Deeper and deeper we go into the gore-filled rabbit hole that is Justin Jordan’s “Spread.” Lines are blurred as the trials increase for our heroes No, Molly, and baby Hope. Issue #4 picks up as super-babe Ravello intervenes in Jack’s hack-and-slash way of justice, seemingly rescuing No from a Crock-Pot style ending. As our trio is separated, their connections with the villains of the series come together.
WRITTEN BY: Justin Jordan
ART BY: Kyle Strahm
PUBLISHER: Image Comics
RELEASE: November 5, 2014
Reviewed by Nick Brehmer
Turns out, Molly’s been exposed to Ravello before and I suspect that there’s some detail regarding infanticide that has yet to be revealed. What has been revealed though is that the Preacher and his minions consider baby Hope to be the anti-Christ and an end to their spread-infested perfect world. Given the power her tears hold over the infection, it makes sense that her extermination would be paramount for this Spread-centered religious movement.
The plane from issue #1 makes a return in this latest issue as referenced by Ravello. Jack, who insists that the outside world and all things from it have ceased to exist, however, quickly refutes its existence. This echoes my statement from my previous review that Revello’s villainous role may not be as obvious as it seems. I get the impression from “Spread” that that Jordan likes to play with expectations.
The narrative structure that Jordan continues in each issue is pretty seamless. He has the narrator Hope position each past situation within a context of gritty, painful realism. With that said, her narration itself provides the chaos of “Spread” with a significant amount of her namesake, hope. The only problem is that we as reader have yet to actually see much of it within in panels. We can cheer for No and Molly, be suspicious of Ravello, and we can cringe at Preacher all we want, but the world of “Spread” remains a very, very nasty place.
There’s heaps of violent anticipation thrown our way in this issue. Looking forward to what bloody mess Jordan has in store for us next time.
A product of the harsh lands of Northern Ontario, Nick Brehmer is in fact a sensitive flower currently blooming in the GTA. He spends his downtime wishing he was British. Follow him on Twitter and Instagram @nicholasbrehmer
“Nailbiter” #7 hits it clean out of the park this week with an enthralling homage to Bendis and Oeming’s “Powers.” Although I am a very new fan of Powers, starting it all last month in prep for NYCC, as soon as I heard the news about this issue I was over the moon. You’ll notice the text on the cover reading “Guest-Starring Brian Michael Bendis”, this isn’t some issue co-written by Bendis or something along those lines, no. Bendis truly does guest as himself in the Nailbiter world, just like Warren Ellis did way back in Powers vol.1 issue #7. He’s working on a new comic and wants to interview a few people around town about all the serial killers.
WRITTEN BY: Joshua Williamson
ART BY: Mike Henderson
PUBLISHER: Image Comics
RELEASE: Nov 5, 2014
Reviewed By Torin Chambers
Although this issue is primarily about Bendis and his interactions with the citizens of buckaroo this is not a one off like last month. The overarching Nailbiter plot continues to push forward with the developments introduced at the end of issue #5 being the main ones. The way Bendis just happens to randomly be eavesdropping on Finch is altogether too convenient and feels contrived. That’s by far the weakest part of this issue and sticks out like a sore thumb in comparison to how excellent the rest of it is. After Bendis hears his fill of exposition he takes off to explore the rest of town in another beautiful tribute to Powers. Bendis’ attempts at interviewing the citizens of buckaroo are depicted exactly like an early issue of Powers where the main characters are also conducting interviews, only with super heroes.
The scene just get better and better as the book continues on. Bendis ends up eventually finding a willing interviewee, a grown sibling of one of the serial killers. It’s incredibly intriguing having someone speak frankly about how it has impacted their life and their family. It also continues to demonstrate that everyone is a little off in Buckaroo. Which makes me think there’s something about that that Williamson just hasn’t begun to touch on. Is Buckaroo situated on some sort of Hellmouth or poisoned by a demonic presence?
The definite highlight of the issue is Bendis’ interaction with Warren who turns out to be a huge comic book fan. They have a compelling discussion about how Warren believes they are alike. Each has killed in their own way and it connects them somehow in Warren’s twisted mind. The conversation also takes place in a playground with carefree children running around and has a certain tension that’s just superb.
“Nailbiter” #7 is special, it’s a love letter to Powers and Bendis while still maintaining that thrilling and unsettling Nailbiter feel.
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 @TorinsChambers
Opening in limited theaters and on VOD platforms this Friday is Jessabelle, Lionsgate’s new haunter from Saw VI director Kevin Greutert.
In the film starring Sarah Snook, Mark Webber, Joelle Carter and Ana De La Reguera, “Returning to her childhood home in Louisiana to recuperate from a horrific car accident, Jessabelle (Sarah Snook) comes face to face with a long-tormented spirit that has been seeking her return — and has no intention of letting her escape.”
Bloody Disgusting checked in with Greutert to talk about the many films that influenced his latest genre offering. Here’s what he had to share:
“Every director wants his or her film to be unique. I’m no exception. But in the course of dreaming up a movie and guiding the crew and cast through the process of realizing that dream, it’s often necessary to find references in art and the world to help give the team a sense of how the finished movie should look and sound.
And naturally directors often turn for these references to the things they know best: other films. After all, there are thousands of decisions, large and small, that go into making a movie, and only so much time. When you’re under the gun and you need to quickly convey to a team of people how you want a scene to play, sometimes your best tool is to say something like, “Have a look at how they did it in The Ring. Let’s try to top that.” In the end you create something unique, but still part of a long tradition.
This process of guiding the team starts at the script stage. In the case of Jessabelle, I asked the writer, Ben Garant, to craft the story so that the audience experiences the whole movie from the perspective of the main character. This is the approach you see in films like Fight Club, and it has the uncanny effect of leaving the audience wondering if the reality you’re experiencing on screen can be trusted. Cinematographer Michael Fimognari and I talked at great length about techniques for amplifying this effect in the way the movie is lit and photographed, which led us back to films like Jacob’s Ladder and the ones listed below.
Jessabelle came into my life as a beautifully written script about a young woman who is forced to return to her childhood home in Louisiana, and must contend with a jealous spirit who now inhabits the house. The sumptuous visuals and creepy sound elements already existed on the page, and it was up to me to bring them to life on the screen.
So here are Five Classic Thrillers that I asked members of the cast and crew to watch before we filmed Jessabelle — for inspiration, techniques, and just to have a good time.
The Last Wave (Peter Weir, 1977)
I first saw this film at revival theaters when I was a teenager, and watched it again and again every time it came to town. Richard Chamberlain plays an attorney in Sydney, Australia, who is asked to defend an aboriginal man accused of a tribal murder, which leads him into a world of terrifying visions. In the course of this quiet but disturbing film, Chamberlain learns that there is a greater reality in the aboriginal Dream Time than in his own modern world view. I’ve always been a sucker for the idea that by civilizing, humanity has left behind long-forgotten feelings, powers and sensitivities that may still be perceived in some cultures, and I think The Last Wave got me started on this way of thinking.
I love this movie because of the way it conveys dreaming. Every scene in the film is infused with images of water — rain on windows, overflowing bathtubs, and of course the eponymous Wave that reveals in the end what is really happening. Each night, Chamberlain awakens in a storm to a strange sound off in the distance, a sound that has been seared into my mind for decades: an inhuman, lilting, rhythmic whine, like the bleating of a dying sheep, that gets closer and closer to the house, until we see an impossible silhouette outside the window. I asked my sound designer, Greg Hedgepath, to watch this film so we could try to understand just what qualities made this sound element so haunting and other-worldly. Ample use of the didjeridoo in the music score goes a long way to enhance the exotic atmosphere.
Fire Walk With Me (David Lynch, 1992)
I hadn’t actually seen much of the Twin Peaks TV show when I saw this spinoff film late at night on opening weekend. It’s tonally very jarring, with insanely silly cop goofiness intercut with bleak implications of father/daughter incest. The story is nonlinear, and doesn’t make a whole lot of sense, at least not to someone unfamiliar with the show (I boycotted my television for many years around that time). But it’s not the plot that counts here.
When I walked out of that theater, I was genuinely disturbed, and didn’t want to go to sleep alone (something else I did a lot of back then…) Just as Lynch intended, this movie gets under the skin and quietly seethes.
And again, Fire Walk is at its most powerful when it is depicting dreams and the subconscious. I would go so far as to say that David Lynch has brought the cinema language of dreaming to its highest point, and has been imitated but never bested. There’s a sequence that lived on my laptop during the shooting of Jessabelle that I shared as often as there was someone willing to watch it. Laura Palmer hangs an eerie framed photo on her bedroom walls. It depicts a doorway into a dark, featureless room. In her dream, she enters this room. The sound turns to reverberant sludge. Lin Shaye waves Laura down a dark passage, toward encounters with a backward-talking dwarf (of course…), Special Agent Cooper, and a signet ring. Then Laura opens another door — and is looking into her own room, at the same picture hanging on the far wall, but now she’s in the photo, looking back at herself. What does it all mean? You could conjecture all night. It’s more than the sum of its parts, and as a visual poem, it deftly indicates a reality that cannot be directly perceived or described.
Kwaidan (Masaki Kobayashi, 1964)
The four segments of this Japanese ghost anthology are very different from one to the next, but all beautifully crafted. It’s the first section that I have pointed out as a reference for Jessabelle as well as my current project, Visions. In The Black Hair, a man abandons his faithful wife for a wealthy woman, and returns home to spend a night of reconciliation with his wife, only to awaken and realize what is actually in his bed.
This film opens with a classic title sequence created by filming ink dripped into a tank of clear liquid, and letting the abstract patterns slowly fill the screen. But it’s the brilliant, subtle sound design that really stands out for me. There are very few films that ever are allowed to get truly silent, and Kwaidan is a pioneer in this regard. The icy-quiet encounters with the ghost feel like death itself, with just a few accents from Toru Takemitsu’s abstract music score to let you know from time to time that there’s nothing wrong with your sound system. More recently, this technique was used to excellent effect in Under the Skin; I don’t want to spoil for you one of the greatest scenes of the year if you haven’t seen it, but it’s a great example of using silence to cinematically convey the state of death.
Angel Heart (Alan Parker, 1987)
In its depiction of Louisiana as a hellish underworld of death and decay, this movie is a visual treat, and in some ways could be a one-stop reference for just about any Southern Gothic horror story since then. Mickey Rourke is private detective Harry Angel, hired on a gig that takes him to the darkest corners of New Orleans and beyond.
Angel Heart takes place in the world of the main character’s mind. Secrets and corruption and sensuality all sumptuously fill every nook, creepily photographed by Michael Seresin. In such crafty hands, Louisiana looks like a different country, maybe even a different world, and the production design is meticulous and beautiful.
And of course Lisa Bonet does a naked voodoo dance with a chicken. Let’s be honest: that’s the real reason we all watched this movie so many times. Jessabelle also has an amazing voodoo dance ritual, but we could only dream of the R-rated glories of Angel Heart. Still, I think we did a fine job in our own effort.
The Haunting (Robert Wise, 1963)
My favorite ghost story of all time, this film was made by editor-turned-director Robert Wise long before he shot The Sound of Music to much different effect. Based on a Shirley Jackson story, it’s a classic tale of a group of people who spend the night in an enormous Rococo mansion, and must face their demons. This movie scared the crap out of me when I was a kid, particularly the scene in which the nightmare force bends the ornate wooden door from behind. It’s still effective today.
What’s so amazing about this movie is that you never actually see a ghost. Its presence is brilliantly suggested through actor performance and sound design. David Boulton’s richly dark black-&-white photography is also a key player.
The most effective scary movies will always be the ones that draw the viewer’s own imagination into the game, because then it gets personal. We each have our own secrets, traumas, and phobias, as well as dreams and desires that can’t easily be put into words and images. As soon as the monster gets articulated on screen, it becomes something that doesn’t feel as true to our real lives, and isn’t so scary anymore. But a film that looks us in the eye and seems to know the unique demons we all harbor — that’s truly disturbing.” -Kevin Greutert
“Ghost Fleet” is truly something else, falling somewhere within the framework of a smart actiony dark comedy. At its heart it’s all about fleets, from ships to massive semi’s. Fleets carrying precious cargo across great distances. There’s a rich and deep mythology at work here too, which seems insane for a book that primarily features hulking semi’s, fast cars, and lots of shooting. This isn’t Maximum Overdrive this is eighteen wheels of pure awesome.
WRITTEN BY: Donny Cates
ART BY: Dan Johnson
PUBLISHER: Dark Horse
RELEASE: November 5, 2014
Reviewed By Torin Chambers
After a tiny tease of the greater conspiracy we are thrown into one of the most radical action scenes I’ve ever seen hands down. Our heroes are escorting a massive semi down a barren highway when they notice one of their cars has stopped behind them. Before they can even begin to investigate they’re rocked by an explosion and a hail of gunfire, destroying their car in the process. They retreat to the cover of their seemingly indestructible semi, and this is when Ghost Fleet turns the dial up to 11.
With no other options available they pile into the semi and haul ass. Decimating everything in their path, shredding vehicles and people to bits. For the short while this lasts it’s a total blast to read, I was flipping back a forth through all the gorgeous carnage like a giddy school girl. They’re eventually run off the road in a glorious crash that unleashes whatever it was that they were transporting, annihilating everyone outside of their vehicle but leaving our heroes relatively unharmed. I don’t want to spoil where it goes from here but Ghost Fleet has its sights set high, higher than any of us can even fathom at this point.
I cannot praise Daniel Warren Johnson’s art enough, it’s fucking outstanding. He’s the perfect person to draw this book, capturing the gritty feel of truckin’ and the horrific beauty of smashing through a person with said truck. His panels are thoughtful when they need to be, but can communicate a unprecedented level of carnage in a two page spread. The sense of scope on these pages allows you to really feel the massive presence of an eighteen wheeler, and what it must be like to really control (or lose control of) one of those thing.s
Ghost Fleet presents itself a lot like an 80’s action movie but reading it with that mindset would only be scratching it’s surface. Beneath the shine of an 80′s action flick is a heavy conspiracy, engaging characters, hilarious dialogue and that will have you clamouring for more.
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 @TorinsChambers
Here’s the first ever look at Bo Mikkelsen’s pandemic thriller out of Denmark, What We Become (Sorgenfri), which is heading to the ongoing AFM.
“The Johansson family’s idyllic summer is brought to a sudden halt as deaths stack up from a virulent strand of the flu. The authorities start off by cordoning-off the neighbourhood, but soon panic and force the inhabitants into quarantine in their hermetically-sealed houses. Isolated from the rest of the world, teen Gustav spies out and realises that the situation is getting out of control. He breaks out, but soon the family of four comes under attack from the wild, blood-thirsty mob who forces them to the extreme to escape alive.”
The pic stars Mille Dinesen, Mikael Birkkjær and Troels Lyby.
Thanks to Fabien M. for the tip!
It was announced last week that LevelK has acquired international sales rights to Scandi horror/sci fi pic Encounters, Anders Bukh’s feature debut, which will be at the ongoing AFM.
The pic “Follows a group of four young filmmakers who travel into the Swedish woods to shoot a low-budget horror movie. The shooting unravels when they get lost and one of the actors disappears only to return hours later, naked and in a catatonic state.”
Encounters will roll-out on VOD simultaneously with its premiere at the Danish horror festival Bloody Weekend.
Check out the first trailer and two clips discovered by Bloody fav Fabien M.
Bloody regular Fabien M. scored the American Film Market sales poster for Richard Bates Jr.’s Suburban Gothic (read our review), his follow-up to the Sundance success, Excision.
“Raymond has a prestigious MBA, but he can’t find work. He can channel the paranormal, but chatting with a cute girl mystifies him. Kicked out of his big city apartment, Raymond returns home to his overbearing mother, ex-jock father, and beer-bellied classmates. But when a vengeful ghost terrorizes the small town, the city-boy recruits Becca, a badass local bartender, to solve the mystery of the spirit threatening everyone’s lives.”
Suburban Gothic is described as an eccentric comedy/horror that stars Matthew Gray Gubler, Kat Dennings, Ray Wise, Sally Kirkland, Jeffrey Combs and John Waters, and riffs on everything from classic supernatural horror and outsider teen comedies to the “Hardy Boys” and “Scooby-Doo”!
The film had its World Premiere at Fantasia this past July.
Ahead of AFM, Filmax (the [REC] franchise, Summer Camp) has released an international trailer for Sweet Home, with Rafa Martinez at the helm.
Sweet Home is described as a realistic and claustrophobic film that keeps track of the scariest side.
Here’s a translation of the film’s plot: “The plot is situated in a daily environment: a couple decides to spend a romantic evening in a floor of a semi-abandoned building that slip because she works as a consultant for the council house and got the keys. During the evening they discover that a hooded murderer is the only tenant left in the building…and they have become the new target.“
Ingrid Garcia Jonsson (Beautiful Youth) stars with Bruno Sevilla (Mindscape).
Martinez co-wrote the screenplay with Teresa of Rosendo and Ángel Agudo.
The English language Sweet Home is produced by Julio Fernandez.
Thanks to Fabien M. for the hat tip!
Houston, TX psych rock band The Linus Pauling Quartet have released an official music video for their track “C Is For Cthulhu”. The video tells the tale of researchers who stumble upon Cthulhu and meet with rather gruesome ends.
The video gleefully embraces its weaknesses and instead turns them into very charming strengths, such as the obvious “green screen into different locations” look and the stop motion Cthulhu that roars to life. It’s obviously made with a lot of laughs and is pretty damn fun!
The 7″ vinyl and digital album can both be ordered through Bandcamp.
“Keep your phone on.” That’s what filmmaker Franck Khalfoun (Amityville, Maniac, P2) is telling audiences regarding his new movie i-LIVED, an alleged wild and thought-provoking new thriller that is the first American film to use immersive second-screen technology. The result is said to be an unconventional and wholly bracing cinema experience. It is a coordinated film production in concert with technology production as a means of deepening the viewer engagement with the on-screen characters and plot.
“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 said. “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.”
An innovative and experimental project, i-LIVED is a tech-based mindbender about an online app reviewer whose latest assignment mysteriously improves his life beyond anything he imagined, but just as quickly starts to tear him apart.
Teaming with producers Ehud Bleiberg (The Iceman, Dance of the Dead), Alix Taylor (Piranha 3D, Ti West’s upcoming In The Valley of Violence), and Pavlina Hatoupis (The Pyramid, White Bird in a Blizzard), Khalfoun is said to have created a truly unique ride that not only touches upon familiar genre conventions, but also raises challenging questions about society’s current relationship with technology.
Bleiberg Entertainment is handling worldwide sales and will be unveiling the film to distributors this week at the American Film Market in Santa Monica, CA.
Check out our exclusive peek at the sales art!
Halloween may be over but that doesn’t mean the pumpkin carving fun has to stop! After all, Thanksgiving uses a ton of pumpkins and, as horror fans, there’s a lot to be thankful for this year (some damn fine movies, shows, and games have been released). So what do to with those orange gourd canvases? Well, if you’re an American Horror Story: Freakshow fan, then I’ve got something for you!
YouTube channel AWE me has posted a video where they carve and sculpt a pumpkin to look almost exactly like Twisty The Clown, the lovable comic relief that has no mental issues whatsoever (he’s behind me please god send help).
Check out the video below!
Lightning Entertainment has released a sales trailer for The Pack, an Australian horror/thriller being directed by Nick Robertson (The Runner).
“The Pack follows hardened farmer and devoted family man Adam Wilson, who is shocked to discover that the last of his livestock have been mauled to death on his rural ranch. Making matters worse, his wife informs him that their home veterinary business is failing, making a comfortable future uncertain for their feisty teenage daughter and young son. When a determined bank representative makes a surprise visit to the ranch to threaten foreclosure on the property, Adam firmly reassures his family that they are going nowhere, and that he will fight for the place that they call home.
Adam plans a celebratory feast that night, hoping to allay everyone’s concerns about the future, but dark shadows lurk outside their isolated farmhouse. A large pack of hungry and ferocious feral dogs circle restlessly in the darkness, thirsty for blood, waiting for their chance to attack. Suddenly the power to the farmhouse is cut and the evil hounds are unleashed, triggering a bloody and desperate battle for survival. With no way to call for help, Adam must protect his family from the violent onslaught of vicious evil howling outside their door!“
It is to be produced by Michael Robertson (The Reef, Black Water, Road Train) and Kent Smith (2:37, The Tree) under their new genre label, Breajout Movies.
The film will be shot on location outside of Adelaide, South Australia, with the support of the South Australian Film Corporation.
Filmmaker Scott Waugh (Need For Speed, Actor of Valor) is currently in final negotiations to direct the $120 million (Jesus, that’s expensive) sci-fi epic Inversion, Bloody Disgusting learned out of AFM.
“The film follows two unlikely heroes, a young Chinese scientist and a street smart American expat, on a frenzied journey across the globe to save Earth from an apocalyptic threat – a total reversal of gravity that causes whole cities and civilizations to uproot and plummet into the sky.”
With the writing team of Bragi Schut (Season of the Witch) and Academy Award nominee David Arata (Children of Men), Inversion will be produced by Academy Award nominee Michael Nozik, Markus Barmettler and Philip Lee.
Inversion is currently in pre-production with a planned start date of late April 2015.
Fabien M. sent over the first international one-sheet for the Light House Productions’ French horror Hostile, directed by 15-year-old Nathan Ambrosioni.
In the film, “Meredith Langston always longed to have children. She finally makes this happen when she adopts two young adolescent girls. However, her now idyllic world sours rapidly and dream veers to nightmare when she quickly finds that she is unable to cope with their increasingly strange behaviour. Desperate, she seeks the help of two television journalists working for a local station, SOS Adoption.”
Julie Venturelli, Luna-Miti Belan, Lucie Donier, Shelley Ward, Anatolia Allieis, Julien Croquet, Magaly Gouyon, Didier Beaumont, Sarah Robert, Danielle di Sandro, Mallow Garcia, Richard Carré, Elona Hec and Vanessa Azzopardi star.
Bloody regular Fabien M. just sent me a link to a trailer that just blew my mind.
Below you’ll find the first trailer for Dark Star: H.R. Giger’s World, a new documentary about the internationally acclaimed and controversial painter, sculptor, architect, designer, Oscar winner and Alien creator.
The doc hopes to learn, who is the artist HR Giger? What kind of person is behind such terrifying and disturbing yet aesthetic forms and beings?
What’s so special about this new film is that it features actual interview with the man himself, who we lost this past May.
This could be his final words ever caught on film…
Below you’ll find the sales art and trailer for Zombie Massacre 2: Reich of the Dead, which was directed by Luca Boni and Marco Ristori, and stars Andrew Harwood Mills, Dan van Husen, Aaron Stielstra, Ally McClelland, and Lucy Drive.
“Set in WWII, this is the story of a bunch of American soldiers fighting against a horde of zombies created by the Nazis using the prisoners of the camps… They have only one night to save their own lives, but the enemy is stronger and stronger…“
More on this series as it comes in.
One of my all-time favorite film festival experiences was seeing Xavier Gens’ Frontier(s) twice at the Toronto International Film Festival. The movie was a blast from the past, an action-packed gore-fest that was inspired by The Texas Chain Saw Massacre.
Gens, who also helmed The Divide, is returning to horror with the thriller The Crucifixion, which is to be penned by The Conjuring writers Chad and Carey Hayes, Bloody Disgusting learned out of the ongoing AFM in Santa Monica.
Based on true events, “When a priest is jailed for the murder of a nun on whom he was performing an exorcism, an investigative journalist strives to determine whether he in fact murdered a mentally ill person, or if he lost the battle with a demonic presence.”
Peter Safran (Annabelle, The Conjuring) and the Hayes brothers will produce, with Lotus Entertainment’s Bill Johnson, Jim Seibel, D.J. Gugenheim and Ara Keshishian executive producing. Lotus will handle international sales and introduce to buyers at AFM.
Here’s yet another old-school poster for The Editor (review), which premiered at the Toronto International Film Festival’s Canadian lineup.
In Adam Brooks and Matthew Kennedy’s film, “A one-time (and now one-handed) master film editor toiling in the cinematic sweatshops of 1970s Italy becomes the prime suspect in a series of brutal murders.”
Giallo legend Udo Kier stars with Tristan Risk and Adam Brooks.
The film is said to be a loving tribute to/parody of the gory giallo thrillers of Mario Bava and Dario Argento.
Based on a true story, Backcountry follows an urban couple who go camping in the Canadian wilderness – where unimaginable beauty sits alongside our most primal fears. It’s an intriguing film we missed during the Toronto International Film Festival announcements, and it stars The Texas Chainsaw Massacre‘s Eric Balfour!
Today, we have the AFM sales trailer for the thriller in which tension rises as a bear attacks a group of campers.
“Alex (Jeff Roop) is a seasoned outdoorsman while Jenn (Missy Peregrym), a corporate lawyer, is not. After much convincing, and against her better judgment, she agrees to let him take her deep into a Provincial Park to one of his favorite spots – the secluded Blackfoot Trail.
On their first night, deep in the forest, they have an unsettling encounter with Brad (Eric Balfour), a strange alpha male with eyes for Jenn who may or may not be following them. Alex’s desire to quickly reach Blackfoot Trail only intensifies. They push further and further into the woods, Alex stubbornly insisting that he remembers the way. After three days their path disappears; they are hopelessly lost. Without food or water, they struggle to find their way back, the harsh conditions bringing out the best and worst in them, pushing their already fragile relationship to the breaking point.
When they realize they have entered a bear’s territory, being lost suddenly becomes the least of their problems. Terror, horror, will, and survival become paramount.”
Thanks to Fabien M. for the tip!
Image Entertainment, an RLJ Entertainment brand, has released the following red band trailer for Ruthless Pictures’ no-holds-barred zombie fest Zombieworld, in association with DreadCentral.
Releasing February 24, “Zombieworld is a horror anthology focusing on survivors across the world as they struggle to overcome horrifying circumstances when a pandemic brings forth a zombie apocalypse.”
The collection of blood, guts and mayhem will be brought to life by a group of new and up-and-coming directors. The work of each chosen director will be featured in the film and will bring his or her take to a world now populated with flesh-eating corpses.
Among the shorts to be included in Zombieworld is Peter Horn and Jared Marshall’s “Dark Times,” a blood-splattered scamper through the woods shot entirely in POV, where zombies, aliens and even Santa Claus make an appearance.