While a lot of modern filmmakers miss the importance of social commentary, it’s what made George A. Romero’s original trilogy so spectacular.
For me, this is one of the major problems with AMC’s “The Walking Dead” series, adapted from Robert Kirkman’s character-driven comic series. I couldn’t tell you the point of “Walking Dead,” nor could I tell you the end-game or why I would even care. What are the filmmakers trying to say? It’s an empty void of random violence that barely keep my attention.
This October AMC is set to debut “Fear The Walking Dead,” a spinoff of “Walking Dead” that takes us to Los Angeles during the initial outbreak.
While many of us were hoping to meet patient zero and learn what caused said outbreak, executive producer and KNB effects guru Greg Nicotero reveals to Melty that the filmmakers have chosen to leave this vague, and instead have opted for social commentary “ripped from the headlines.” THIS is the first thing that has me excited for the series, which stars Cliff Curtis (“Missing,” “Gang Related”), Kim Dickens (Gone Girl, “Sons of Anarchy”), Frank Dillane (Harry Potter and the Half-Blood Prince) and Alycia Debnam Carey (Into the Storm).
“What’s important in the spin-off is how people react to it. It really is a fascinating statement on current society, because we get most of our information from our iPads and our phones. There have been things that have been happening in recent years… When you hear stories like that, about a guy who attacked someone and bit their face off, imagine how we reacted to that news story at the time.”
“Fear the Walking Dead” viewers might also get to see how some citizens’ grave mistakes help the virus spread, says Inquisitr, who caught wind of the story. He mentioned the recent Ebola cases in America and the Maine nurse who refused to self-quarantine after treating Ebola patients in West Africa.
“Even in the U.S., there was a nurse who was working in Africa and who came back to the United States and refused to go into quarantine for Ebola. So I think about stories like that and I go: ‘Wow, maybe that could have been the beginning, or maybe this could have been the beginning.’ In a TV show like ‘Fear The Walking Dead,’ you get to ask those same questions.”
During his Melty interview, adds Inquisitr, Nicotero revealed one of the biggest differences between “The Walking Dead” and its companion series — “The Walking Dead” featured multiple families that were torn apart (sometimes literally) by the zombie virus, but “Fear the Walking Dead” will focus on fractured families that are brought closer together by the outbreak.
“In our version of ‘The Walking Dead,’ we come across these people who are already a rag-tag group of survivors. They’ve lose people along the way, but they’ve found each other. The main difference in ‘Fear The Walking Dead’ is that we’re with families at the beginning of it.”
There’s a lot of great stuff here, and hopefully everyone involved has learned from the vast amount of mistake in “The Walking Dead”. If you guys like “The Walking Dead”, Can you imagine if it were as good as, let’s say, “Breaking Bad” or “Mad Men”? Wowsers.
Prolific filmmaker Adrián García Bogliano has created an impressive track record the past few years. From tense thrillers like Cold Sweat to the supernatural dread of Penumbra and Here Comes the Devil, Bogliano has shown himself to be a versatile maestro of the macabre with a strong, unique vision. His latest film, Scherzo Diabolico, is a morbid tale of deception and ambition that plays out like classical tragedy. We witness a man struggle up the ladder, snatch the power from those sitting on the throne, and then fall back into the gutter again (in the most gruesome way possible of course, this is a Bogliano film after all).
Like his other films, Scherzo Diabolico sees Bogliano savoring the chance to subvert genre expectations. Revenge films are always in style and many of them are painfully formulaic. You won’t find any of that here. Bogliano’s story begins with what appears to be a kidnapping plot and then proceeds to sucker punch the audience’s moral compass into a bleeding pulp.
Francisco Barreiro, who previously worked with Bogliano in Here Comes the Devil, stars as Aram, a man who has been emotionally trampled by his professional and personal life. Despite being the hardest worker in his office, his career is going nowhere. At home, his wife doesn’t respect him and constantly reminds him how h’s a shitty father who makes lousy money. Jaded and perhaps simply bored by the mire his life is trapped in, Aram begins hatching a plot to achieve the success he feels he deserves. And it all starts with a kidnapping…
It’s much better to go into Scherzo Diabolico completely cold. I made sure to avoid trailers and whatnot before my screening at the Stanley Film Festival and was knocked on my ass repeatedly with the direction Bogliano takes the film. The piano music of Beethoven and Brahms set a bizarre tone that starts off as blackly humorous and then evolves into something much more sinister.
Barreiro (who also starred in We Are What We Are) does an amazing job juggling the many personas of Amar. He could be likeable and sympathetic in one scene and then cold-blooded in the next. It’s easy to root for him in the beginning and as the twisting narrative unfolds, our sympathy seesaws between love and hate. Through it all Barreiro simply nails it with equal parts nuance and bravado.
Scherzo Diabolico is a brutal little film that pits high drama alongside classic exploitations elements like seedy sex and violence. The film isn’t just your standard boobs and blood show, however. It does have something to say about the masks we wear in our everyday lives, literally and figuratively. Amar wears a mask to transform himself into an evildoer; his wife goes to a costume party to escape her drab husband; his son constantly wears a superhero costume; and other characters are forced to wear uniforms in their professions. Bogliano peels back to look at the darkest parts of human nature beneath these facades.
It’s interesting and meaty stuff that Bogliano address in a subtle and polished way. Through all of the vivid flashes of violence and pitch-black humor, Scherzo Diabolico feels like his most personal and entertaining work yet. There’s a meanness and bleakness to the film that may turn off some viewers, but for those who like their thrillers vicious and devoid of any silver linings, then Scherzo Diabolico is not to be missed.
From “The X-Files” to The Haunting to The Conjuring to Leatherface.
Lili Taylor is taking on the iconic slasher in the prequel to Tobe Hooper’s 1974 Texas Chain Saw Massacre prequel, which begins shooting this month in Bulgaria.
The film centers around a violent teen who one day will become Leatherface. He escapes from a mental hospital with three other inmates (Sam Coleman, Sam Strike, James Bloor, Jessica Madsen), kidnaps a young nurse and takes her on a road trip from hell. Along the way, they are pursued by an equally deranged lawman (Stephen Dorff) out for revenge.
Dorff will play ‘Texas Ranger Hal Hartman’, a lawman described to us as a lean, mean Texas Ranger who has a vendetta against the teen boy who grows up to become Leatherface, while Angela Bettis was cast as Mother Sawyer.
Back on Halloween Bloody broke the news that Julien Maury and Alexandre Bustillo, the duo behind the slasher masterpiece Inside (À l’intérieur), as well as Livide and the forthcoming Among the Living, will be helming Leatherface for Millienum and Lionsgate.
Leatherface is being produced by Christa Campbell and Lati Grobman (interview), alongside Carl Mazzocone after they successfully resurrected the franchise with the 2013 Texas Chainsaw 3D. Les Weldon is also a producer on the project, which is being executive produced by Millennium’s Avi Lerner, Trevor Short, Boaz Davidson, John Thompson, Mark Gill and Beth Bruckner O’Brien.
More than a year has passed since I last made a list of some upcoming indie horror games that you should have on your radar, so it felt overdue to showcase another batch that are very much worth your attention. The following five are but a sampling of what’s to come — I chose them because they each represent the impressive range of games that are coming our way later this year.
And apologies if I come across a bit rusty, it’s been far too long since I last made one of these.
Which of these game(s) are you most looking forward to?
According to The Wrap, the online digital collective known as Machinima has a huge list of upcoming series, with projects including a Robocop short-form web series, Clive Barker’s “Creepy Pasta”, which will take famed internet fan fiction and convert it into “…an original series of live-action, blood-curdling short films,” and more.
Chad Gutstein, Machinima’s chief executive officer, states:
Fandom and gaming engenders so much passion and engagement; it’s a cultural shift uniquely connecting with the most valuable millennials. It’s this deep connection to our audience that has made Machinima the ninth largest video entertainment platform in the United States, and the second most-watched programmer on YouTube.
With our new slate, we are reminding our fans and our clients of one very important fact: Machinima is back!
The programming also includes three titles from the DC Comics universe and more. Head below for synopses of all projects.Justice League: Gods and Monsters Chronicles Season 2
From visionary producer and animator Bruce Timm, “Justice League: Gods and Monsters Chronicles” turns the DC Universe upside-down. In this dark, alternate world, telling the good guys from the bad guys is never easy: Superman is not the son of Jor-El, he’s the son of General Zod; Wonder Woman is not from peaceful Themyscira, but rather the warring nation of Ares; and Batman is more vampire-bat than man…and he’s not Bruce Wayne. It is unclear if our greatest heroes are here to protect us…or to rule us. With Season 1 set to launch in June, Machinima, Blue Ribbon Content and DC Entertainment have already begun development on Season 2, a 10-episode follow-up to the initial limited series.DC’s Hero Project
Machinima, Blue Ribbon Content, and DC Entertainment are setting out to discover the next great creator for the world of DC Comics. Eight contestants compete in elimination challenges to develop a live-action short video based on their own interpretations of characters from DC Comics’ “Starman” comic book series. Well-known guest judges and celebrity special guests will join bestselling writer and DC Entertainment Chief Creative Officer Geoff Johns and a panel of esteemed judges to oversee the entire competition.#4Hero
A modern adaptation of DC Comics’ cult-favorite classic “Dial H For Hero,” #4Hero is a live-action, VFX-heavy action-comedy about a young woman named Nellie Tribble who is quietly desperate to make her mark on the world, but wholly unprepared to do so. Nellie stumbles upon a life-altering smartphone app that allows her to instantly become a Super Hero for a short amount of time. The problem is her super powers are dictated by whatever is trending on social media at that moment, and they are always only semi-useful.Clive Barker’s Creepy Pasta
For the first time, horror legend Clive Barker is stepping away from the creatures of his own imagination and entering into the world of Internet horror fan fiction, affectionately known as Creepy Pasta. Starting with viral urban legends (e.g. Jeff the Killer, Slender Man and Ben Drowned), Clive Barker’s “Creepy Pasta” is an original series of live-action, blood-curdling short films. These new tales will be curated and adapted by Barker from submissions obtained through the creepypasta community, and produced by Machinima to scare you to your core.RoboCop
“Dead or alive, you’re coming with me.” OCP’s Security Concepts Division’s RoboCop program is back in an all-new, short-form limited web series, based on Metro-Goldwyn-Mayer’s 1987 classic action film. RoboCop returns to Delta City where viewers ride along with the now standard-issue RoboCop officers as they respond to calls from dispatch. Tapping into current themes of the surveillance state, the series is shot from the first person point of view of the RoboCop officers’ heads up display, along with security cameras, dash-cams, and drones.“Happy Wheels
Machinima will bring audiences an all-new original animated series based on Jim Bonacci’s hit online game “Happy Wheels” and produced by BMP Digital, the digital division of Bunim/Murray Productions. This must-see 10-episode short form series, which will feature fan-favorites such as Wheelchair Guy, Irresponsible Dad and Lawnmower Man, will expand upon the game that has more than 8 million players a month and showcase its notorious dark humor and penchant for blood and gore. Additionally, with over 3.1 billion video views amassed, BMP Digital is looking to leverage the voiceover talents of YouTube influencers such as Toby Turner (15.2M YouTube Subscribers) and others who have made this game so iconic.Jerome ASF’s The Baka Chronicles
Adding to the gaming fervor, Machinima’s iconic Minecrafter Jerome ASF (3.6M YouTube Subscribers), will be teaming with N00b Adventure creator Jim Schwerfeger for an all-new series – “The Baka Chronicles.” Featuring Jerome ASF’s most beloved character, Baka, the series follows two unlikely server admins who problem-solve the hilarious antics of griefers, trolls, and kids who wreak havoc across their favorite multiplayer Minecraft server. Little do our heroes realize this job is a massive headache.High School 51
Created and produced by Roberto Orci and Legion of Creatives, and starring Orlando Jones, High School 51” is as out of this world as the name implies.
Hidden away in the heart of Area 51, Dream Lake High School is filled with mind-blowing technology, top-secret government programs and a student body that is cool, quirky, attractive, and…well, alien. No one from the outside has ever been allowed into the school and no human has ever attended…until now.
For 16-year old Alex Valencia, the first and only human ever to attend Dream Lake, high school is going to be tough. Fitting in will be one thing but his biggest challenge just might be saving the human race!
The Samurai (aka Der Samurai) is a wonderfully odd duck of a horror film and an interesting debut for German filmmaker Till Kleinert. A somewhat Lynchian riff on the cat & mouse thriller, it almost plays like a more surrealistic take on The Hitcher (the original, of course) at times. Our tale finds us following a quiet and unassuming small-town deputy named Jakob (Michel Diercks) as he goes about his daily life. Jakob has no friends and his only family is a grandmother whose memory is fading away more each day.
On the professional front, he has been tasked with ridding his little town of a wolf that has been causing problems. Instead of attempting to capture or kill the beast, he seems content to just leave a bag of bloody goodies in the forest for it to munch on every day. Jakob hopes that this will keep the animal away, but thus far it only seems to be inspiring it to stick around. I can’t imagine why?
It’s clear that Jakob would prefer to have a life of his own and beyond the town itself, but his duty to his grandmother has him anchored to the place where he grew up. Everyone knows Jakob and no one seem to hold him in high regard or respect him. Simply put, he’s a mindless cog in a country town machine. He wakes up, goes to work, and returns home without making any waves. It’s enough to drive someone mad and, funnily enough, perhaps it has?
This story wouldn’t be much fun if someone or something didn’t enter stage left and shake things up. And so enters the titular “samurai” (Pit Bukowski – how’s that for a name!); a mysterious lanky & limber man clothed in a white dress and wielding a katana. Naturally, he’s out to cause trouble; first on a small scale and then later on a larger one. He also has some kind of odd, almost psychosexual fascination with Jakob.
Where Jakob is a walking sack of repression, the samurai is inhibition personified. He reacts purely on instinctual animal desires and is a rollercoaster of emotions, holding nothing back in a journey whose primary goal appears to be pushing Jakob to express his true self. Constantly perching, running, leaping, and swaying like a creature instead of a person, the samurai expresses himself just as much in guttural growls and moans as he does in words.
While other characters weave in and out of the story, the focus is primarily on Jakob and our titular fiend. It is their antagonistic dance throughout that really matters. Sure we get creepy moments and the occasional spurt of blood and carnage, but the relationship between hero and villain and the blurred line between them is what really stuck with me.
The Samurai isn’t perfect, but it’s incredibly odd and interesting in the best ways. A moody, atmospheric courtship of a thriller that is sure to bring some delight to those who are open to the weird tale being told. Check it out when you get the chance. I’d also recommend keeping an eye out for whatever writer/director Till Kleinert does next. He’s one to watch and so is this film.
“Can there be two monsters like that in our city?” Oh, if only these chumps knew.
The story itself is simple enough: Vanessa and Ethan are attacked by a coven of witches, which sends Vanessa into a tailspin of crazy (as most things do), Mina is buried and Malcolm returns to London, Victor continues his task of bringing Brona back to life as Caliban’s bride so that he can secure the safety of his future, and Caliban gets a job at what appears to be the most badass wax museum of all time, run by a couple that seem reminiscent of either Sweeney Todd/Mrs. Lovett or the Thenardiers.
While “Fresh Hell” relies heavily on the satanic rituals and goings-on in Vanessa and the witches’ lives, make no mistake about it: emotionally, this episode belongs to Caliban. He is the most heartbreaking take on Frankenstein’s Monster I’ve seen in a long time. His self-loathing, shame, violent outbursts, unconditional love, loyalty, and hatred are so true to Mary Shelley’s original Monster it makes me want to weep.
He stole this episode with moments like “mine is not a face for touching,” (how about that scene, eh? That darling girl touching his face with such tenderness and understanding…such a beautiful moment), and his pleading—to whomever—to let Brona live. His raw vulnerability evokes emotions I never knew I had. So again, while “Fresh Hell” intended to introduce a new foe for Vanessa and further her tortuous life story, it was Caliban who owned my attention/love/hurt/and heart.
But this wouldn’t be a proper review without talking about “Penny Dreadful’s” new enemy—the Nightcomers. These are witches in service of Satan, though they are directly in the service of their Madame. You may remember her from last season. Madame Kali, the “psychic” from season one’s “Séance” episode. Turns out she’s not as phony as we may have thought. She’s in bed with Satan and they’re both after Vanessa.
Honestly, I’m disappointed in myself for not seeing witches coming. Witches are all the rage these days in TV, books, and comics. It’s only natural they’d show up in the one show on TV that seeks to combine every supernatural being out there. As with TV’s “Salem,” “Penny Dreadful” does not bother with making its witches sexy maidens of Satan. “PD’s” witches are hideously bald and malnutrition-looking creatures that take on almost a Nosferatu look when transformed into their true form.
As excited as I am to see where this new plot takes us (witches are a blast) I’m mildly bored with Vanessa being tortured. Some hardships are wonderful for character development, but what Vanessa has been through and continues to go through is on the verge of overkill. While Green plays the role to perfection, honestly she plays it beyond perfection—it’s like magic watching her in all her tortured states, but when it happens every episode, it gets old and I’d die to see her happy for just one moment in time.
Overall, “Penny Dreadful” is one of the most stunning shows on television. It’s so atmospheric. It’s dark and broody and sensual. It’s chaotic and sexy, calm and unyielding. While “Fresh Hell” could have been a stronger season two opener, I think they did a fine job reintroducing us to the majority of the cast and their insane hardships. I would have liked to see more of Malcolm after the death of Mina—the girl he spent an entire season looking for (that felt a bit anti-climatic, no?) and as I made clear above, I could have done with less of Vanessa and perhaps more of Ethan and his struggles. But I’m not sweating that, because this season is clearly going to explore his life in great detail.
My one serious complaint…where the hell was Dorian?!
- Victor works at his desk with his back turned to a dead body that is meant to come alive again. You couldn’t pay me enough money to work with my back against a dead body meant to come alive again.
- Victor also caresses said dead body. So there’s that.
- That blood bath scene with Madame Kali was delightful. No witch is complete without a sexy blood bath.
- This reviewer absolutely cannot wait to find out what Brona remembers and what she doesn’t. There is so much potential for some weird love triangle between Brona, Ethan, and Caliban. This also ups the chances of everyone finding out about Victor’s little secret.
- “That face will make our fortune.” Uh oh…
Tell us your thoughts on “Penny Dreadful’s” season two opener! I have some great PD swag sent to me from Showtime and I’m looking for the most profound commenter to share with. *wink* (Must be in the US and no PO boxes)
Meet your new Pennywise!
Will Poulter (pictured below; Maze Runner, We’re the Millers) is in negotiations to play Pennywise, the evil monster who lured in children disguised as a clown, in the upcoming remake of Stephen King’s horror classic It, says Variety.
“True Detective’s” Cary Fukunaga will direct It, which will be split into two feature films for New Line Cinema.
The original story followed a group of outcast kids that come together over summer break to take on the monster that’s haunting their town, battling their own personal monsters in the process.
King’s popular book was made into a TV miniseries in 1991 starring John Ritter and Tim Curry, who played the clown in terrifying fashion. A film adaptation was never undertaken given the size of the King novel, but Fukunaga has been very vocal recently that the latest script will stay true to the King story while also giving the film a new look.
Fukunaga penned the It screenplay along with Chase Palmer.
We’ve teamed up with composer Jesper Kyd to bring you two exclusive tracks from the soundtrack to State of Decay Year One: Survival Edition. The game itself came out last week while the soundtrack itself comes out tomorrow. The music is sublimely beautiful but has an air of sinister intention lurking behind.
Kyd is a BAFTA-award winning composer behind some of the biggest games in history, including the Assassin’s Creed and Borderlands games as well as the Hitman games, to mention only a few.
The game’s synopsis reads:
The end is here. Life as you know it has gone to hell after the mother of all zombie outbreaks. Now you and the few scattered survivors must band together to survive and rebuild in a 3rd-person action game set in a dynamic open world. You choose where to make your stand, designing and fortifying your home base, performing daring raids for food and ammunition, and rescuing other playable survivors with unique talents. The open, sandbox world develops in real-time, shaped by your actions, dynamically generating content based on your choices and the ever-increasing zombie threat.
State of Decay: Year-One Survival Edition brings the smash-hit zombie-survival-fantasy game to Xbox One and PC on Steam. Beautifully remastered in 1080p, it includes State of Decay, “Lifeline” and “Breakdown” Add-Ons, along with new weapons, vehicles, gameplay and Achievements.
The OST drops tomorrow on all digital platforms, including iTunes, Amazon, Spotify, and more.
Out of all the movie genres in existence, the horror genre arguably has the most famous and memorable scores out there. From Halloween’s terrifying piano tune (which would evolve into a synth score), to Goblin’s thrilling score from Suspiria, us horror fans really have a treasure trove of music to select from. With the release of It Follows a few weeks ago, its score has been the subject of many on online discussion. It made me realize that scores don’t seem to be perceived as important as they used to be (though they clearly are, if It Follows is any indication). I am by no means a musical expert, but the following five scores are ones that I feel deserve a place next to the best ones (or at least deserve more credit than they’ve been given).
Arnold Schwarzenegger has posted a clip from the upcoming zombie horror/drama Maggie on his Facebook page and it is soaked in emotional weight. The clip, which you can watch below, shows Schwarzenegger approaching two zombies, who appear to have been teens or younger that turned, that were originally coming after his daughter. As he approaches them with an axe, the clip ends, leaving us wondering what happens next.
However, what I gleaned from this was that every action bears consequence. You can see in Schwarzenegger’s eyes and how he speaks that the thought of killing these two zombies is abhorrent, that it will haunt him if he goes through with it.
“Fear, panic, and paranoia pit neighbor against neighbor. Families are ripped apart as loved ones are forced into quarantine. Authorities attempt to maintain control over communities teaming with violence. But with droves of new victims each day, it’s a losing battle for those citizens uninfected by the zombie outbreak. In Henry Hobson’s debut feature, Wade (Arnold Schwarzenegger) locates his missing teenage daughter Maggie (Abigail Breslin) at the local hospital and insists on bringing her home to care for Maggie himself. With her “disease” progressing quickly, manifesting in increasingly disturbing ways, Wade shuns the warnings of his wife and friends—risking infection from the overpoweringly ravenous Maggie.”
Maggie, which stars Schwarzenegger and Abigail Breslin as the title character, hits theaters and VOD on May 8th.
Make sure to read our review here.
To celebrate May the 4th, Detroit electronic wizard Celldweller has released a sick cover/interpretation of “The Imperial March”, the sinister theme that always hinted at bad tidings in the Star Wars universe.
The Detroit-based artist, who also co-founded and owns his own record label, FiXT, has written music for an array of films, television shows, and video games such as: The X-Men Trilogy, Iron Man 3, Spider Man 2 & 3, Dead Rising 2, Assassin’s Creed II, and more. His music has been streamed over 100 million times across various platforms.
Head below to stream the track and to download it for free!
In the cold, winter fields of New England, there sits a house that wakes up every 30 years and demands a sacrifice…
After debuting at the SXSW Midnighters, Dark Sky is set to release Ted Geoghegan’s debut feature, We Are Still Here, which stars everyone’s favorite Barbara Crampton Re-Animator, You’re Next), as well as Andrew Sensenig (Upstream Color), Lisa Marie (Ed Wood), and Larry Fessenden (I Sell the Dead). It will open in limited theaters and VOD on June 5, 2015.
Check out the poster and trailer below.
“After the death of their college age son, Anne and Paul Sacchetti (Barbara Crampton and Andrew Sensenig) relocate to the snowswept New England hamlet of Aylesbury, a sleepy village where all is most certainly not as it seems. When strange sounds and eerie feelings convince Anne that her son’s spirit is still with them, they invite an eccentric, New Age couple (Larry Fessenden and Lisa Marie) to help them get to the bottom of the mystery.
They discover that not only are the house’s first residents, the vengeful Dagmar family, still there – but so is an ancient power. A primal darkness slumbers under the old home, waking up every thirty years and demanding the fresh blood of a new family.
An altogether new take on the haunted house genre that deftly mixes human drama and comedy, ‘We Are Still Here’ is a couple’s terrifying journey through darkness and loss set against the freezing New England winter.”
Thanks to Fabien M. we have the first ever stills for Éric Hannezo’s French remake of Mario Bava’s 1974 crime thriller Rabid Dogs!
François Arnaud, Virginie Ledoyen, and Lambert Wilson star in the film that begins after a bank job goes horribly wrong, and three desperate criminals take a young woman, father and child hostage that sets off a frantic and violent road trip that not all of them will survive.
There’s no word on a distributor, yet, although the film will be for sale at the upcoming Cannes market where we were able to acquire these stills.
I love the colorful nature of these shots, and the iconic imagery. It’s hard to judge a movie just based on photography, but I’ll be damned if I’m not already excited.
We recognize that there are plenty of incredible comics competing for your cash, but there can be only one HORROR COMIC OF THE WEEK. This week, the honored editor’s choice designation belongs to the revealing “Nailbiter” #12 from Image Comics.
“Nailbiter” has been the high water mark for horror comics for the last year, and to celebrate Joshua Williamson and Mike Henderson are giving readers the closest thing to answers since the series began with #12. After Finch’s scary interrogation of Warren last issue, things have been on edge. The story is reaching a tipping point, what exactly is happening in Buckaroo and what the hell makes a serial killer?
The answers start to come this month. “Nailbiter” crafts another must read issue with a smart mix of tension and reveals. This is the month that pushes the comic into brand new territory as a new antagonistic force emerges that threatens to be more dangerous to Finch than anything that came before. It’s damn good reading, and it can be yours this Wednesday.
Image Entertainment, an RLJE Entertainment brand, has acquired all North American rights to the Caliber Media-produced horror film, Some Kind of Hate, Bloody Disgusting learned.
“Some Kind of Hate tells the story of a troubled teen who’s subjected to severe bullying. He accidentally conjures Moira Karp, a teenage girl pushed to commit suicide by bullies years ago. Moira is now a vengeful and unstoppable force on a mission of gruesome retribution. But when she goes too far, Lincoln must prevent her from spiraling out of control in this passionate and vividly violent take on the supernatural slasher.”
The buzz-worthy film made its world debut at the Stanley Film Festival on May 2.
Directed by Adam Egypt Mortimer, from a script by Mortimer and novelist Brian DeLeeuw (The Dismantling), Some Kind of Hate stars Ronen Rubenstein (It Felt Like Love), Sierra McCormick (Disney’s “Ant Farm”), Grace Phipps (Fright Night, Disney’s Teen Beach Movie), Spencer Breslin (The Happening, The Kid), Lexi Atkins (The Boy Next Door, Zombeavers), Noah Segan (Looper), and Michael Polish (The Astronaut Farmer, Twin Falls Idaho).
Produced by Dallas Sonnier, Jack Heller, Amanda Mortimer, and Gabriella Revilla Lugo, the deal was negotiated by Caliber’s Sonnier and Heller on behalf of the filmmakers and Ward on behalf of RLJE/Image Entertainment.
I’m no longer upset about the inevitable train wreck that is going to be the rebooted Universal Monster franchise. How can I be when everything I would want in a reboot is already happening on Showtime’s “Penny Dreadful”. After last year’s compelling season finale, “Penny Dreadful” instantly became one of my most anticipated Summer returns. Delightedly, “Fresh Hell” doesn’t wait around to address major cliffhangers and get right into telling the tragically beautiful stories of our characters.
Josh Hartnett and Eva Green continue to dazzle in their performances, being the main focus in the return. For the first time in years, the art of possession has unlocked the secret to being scary again. This season promises to dive further into the black arts and sorcery which implies some serious Devil interaction from Green as well as our “big bad” for the season, Madame Kali (Helen McCory) who’s back as the leader of a vicious coven. Opposite Green is Hartnett’s lonesome werewolf, Ethan Chandler. The final scene of last year’s season finale revealed what most already knew to be true, Chandler on the brink of a classic looking werewolf transformation. While dealing with his own inner demon, Chandler confides in Vanessa revealing to here that he has “black outs” and doesn’t remember things but that he usually wakes up covered in blood. Whether that means he actually doesn’t know he is a werewolf or not remains to be seen.
Our other returning characters aren’t finding themselves much better on the other side of town. Harry Treadway’s portrayal of Dr. Frankenstein continues to pull from the Universal and Hammer incarnations by combining Peter Cushing’s scientific and proper demeanor with Colin Clive’s energy and madness. I was excited to have the Bride of Frankenstein teased. Billie Piper’s performance as the doomed Brona Croft was the stand out for me last season and the idea of having her as the focus character for one of my favorite entries in the original Monster’s line up is exciting. The show writers seem to be taking the idea of “Bride” in a very literal sense however so I predict an even more tumultuous relationship forming between creator and child.
In historical interest, the introduction of a Waxworks museum is not only a nice homage to House of Wax but also very telling of the time period. 56 years before “Fresh Hell” opens, a wax museum by the name of Madame Tussaud’s opened up in London and would go on to become one of the most famous wax houses of the 20th century. Of course, the Waxworks portrayed isn’t Madame Tussaud’s but in addition to being historically relevant the inclusion of it also made me realize the characters are in many was could be molded into exhibits themselves. Using Europe’s rich culture has made the city into a character in its own right. The stark white snowscape of winter blends right into the drab slums of London town.
I’ll leave you with this, last season there was a lot of Egyptian mythology and iconography surrounding the vampires. This season seems to be shifting gears in ancient beliefs by introducing a character by the name of Hecate, who in Greek mythology is a goddess of sorcery and necromancy. Unless that just happens to be her name, which I doubt, it implies we could see more Greek mythology incorporated in later episodes.
The Avengers: Age of Ultron, $40 for Batman: Arkham Knight‘s season pass, the “Fight of the Century,” Yooka-Laylee, and more!
Mortal Kombat X is about to get a much-needed injection of spooky scary with the Jason Voorhees Bundle, which will be available tomorrow if you have the Kombat Pack, or on May 12 for everyone else. For $7.99, you’ll get a playable Jason Voorhees and the Horror Pack, which includes Vampiress Mileena, Kraken Reptile and Pharaoh Ermac skins.
Jason and the Horror Pack can also be purchased separately for $4.99 and $3.99, respectively.
Bloody Disgusting has the exclusive trailer debut for Franck Khalfoun’s techno-thriller i-LIVED, which stars Jeremiah Watkins!
XLrator Media will be releasing i-LIVED in limited theaters on July 3rd and on VOD on July 7th.
“Josh Fosse is a 20-something guy whose life is going nowhere. His girl left, his rent is late, and he lacks a real job. He is trying to make it as an app reviewer online and decides to review a self help app called i-Lived for fun. He’s signs on and immediately his life turns around. He meets the girl of his dreams and he gets a job offer he can’t refuse. Convinced it’s him and not the app, he signs out… and loses everything. He signs on again but this time the terms are different, the app is asking him to do things that are out of his moral comfort zone… but essential to becoming the success the app tells him he can be.“
Khalfoun directed the incredible remake of Maniac, starring Elijah Wood, as well as the forthcoming Amityville sequel for Dimension Films. He also helmed P2 for director-turned-producer Alex Aja.
“I wanted to find a concept where I could tell a story using all of the technology available on a smart phone and immerse the user into a story in an innovative way,” Khalfoun told us last year. “I thought if I could center the plot around an app, use the camera on the phone to shoot parts of it, and connect the audience through the phone while they are watching the movie then the device would become a tool for storytelling rather than an annoying distraction.”