on Twitter @Vulgar_Rhombus
Following the consistently low sales of their Mature-rated games on the Wii U, Ubisoft CEO Yves Guillemot has decided that since a majority of Nintendo fans don’t seem to be too interested in that kind of entertainment, they’re just going to stop making them. This means Watch Dogs, scheduled to arrive later this year, will be the final M-rated game Ubisoft brings to the Wii U. This also means no more ZombiU, though that should come as surprise seeing as Ubisoft confirmed last July that they had scrapped the prototype for a sequel they had in-development.
This disheartening bit of news comes from Game Informer, which recently had the chance to chat with Guillemot regarding their plans for Nintendo’s console. The gist of it is the publisher will be shifting their focus entirely on bringing family-friendly entertainment, like their incredibly popular Just Dance series, to the Wii U from now on.
Their decision to not turn ZombiU into a series makes sense from a business perspective, but that doesn’t make it any less disappointing. ZombiU is a fantastic game that had the potential to become a strong new horror franchise. It certainly deserved to last longer than it did.
Unsettling and gory to the core, “Clive Barker’s Hellraiser: Bestiary” #1 is a thrilling continuation of the horror franchise that made Pinhead a household name. After so many lackluster sequels, this is a return to form for “Hellraiser.” In the right hands, “Bestiary” presents an anthology of shorts that definitely has some disturbing sights to show you.
WRITTEN BY: Mark Miller, Ben Meares, Victor LaValle
ART BY: Conor Nolan, Colin Lorimer, Carlos Magno
PUBLISHER: Boom! Studios
RELEASE: August 20, 2014
Reviewed by Jorge Solis
“Symphony in Red” takes at look at Hell from the person who knows it all too well, the Female Cenobite. Now that everything is where it should be, why isn’t she happy in Hell? In “Desert Fathers,” two thieves are about to learn, the hard way no less, what happens when you steal the Lament Configuration. In “The Hunted: Part One,” Pinhead finds himself in the middle of a gang war. Which side will win when everyone involved just wants blood?
Though these are separate storylines, all three tales share a common theme within. The narrative takes place right after the events from Brandon Seifert and Tom Garcia’s “The Dark Watch.” Eliot Spencer is back as Pinhead, the Pope of hell, harvesting human souls for his own amusement. I do miss Seifert’s witty sense of humor, especially since the tone now seems darker and harsher. It’s a minor complaint, since the shift in tone caught me by surprise, especially in Miller and Meares’ “Symphony in Red.”
Because I am a huge fan of “Next Testament,” I absolutely knew the Pinhead’s dialogue would be spot-on because of Mark Miller involved. After serving his time with humanity, Spencer is somehow crueler in his execution. Notice how Conor Nolan’s illustrations are awash in blood after Pinhead splits his victims in half.
In “Desert Father,” the security guards at the Desert Inn have become numb after what they have seen. The old man on the sixth floor loves it when his dominatrix visits, but he never expected her to steal his Lament Configuration. At a quick pace, Victor LaValle examines how being numb at your job makes you lose faith. Colin Lorimer delivers an intense battle between the guards and the Cenobite unleashed.
In “The Hunted, Part One,” the “Hellraiser” series explores topics such as racism and urban crime , which I believe hasn’t been done before. What Meares and Miller have brilliantly done is create a group of hardcore gang members who can stand up to the so called, “Devil.” Carlos Magno captures a distinct tattoo on the gang leader’s face.
Pinhead is back, even more twisted than before, in “Clive Barker’s Hellraiser: Bestiary” #1. Get ready for some chilling nightmares after reading this issue.
Invada Records has announced that they will be releasing a vinyl reissue for the soundtrack to the 1985 sci-fi/thriller Warning Sign, Bloody-Disgusting exclusively reports. Composed by Craig Safan (Nightmare On Elm St. 4: Dream Warriors, The Last Starfighter), the film follows, “…the story of a man-made virus that is accidentally released into its laboratory, turning its workers into zombies.” It stars Sam Waterston (Law And Order), Kathleen Quinlan (The Hills Have Eyes, Event Horizon), and Yaphet Kotto (Alien, Freddy’s Dead: The Final Nightmare).
The fully electronic score was composed using a Synclavier synthesizer, an incredibly expensive piece of kit at the time:
Due to the science fiction and horror overtones, the Synclavier creates an appropriate atmosphere which Safan layers with different effects, from an electric piano that illustrates a desolate location in the film’s early stages, to the use of metallic effects as percussion for the chemically-affected staff. Safan weaves dissonant sounds to suggest chaos and paranoia, and innovatively synthesizes human voices to convey a sense of tortured souls to those infected. What follows is an intense score where the foreboding turns to reality with an eerie and uncomfortable texture, broken only by a beautiful and warm melody for the resolution and end credits, where all is well.
The score has been newly remastered by Optimum Mastering, and features new artwork by Marc Bessant (Portishead, DROKK) liner notes by Craig Safan himself plus George Ginn (Legendary 84 year old owner of the UKs oldest soundtrack store ‘the Record Album’).
Below is a stream of four tracks from the album.
The Romero Company has acquired movie rights to Navajo vampire story Second Sunrise with Eddie Spears (pictured in “Hell on Wheels”), Sage Galesi, Balthazar Getty (“Brothers & Sisters”) and A. Martinez starring, reports Variety.
“The story, set in New Mexico, brings a Navajo vampire and a no-nonsense FBI agent together to battle shapeshifters and stop a power-mad Nazi.”
Joanelle Romero will direct from a script by Carolyn Dunn and E.C. Galesi. She will produce for Red Nation Films along with Rosemary Parks (“Thirteen”).
Second Sunrise is being developed as a franchise starter, based on the first of four novels in the Lee Nez series, written by David and Aimee Thurlo. “Pale Death,” “Blood Retribution” and “Surrogate Evil” are the other books.
Anchor Bay Films’ supernatural thriller The Possession of Michael King, another found-footage horror, is set to release in limited theaters August 22 with an iTunes, On Demand, DVD and Blu-ray release set for August 26.
From Gold Circle Films (White Noise, The Haunting In Connecticut), Bloody Disgusting caught up with director David Jung who shared his favorite demon-themed horror films!
The Exorcist, William Friedkin, 1973
“Probably on the top or near the top of everyone’s list. The Exorcist remains the quintessential possession movie that all the others stand up against. Friedkin pulled off so many things that had never been done before. He actually piped in air conditioners and freezer units to cool the set so that you could see the actor’s chilly breath. Groundbreaking makeup and effects, like the words appearing on the chest, and the fact that they didn’t shy away from getting really nasty, with the demon projectile vomiting, and masturbating with a crucifix. So many things, especially for that time period, that were just amazing and trailblazing. Bravo.”
Rosemary’s Baby, Roman Polanski, 1968
“Not necessarily a straightforward demon movie, but one about a woman impregnated by a demon, or the king of demons himself, the devil. Polanski does an amazing job of slowly tightening the noose around Mia Farrow, who perfectly portrays an unsuspecting and innocent young housewife. We feel that slow sinking feeling of dread almost from the beginning, and it just keeps intensifying all the way until the end of the movie. We’re with her every step of the way as she begins to realize that everyone around her is in on the secret, they’re all against her, and there’s nowhere for her to turn for help. A masterpiece.”
The Shining, Stanley Kubrick, 1980
“This movie was actually one of the main inspirations for The Possession of Michael King. Ever since I was a kid, I loved and was terrified of Jack Torrance, how he went mad, and wanted to slaughter his own family. I wanted to do a movie from the point of view of Jack Torrance. Get into his head. To hear from him, what it was like to go mad. That was the idea that launched my movie. Kubrick is a genius as a filmmaker. There are so many seminal and “classic” moments in this film.”
The Evil Dead, Sam Raimi, 1981
“Including Evil Dead II and of course Army of Darkness. “Okay, I said the words…” “This is my BOOMSTICK!” I still pull numerous daily quotes from these movies to this day. Ask my wife how tired she is of me grabbing her, bending her back for a kiss and saying, “Gimme some sugar, baby!” Never before had I seen someone intentionally mix horror and comedy in such an effective way (usually the comedy came from bad acting and bad scripts). The inventiveness of these movies, for the budget that they made them for is incredible. The mythology he creates is clear and cool as well. True inspiration.”
Insidious, James Wan, 2011
“I wanted to put something a little more recent on this list of classics. My dearly departed buddy Gregg Hoffman discovered James Wan when he watched the short for the first Saw film. He then went on to mortgage his house to raise the capital to make and produce the first Saw movie. Wan has gone on to prove himself as a wonderfully talented filmmaker. I saw Insidious twice in the theater because I was so impressed. There is inspiration in this movie from all over the place (the two ghost hunters Specs and Tucker remind me of something straight out of a Raimi film). The scares are great and highly original. I’ll continue to be first in line to see his films when they come out.”
About The Possession of Michael King
David Jung directs the movie that “Tells of a documentary filmmaker who does not believe in God or the Devil. When his wife dies, he sets out to make his next movie on religion and spirituality, hoping to prove those things are just myth. But in allowing demonologists, necromancers, and various practitioners of the occult to try the deepest and darkest spells and rituals on him, he unleashes a horrifying force.”
Shane Johnson (Starz’ upcoming “Power”), Dale Dickey (Iron Man 3), Julie McNiven (TV’s “Supernatural”) and Tomas Arana (Guardians of the Galaxy) star.
The movie was by Paul Brooks and executive produced by Scott Niemeyer and Guy Danella. The screenplay was written by Jung with a story by Jung and Tedi Sarafian.
In 2009, director Hidetaka Miyazaki introduced the world to Demon’s Souls, an intensely unforgiving dark fantasy RPG that would go on to become Dark Souls. His next game, Bloodborne, shares a lot with his past work, only this time it’s being gifted to us wrapped in a delightfully gothic package, complete with darker and creepier environments that will be brimming with hideous monsters whose only purpose is to get cut right down the middle by my comically large sword.
See more of the game in action in the video below.
Bloodborne was one of the many horror games that were present at Gamescom last week. If your heart aches for more games like this, you can find it among a bunch of similarly dark-looking games in our list of the biggest horror headlines to come out of the expo last week.
Bloodborne releases exclusively on the PS4 in early 2015.
Fantastic Four and Dawn of the Planet of the Apes‘ Toby Kebbell, pictured, is in negotiations to join Sigourney Weaver, Felicity Jones and Liam Neeson in the adaptation of Patrick Ness’ fantasy novel A Monster Calls, writes Variety.
The Orphanage‘s Juan Antonio Bayona is directing for Focus Features, River Road Entertainment, Participant Media and Lionsgate International.
The story follows a boy who seeks the help of a tree monster to cope with his single mom’s terminal illness.
The pic will open on October 14, 2016.
Universal and Legendary Pictures is preparing us for their found-footage trip to hell with a frenzy-fueled new TV Spot from As Above, So Below, which has some strong buzz in the general film community.
In theaters August 29, the pic is from the filmmakers behind The Poughkeepsie Tapes, Quarantine and Devils. It was directed by John Erick Dowdle and co-written with his brother Drew.
“Miles of twisting catacombs lie beneath the streets of Paris, the eternal home to countless souls. When a team of explorers ventures into the uncharted maze of bones, they uncover the dark secret that lies within this city of the dead. A journey into madness and terror, “As Above, So Below” reaches deep into the human psyche to reveal the personal demons that come back to haunt us all.“
Perdita Weeks, Ben Feldman and Edwin Hodge star.
Watch a pair of clips here: