Recently we got a chance to review the insanely entertaining short Portal To Hell!! from the comedy directing/writing duo of Vivieno Caldinelli and Matt Watts, and starring the late, great Rowdy Roddy Piper. What’s even more of a bonus was to be able to snag a few minutes with the creative team to discuss the short film and how they desire to turn this into a full-length feature, as well as share a couple of memories about working with the Rowdy One – so tighten up your kilts and read on!
DC: Can you give an outline of the short to the people who might not be familiar to it?
MW: It’s about a building superintendent who used to be a boxer, and now his best days are behind him. His tenants keep pulling him away from his quiet time to perform menial tasks, and one night the power goes out and he goes to investigate, and he comes upon a couple of weird older white dudes running some kind of satanic thing in the basement, and it turns out they’re opening a portal to Ry’leh, trying to bring Cthulhu through to take over the world, and he has no choice but to step in.
VC: It’s a real call-to-adventure story! (laughs)
DC: Matt, you were the writer – how did you manage to come up with a story like this, and did you have Roddy specifically pegged for the role of Jack?
MW: Originally I had the idea for this as a feature, and then I was talking to Viv about it, and we agreed to make it as a short, and as it started to get drafted, it became very clear that Piper was the best option for it – it just seemed right, and we started writing it for him and started trying to get him, and it all worked out.
DC: Viv, what was it like working with Roddy? Any stories to tell from your time filming?
VC: Yeah, it was a dream come true, and the best way to put it is just imagine how awesome it would be to work with him, and times it by 100 – he was that kind of dude – so genuine, so nice, and within the first minute I met him, I saw his WWE Hall of Fame ring, and I asked him about it, and he took it off immediately and said, “Do you want to put it on?” He was just the tops.
MW: The night he got in before we started shooting, it was just a very small get-together, after we all broke up, I said that I’d drive him to the hotel, and the hotel wasn’t in my city, so I don’t know where the fucking hotel was, so I got lost! The poor guy is exhausted, and I’m like, “I’m sorry – I’m lost” – there’s a bunch of hotels in the same cluster, and I thought it was one and I was wrong, so I had to pull out my phone and find out which fucking hotel it was. Anyway, it added another 20 minutes to the trip, and he was so nice about it, and not in a “oh, that’s fine” kind of way, but we just genuinely chatted, and he was just a delightful, lovely guy, and it’s tragic that we’ve lost him. For us, it was a dream come true to spend the time with him that we had, and he totally sells the thing – I think it’s one of the best performances he’s ever given, and he couldn’t have been a sweeter guy throughout the whole process.
DC: With both of your backgrounds rooted in comedy, how did you manage to complement each other’s styles when creating this?
VC: We’ve both got very similar sensibilities – from movies that we love to the same sense of humor, I think that we were able to pull it all together and make it work.
MW: As myself as the writer, and Viv as the director, I think that the way we complement each other is that I’m more along the lines of dialogue-driven humor, and Viv is the physical type of humor – he likes visual gags, and I for the life of me can’t really think of them – the face-melting in the short, that’s all Viv’s. The repetitive wordplay is me, and I think we complement each other that way – he’s the eye, and I’m the words, so it was a really nice collaboration, and I think we were a little worried about how we were going to gel on-set, but it all worked out.
DC: After the release of this, what’s up for the both of you in the future?
VC: The feature is our main focus right now – the short was never a destination, so to speak, but more of how we could tell this story and execute it. This was to build it up and to get the feature made.
MW: It was always intended to be Roddy in the feature, and our last conversations with him were about the feature and the excitement, so we’re in sort of a bittersweet, trepidatious forward step – we want to make the feature, and he wanted to make the feature, and I think he’d want us to continue. We just don’t know how we’re going to do it quite yet. We’ve got the first draft almost finished, and part of the festival showings are to try to find financing, and we just don’t know who we’ll use to fill his shoes, so we’ll be exploring that. We’ve got the momentum, and it would be a shame not to do it.
The post Vivieno Caldinelli and Matt Watts Bring Us to the Portal To Hell! appeared first on Dread Central.
Back in June David Gordon Green revealed that he was looking at an unnamed Italian filmmaker to take the reigns on the long-gestured remake of Dario Argento’s Susipria.
Empire unknowingly discovered this news when they interviewed Luca Guadagnino about his crime drama, A Bigger Splash, out of the Venice Film Festival.
While Argento continues to develop of series based on his movie, Guadagnino will hope to get behind the camera on the remake to Argento’s 1977 classic that took place in a fancy ballet academy that’s a front for something far more sinister.
“The film by Dario Argento was a very indicative moment of growing up for me because I saw it when I was 14,” the director tells Empire. “I think it changed me forever. I was obsessed [with Argento] through all my adolescence. [My version] is going to be set in Berlin in 1977. It’s going to be about the mother and the concept of motherhood and about the uncompromising force of motherhood. It’s going to be about finding your inner voice – the title is very evocative on these grounds.”
Guadagnino’s version, he says, will be very different. “The movie by Dario Argento was maybe a child of its own times. It’s very delicate; almost childish,” he added. “I have a very strong interest in German literature and film, so I think [my] Suspiria will have to focus very strongly on that moment in history, in 1977, when Germany was divided and a new generation was claiming and asking to recognize the debt of guilt that forged the new Germany after the war against the fathers who wanted to deny the responsibility.”
Isabelle Huppert and Isabelle Fuhrman are no longer attached, and the film is still in the development process. Will the Suspira remake ever get made? It feels inevitable at this point…
Be nice… or he’ll be naughty.
Legendary Pictures’ Krampus, in theaters December 4th, a darkly festive tale of a yuletide ghoul, reveals an irreverently twisted side to the holiday.
USA Today has premiered the first images from Trick ‘r Treat director Michael Dougherty’s latest holiday offering that suggest you don’t end up on “his” list.
“It’s one thing to be terrified or enthralled when you’re watching a film,” the filmmaker told the site. “To then leave the theater and realize it’s based on real myths and legends only makes it sink in even deeper.”
In Krampus, “When his dysfunctional family clashes over the holidays, young Max (Emjay Anthony) is disillusioned and turns his back on Christmas. Little does he know, this lack of festive spirit has unleashed the wrath of Krampus: a demonic force of ancient evil intent on punishing non-believers.
All hell breaks loose as beloved holiday icons take on a monstrous life of their own, laying siege to the fractured family’s home and forcing them to fight for each other if they hope to survive.“
Just the thought of Santa is creepy, Dougherty says: “That there is some sort of supernatural entity that keeps an eye on you all year long and determines if you’re naughty or nice.”
The look and character of the film’s Krampus was distilled from various postcards and illustrations of the creature over the years, adds the site. He was historically tied to St. Nicholas beginning in the 17th century, and that’s the interpretation Dougherty is going with, that Krampus is “judge, jury and executioner” but also the “shadow” of Santa.
Just don’t call him evil, the director says. “He’s more complex and nuanced than that.
“He’s not Freddy (A Nightmare on Elm Street) or Jason (Friday the 13th) or Leatherface (The Texas Chainsaw Massacre), this [isn’t an] unstoppable monster that kicks down your door and rampages and grabs you,” he added. “If you study the myth, there’s something darkly playful about him. He’s having a good time doing what he does and he enjoys the cat-and-mouse aspect of it.”
Adam Scott, Toni Collette, David Koechner, Allison Tolman, Conchata Ferrell, Emjay Anthony, Stefania Lavie Owen with Krista Stadler star in Krampus.
In his review of Jeremy Wooding’s western/werewolf mash-up, Blood Moon, Matt B. recommends it to “those who want a nice twist on their wolf-watching,” and really, considering the lycan offerings we’ve been subjected to lately, who doesn’t want that?
If you’re in the UK or Ireland, Studiocanal has you covered with a DVD and VOD release on October 5th.
Shaun Dooley (Eden Lake), George Blagden (“Vikings”), Anna Skellern (The Descent II), and Corey Johnson (The Bourne Ultimatum) star. Although set in the US, Blood Moon was filmed on location in Kent, where the producers found a replica Wild West town. It is only the third western to be filmed in the UK.
In a remote mining town a stagecoach full of passengers are held hostage by two outlaws on the run from the law. But events take an unexpected turn when the group fall prey to a mythical creature known to locals as a skinwalker. They must settle their differences and combine their strengths if they re going survive the night of a blood red moon.
Blood Moon was released in North America on September 1st by Uncork’d Entertainment.
Starring George Buza, Percy Hynes-White, Zoé De Grand Maison, William Shatner
Directed by Grant Harvey, Steven Hoban, Brett Sullivan
It’s Christmas time in the fictional town of Bailey Downs, and according to bookending narrator DJ Dan (Shatner) this particular town always ends up facing its fair share of disaster at what should be the most merry time of year. And so, holed up in his station with a stock of booze and no small amount of disdain for his co-workers, Dan delivers his Christmas cheer to the airwaves as A Christmas Horror Story gets under way.
An anthology movie with an unusual construction, A Christmas Horror Story spins four seasonal tales of horror which, rather than playing in their entirety in series, lay out their individual acts one after the other instead. Surprisingly, rather than being off-putting, it actually works in the film’s favour, building the piece as a whole to a concurrent crescendo as each woven thread climaxes in order. It also allows for more time with the quite frankly wonderful William Shatner in between.
One story tells of a group of high school students who break into the basement of their educational establishment in order to create a short documentary about an horrific murder which occurred there in the previous year. Trapped and scared, the group find themselves at the mercy of an angry spirit determined to ensure the birth of her own little Christmas miracle. This one is well shot and pumped full of jump scares, with a grim feel and ending that gets the message across: A Christmas Horror Story isn’t messing around. It does fall down due to the cliché nature of its subject – angry spirits and trapped teens – and the pacing tends to drag down the momentum of the overall picture, but it offers enough shocks and earnest performances to be worthwhile.
Another tale, and quite possibly the best in terms of performances and character work, sees a married couple (one of whom is the cop who discovered the victims of the first tale’s back-story) set off into the forest to procure a Christmas tree. When their young son goes missing, the panicked pair eventually find him hiding inside of a gnarly old tree and take him home – only to discover that something is very, very wrong with their child.
Feeling like it could, at any moment, launch into a Demons 2-style woman-versus-demon-child monster-fest, this segment actually holds more restraint than expected, focusing on the strained relationship between the couple – not to mention father and son – and letting the horror gradually creep up on you until the blood begins to flow. It’s great stuff – tense, well acted and relatable in its terror.
Third is the story of an apparently well-to-do family and their bratty children setting off to visit the father’s reclusive, rich Aunt. The family don’t like her, and she doesn’t like the family – but that won’t stop daddy from trying to scrounge some cash out of the wealthy crone. Their trip soon turns deadly, however, when their thoroughly unpleasant son deliberately breaks a Krampus statue in an act of defiance – unleashing the beast to hunt them down and uncompromisingly deliver the consequences of being naughty at Christmas. Boasting some cool monster effects – a rather kick-ass, chain-swingin’ Krampus – this one feels the most like it stepped from the pages of an EC Comics publication, especially given the dark, moralistic final twist.
Last but not least, the bloodiest, and most comedic, entry takes us to Santa’s giant estate at the North Pole, where a zombie virus is turning the elves into foul-mouthed, feral flesh-eaters. It’s up to the old man and his big white beard to lift his sceptre and deliver mercy to the infected as heads and limbs fly in all directions. Riotous fun, this segment is goofy in all the right ways, and packs in a ton of splatter as it works towards a finale that is both mind-blowing and gut-busting in its simple comedic genius.
But let’s get back to William Shatner. The man is a treasure right here – his droll wit making every short segue to the radio station, as DJ Dan gets progressively more drunk and belligerent, something to truly look forward to in between the story segments.
A thoroughly entertaining mix of levity and horror, A Christmas Horror Story is a flick that you’ll want to unbox year after year. Alongside the egg nog and candy canes, this one deserves to be an annual tradition.
Equal parts ghostly thriller and sexual farce (who doesn’t love those?), UK miniseries “The Green Man” is finally getting its due on DVD this coming October thanks to Simply Media. We have the release details, plus a trailer, right here so read on for the details.
“The Green Man” UK DVD Release Info:
British acting great Albert Finney stars as a slimy hotel owner in “The Green Man,” a gripping ghostly BBC Two miniseries from 1990, which comes to UK DVD courtesy of Simply Media.
Maurice Allington (Finney – Skyfall, The Gathering Storm) is the promiscuous and alcoholic owner of a quaint British bed-and-breakfast hotel, the Green Man Inn. In the hope of attracting customers, when he’s not trying to seduce them, Allington keeps his guests entertained with tales of ghosts and spirits haunting his hotel, spreading rumours that the ghost of a notorious 17th century occult scientist haunts it. But he and his guests are in for a shock when they realise that the hotel is possessed by some very real and malevolent other-worldly spirits.
At times a sexual farce, at others a ghostly thriller, this BAFTA-winning extraordinary three-part series is based on Kingsley Amis’ 1969 satirical novel of the same name. Starring Linda Marlowe (“Eastenders,” Tinker Tailor Soldier Spy), Sarah Berger (“Murphy’s Law,” “Castles”), Nicky Henson (Syriana, “Downton Abbey”), and Josie Lawrence (“Whose Line is it Anyway?,” “Fat Friends”), it makes its DVD debut on 5 October 2015.
The post Adult Ghost Story The Green Man Heading to UK DVD in October appeared first on Dread Central.
When Frictional Games frees their latest game upon us in a few weeks, we’ll finally have the answers to all the questions that have surrounded SOMA since it made its debut nearly two years ago. To promote the latest trailer for the game, the studio recently chose three of the most common questions they’ve been asked and answered them, because it’s important for us to know how many pants can we expect to ruin before the credits start rolling, in relation to Amnesia.
The answer to that, according to a post on studio’s official blog, is that SOMA will be “just as scary, if not even more so, but in a different fashion.”
They also dig into the game’s puzzles and storytelling, if you’re jonesing to learn as much about this game as possible before it reveals all later this month. But really, if you’re not sold on it yet, I’m not sure what will do the trick outside of the actual feedback it will receive in just two weeks. If you’re already sold, I recommend you set aside some time to get comfy with this haunting new trailer.
SOMA arrives September 22 for PC and PS4.
This is an exciting time to be a fan of the slasher genre. For film geeks, the real fun starts next year with the release of a new Friday the 13th, as well as Halloween Returns and Leatherface. For gamers, it began with the arrival of Until Dawn, Supermassive Games’ PS4-exclusive teen stab ’em up, along with the games that are planned to follow it, including Summer Camp, Last Year and a Friday the 13th game.
Being the first of the pack, Until Dawn had a lot to prove. It also had quite a lot going against it, with it’s being a brand new IP, locked to a single platform, from a studio most people aren’t yet familiar with. It didn’t help that, for some reason, Sony didn’t quite give it the marketing push I would have expected them to.
This may be why this game feels like such a victory. Because it is, both for the legions of folks like us who enjoy watching people run from knife-wielding maniacs on-screen, and for Supermassive Games, who has managed to bring the macabre appeal of a genre that has enraptured generations of moviegoers for roughly half a century and counting.
There might not be a new face to add to the pantheon of movie icons like Freddy Krueger, Jason Voorhees, Michael Myers and Ghostface, but Until Dawn doesn’t need to rely on the uniqueness of its antagonist. What this game accomplishes, it does so with a rich cast of characters, a remarkable use of music and a slow build-up of tension, dread and suspense.
It’s impossible not to compare this game to Quantic Dreams’ similarly themed “interactive movie” and Indigo Prophecy spiritual successor Heavy Rain. Both games feature branching storylines that are affected by the player’s decisions, a focus on delivering a cinematic experience rather than a conventional “video game”, and a bad dude who seems to be channeling Tobin Bell’s Jigsaw.
The difference lies in their execution. As much as I enjoyed Heavy Rain, Until Dawn is like its freakier, more sinister older brother who spends too much time in the forest giddily digging through the bloated remains of felled woodland critters. It controls considerably better, isn’t afraid to lean on the slow-burn approach to horror, and while I preferred the pacing of Heavy Rain, Until Dawn makes up for its uneven narrative by introducing familiar ideas that ratchet up the intensity.
One of these familiar ideas are the Totems. This system had a grander impact on my experience than I ever thought it would. For the unfamiliar, scattered about the world are Totems that serve as prophecies based on five things: Death, Guidance, Loss, Danger and Fortune.
The Death, Loss and Danger Totems bring a Final Destination flavor to the game as they each tease a potential end to the person who found them, the death of another character, and the threat of imminent danger, respectively. Guidance can offer life-saving hints regarding future decisions, like which character should get a specific item that may save their life later on, and the rare Fortune Totem is like getting some good news after enduring a torrent of bad news.
For the stubborn players who need another incentive for collecting them all, each Totem also uncovers a small portion of a censored video that explains more of the surprisingly complex backstory.
Like a good survival horror game, exploration is key. In addition to the potentially life-saving Totems, hidden all over the world are items that shed light on the identity of the murderer who’s cock-blocking these poor teens, an unsettling event that transpired more than half a century earlier, and much more.
When you’re not exploring the stunningly beautiful world Supermassive built for us, expect to be making decisions. Each choice you make has an effect on the story. It can be something small, like building trust with the other characters, or something bigger, such as choosing a riskier option over a safer one that could — and will — mean the difference between life and death.
The personalities that make up the cast of Until Dawn are refreshingly unique. Each character feels like an actual person, with their own strengths and weaknesses. Some are more likable than others, but that can change fairly easily. The characters are “human” enough that even the ones I had decided would be my meat shields, if necessary, had the potential to surprise me.
When it comes to how liberal this game is with its gore, I’d say it sits somewhere between the Saw and Hostel films in what it’s willing to do to its protagonists. There’s plenty here to satiate Gorehounds, with endless opportunities for bone-shattering falls, fatal animal attacks, Saw-like death contraptions, obligatory games of hide and seek and the occasional deadly chase sequence.
Between exploration, making critical choices, balancing delicate relationships, heeding the warnings provided by Totems and working to find out just what in the hell is going on here, Until Dawn is able to keep from ever growing stale.
Then there’s the Analyst. I’m not at all surprised that Peter Stormare was as impressive as he most certainly is in his portrayal of the wonderfully bizarre psychiatrist Dr. Hill, but he really knocks it out of the park. I might even say he’s my favorite thing about this game.
Not content to just borrow from films, Supermassive took a page from the book of the woefully underrated Silent Hill: Shattered Memories — not to be confused with the not-worth-rating Book of Memories — but he resonated with me more deeply than I ever thought he would.
Until Dawn employs the Alan Wake approach to its narrative structure, which is episodic, complete with recaps of what happened in the previous chapter. Nestled between each of these chapters are brilliant, albeit brief, moments with the antagonistic Dr. Hill that involve answering simple questions. What these sometimes fourth wall-breaking sessions have to do with the game isn’t immediately clear, but the specifics are worth discovering on your own.
Quick-timed button presses are all over the place, and an alarming number of them made me worry about my reflexes. It didn’t bother me too much that they were so unforgiving in the time you’re given to react, but I’m also a heartless bastard who doesn’t mind watching a character I’ve grown to like having around meet a gruesome end because I couldn’t hit the triangle button fast enough. If that bothers you, you have been warned.
Weirdly enough, a few of the clearly unimportant QTEs I mucked up would wind up bothering me the most. When I failed to return Josh’s high five after a small victory, the look on his face left me feeling lousier than any of the many, many times I’ve embarrassed myself in exactly that same manner in real life.
Until Dawn isn’t perfect, though I’d understand if you thought it was based on all of the above. There are minor technical issues, including better-than-expected controls that still have room for improvement. The overabundance of jump scares had a tendency to get annoying and a few of the plot twists were too obvious for their own good. Thankfully, the large majority of these problems didn’t do much to detract from the overall experience.
The Final Word: Until Dawn is the most fun I’ve had with the slasher genre since Scream 2, and it accomplishes this while remaining true to its roots in survival horror. Be afraid. Be very afraid.
While you’re fuming about the fact that director Steven Spielberg isn’t ruling out a reboot of the classic shark flick Jaws, why not decorate your bathroom with decals featuring moments from the iconic thriller? Ray Wilson, with a little help from Alyssa Scott and Robbie Rane, has created Jaws stickers that essentially turn your bathroom into the resort town of Amity Island.
Of course, these aren’t the only decals Wilson and company have to offer. He also created something call the Toilet Sarlacc, which essentially transforms your commode into the sarlacc pit from Return of the Jedi. Now you can take a satisfying crap directly into the mouth of the galaxy’s most hideous desert-dwelling monster. It’s something you didn’t know you always needed.
Check out some of the Jaws decals below. If you like what you see, swing by Ray Wilson’s website and pick up some of your very own. You may soon discover that you’ll need a bigger bathroom.
The post Jaws Bathroom Decals Bring the Giant Shark Into Your Home appeared first on Dread Central.
Writer/director James Cullen Bressack’s Pernicious is set to hit DVD this Tuesday (September 8), but you’ll need to track down a Redbox kiosk should you wish to check it out. Assuming, of course, you don’t have access to VOD. In other words, if one of those big red machines doesn’t stock Bressack’s impressive horror flick, then you’re out of luck until the end of the month.
From the Press Release
After thrilling audiences in theaters and On Demand earlier this Summer, James Cullen Bressack’s bone-chilling horror hit Pernicious makes it way to DVD. The title will be exclusive to Redbox from September 8 and available elsewhere from September 29.
Pernicious, starring Emmy-nominated Emily O’Brien (Young and the Restless), Ciara Hanna (Power Rangers) and Jackie Moore (100 Ghost Street), is “a carnival for the eyes” (Dread Central) and “sexy, bloody, and heinous” (Horror News). The movie tells of three young girls, holidaying in Thailand, who unleash the spirit of a murdered child with only one thing on her mind – revenge.
If you can’t get your hands on a DVD copy of Pernicious on September 8, don’t lose too much sleep about it. The flick will arrive through other outlets in just a few weeks. Count the days!
The post James Cullen Bressack’s Pernicious Debuts on DVD Exclusively Through Redbox appeared first on Dread Central.
Here’s something from the “truth is stranger than fiction” file: A babysitter allegedly duct-taped two young kids in Nebraska City and forced them to watch director Frank Perry’s classic Mommie Dearest. Not surprisingly, the guy is now facing a handful of charges for his crime.
The Hollywood Reporter explains that 29-year-old Glenn Oliver was looking after two young boys while their mother headed off to work. At some point, she told the babysitter that the kids had to watch Mommie Dearest, but apparently they weren’t interested in the flick. To get them to comply with his demands, he reportedly ducted-taped their “mouths, wrists, chests, ankles and heads.”
According to the Las Vegas Review Journal, a neighbor stopped by and discovered the boys, ages four and six, taped to their chairs. After documenting Oliver’s crime with a photo, she “asked the caregiver if she could take the boys over to her own home to help clean and he didn’t have a problem with that.” Not surprisingly, she then contacted police for assistance.
As of this writing, Oliver is now facing charges of false imprisonment and felony child abuse. All three of the mother’s children have since been removed from the home.
The post Babysitter Allegedly Tortures Kids with Duct-Tape and Mommie Dearest appeared first on Dread Central.
Death goes viral (someone either has or will use that for a tagline) in the comic book adaptation of Ray Ellingsen’s 100 Days of Death, and we have all your details right here.
From the Press Release:
Platinum Studios Comics, a division of Platinum Studios (headed by iconic CEO Scott Rosenberg of Cowboys & Aliens fame) and Platinum Universe, is excited to announce the much-anticipated comic book release of 100 Days of Death!
100 Days of Death, which was written by Ray Ellingsen and adapted into comic form by famed artist Tommy Castillo (Batman, King Kong), follows a man and his dog on a journey as an apocalyptic virus sweeps across the planet, destroying humanity in a few short months.
Ellingsen explains, “Power grids fail, communications break down, food supplies dwindle, and even fellow uninfected humans can’t be trusted. Survival becomes nearly impossible, maintaining one’s humanity, even harder. Two and a half years later a journal is found atop the spire of the Seattle Space Needle; the contents tell of one man’s experiences in this nightmare existence.”
Castillo further reveals, “This is a badass tale of your darkest fears, compounded with a few million creatures of the undead who want you for dinner!”
A red band trailer for Helen Keller vs. Nightwolves, director Ross Patterson’s latest bizarro cinematic endeavor, has arrived; and it looks pretty toothy.
As you may already have guessed, the movie tells the story of Helen Keller as she wages war against the nightwolves. Pretty self-explanatory, really. Sometimes it’s just that simple.
Lin Shaye (the Insidious franchise), Barry Bostwick (Rocky Horror Picture Show), Jim O’Heir (“Parks and Recreation”), and David Quane (FDR: American Badass!) star.
Look for more on this one as it comes.
Helen Keller vs. Nightwolves tells the shocking story of how a group of nightwolves terrorized a tiny village, taking people’s hearing and eyesight… and the one woman who fought back.
The post Helen Keller vs. Nightwolves Sees a Red Band Trailer appeared first on Dread Central.
Stephen King’s classic tale Carrie is about to get a fresh coat of blood… er, paint. Carrie: The Killer Musical Experience is set to terrify the Los Angeles Theatre next month. The folks over at the Los Angeles Times have dubbed the show as a “full-throttle theatrical experience,” so it’s definitely something fans shouldn’t pass up if they have the chance to check it out.
Featuring music from Michael Gore (Fame), lyrics by Dean Pitchford (Fame, Footloose), choreography by Lee Martino, and direction by Brady Schwind, Carrie will transport theatergoers directly into the action. According to the official press release, the Carrie musical will feature “immersive staging” that will give audiences a nifty 360 experience. In other words, as things start to go down at Ewen High School, the shenanigans will unfold all around you.
Previews of Carrie: The Killer Musical Experience begin on October 1, 2015. If you’re in the area and love Stephen King’s story, definitely consider giving this one a look.
The post Carrie: The Killer Musical Experience Heading to the Los Angeles Theatre appeared first on Dread Central.
Back in June Bloody Disgusting exclusively broke the news that Marcus Dunstan will be directing the “recalibration” of the Halloween franchise that he penned with regular collaborator Patrick Melton (various Saw sequels, as well as Pacific Rim, Feast, The Collector and The Collection).
This holiday afternoon we were pointed to a two-part YouTube video that offers 20 minutes of a 2-hour long interview with Dunstan, who reveals not only the meaning behind Halloween Returns, but also teases that The Box‘s Gillian Jacobs could be joining the cast.
While much of the interview was “lost” because of “technical difficulties”, the interviewees reveal plans for a violent opening, and confirm it will follow the events of the first three Halloween films (it’ll be interesting to see how this is even possible).
Inspired by the real-life murder of one of Dunstan’s family members, the most intriguing portion of the interview recounts the meaning behind the title Halloween Returns.
“Halloween, if you have a semicolon, Returns, I think I put it in an email as a subtitle, but I think it was registered as Halloween Returns, which is fine. I like that, and it works, it does function as what it means to say. But if you commit a violent act, sometimes you get returns. What are the repercussions of being a violent entity? In that case, Halloween Returns could mean a number of things.”
And while we’re all waiting patiently for a shooting date, Dunstan does confirm that they’ve begun some tests: “The coolest thing we’ve done so far is a couple motion tests of potential Michaels.”
The duos vision for the film is built on the original film by John Carpenter and the build of suspense.
“Michael Myers is subtlety and suspense,” he explained. “Suspense isn’t expensive. A karate fight in a burning room is expensive.
He continued: “We went back to the original [Halloween] screenplay too and just read it, John Carpenter’s draft, and timed it with watching the movie, and line for line it keeps the same clock as watching the movie, so if you’re reading the pages, it’s almost like a shot list.
“I want to see a film shot on film,” he added later. “I want it to be one that stands on its own.”
Thanks to Halloween Daily News for transcribing, who also pulled out the info that, when asked about how the Michael Myers mask will look, Dunstan says it has to resemble the classic profile from the John Carpenter’s 1978 original Halloween. Of the mask’s reveal, likely in an early teaser trailer, the director sites the recent Star Wars: The Force Awakens teaser featuring a familiar yet aged Harrison Ford at the end, stating, “Our goal is to have that Han and Chewie moment.” Later, when asked if he wants to make more sequels after Halloween Returns, Dunstan, says, “I want to make The Dark Knight.”
Here are early plot details for Halloween Returns:
Halloween Returns will be a standalone film set to reintroduce audiences to Michael Myers years after his initial rampage. It will pit a new group of Haddonfield youngsters against Myers.
The now 18-year-old child of one of Myers’ victims plays a central role along with the child of a cop whose long been obsessed with Myers’ case, even putting it before his own daughter.
Myers is now on death row and the two kids with their own personal vendettas against the killer sneak in to watch his execution. But when things go awry and Myers escapes, the pair, along with their friends, find themselves in the firing line.
Updated Sep. 8 @8:36PM
Thanks to Fabien M. we have the first images from Anchor Bay Entertainment’s revenge horror film, I Spit On Your Grave: Vengeance Is Mine, the third film in the franchise that begun with the 2010 remake.
Directed by R.D. Braunstein, the third installment of the controversial cult series will be released in select theaters October 9, 2015 before heading to DVD, Blu-ray and Video On Demand October 20, 2015.
“Jennifer Hills (Sarah Butler) is still tormented by the brutal sexual assault she endured years ago (I SPIT ON YOUR GRAVE 2010). She’s changed identities and cities, reluctantly joining a support group where she begins to piece together a new life. But when her new friend’s murderer goes free and the tales of serial rapists haunt her, Jennifer will hunt down the men responsible and do what the system won’t – make them pay for their crimes in the most horrific ways imaginable. Only this time, no jury may be able to save her.
Jennifer Landon (“The Young and the Restless”), Doug McKeon and Gabriel Hogan (“Heartland”) co-star in this unforgiving, unmerciful and uncut new chapter of one of the most notorious franchises in movie history.”
Anchor Bay Entertainment released I Spit on Your Grave in 2010 and I Spit On Your Grave 2 in 2013 to critical acclaim. Based on Meir Zarchi’s 1978 version, the franchise has gained the respect of both mainstream and genre critics. This latest installment is a continuation of the 2010 film’s storyline.
Image source: Jason Lester Media.
Normally religious icons are the ones to communicate through food stuffs. With Virgin Mary popping up in pizza slices & the face of Jesus cropping up on cloth it’s now the turn of a horror icon to send messages via an oily apparition. Setting down my sweet treat the grease and sugary innards leaked out leaving this outline. A case of pareidolia or should I check my belly for signs of a child killer?
Here are some other tricks of the eye. How many have you encountered before?
For the first time ever Tobe Hooper’s Eaten Alive will be receiving a Blu-ray release and it all comes courtesy of Arrow Films! The Blu-ray will receive a Region B release on September 21st in the UK and then a day later on September 22nd it will receive it’s Region A release in U.S.
Nearly a decade before he donned Freddy Kruger’s famous red and green sweater, horror icon Robert Englund delivered a supremely sleazy performance in Eaten Alive – another essay in taut Southern terror from Tobe Hooper, director of The Texas Chain Saw Massacre.
Deep in the Louisiana bayou sits the ramshackle Starlight Hotel, destination of choice for those who like to check in but not check out! Presided over by the bumbling, mumbling Judd (and his pet croc which he keeps in a large pond out front), the patron of this particular establishment may seem like a good-natured ol’ Southern gent – but he has a mean temper on him, and a mighty large scythe to boot…
Oozing atmosphere from its every pore (the entire film was shot on a sound-stage at the famous Raleigh Studios, which lends it a queasy, claustrophobic feel) Eaten Alive matches The Texas Chain Saw Massacre for sheer insanity – and even draughts in Chain Saw star Marilyn Burns as the terrorised woman-in-peril, alongside William Finley and Mel Ferrer.
• Brand new 2K transfer from the original camera negative
• High Definition Blu-ray (1080p) and Standard Definition DVD presentations
• Optional English SDH subtitles for the deaf and hard of hearing
• Audio commentary with co-writer and producer Mardi Rustam, make-up artist Craig Reardon and stars Roberta Collins, William Finley and Kyle Richards
• New introduction to the film by director Tobe Hooper
• Brand new interview with Hooper
• My Name is Buck: Star Robert Englund discusses his acting career
• The Butcher of Elmendorf: The Legend of Joe Ball – The story of the South Texas bar owner on whom Eaten Alive is loosely based
• 5ive Minutes with Marilyn Burns – The star of The Texas Chain Saw Massacre talks about working on Eaten Alive
• The Gator Creator: archival interview with Hooper
• Original theatrical trailers for the film under its various titles Eaten Alive, Death Trap, Starlight Slaughter and Horror Hotel
• US TV and Radio Spots
• Alternate credits sequence
• Reversible sleeve featuring original and newly commissioned artwork by Gary Pullin
• Collector’s booklet featuring new writing on the film, illustrated with original archive stills and posters
Release Date: Monday 21st September 2015 (UK)
Tuesday 22nd September 2051 (USA)
Running Time: 91 minutes
Aspect Ratio: 1.85:1
Audio: Mono 1.0
As the Kickstarter project enters the final days of campaigning for post production funds the Manson hit man movie has released a stack of stills which paint an interesting atmosphere. The directors also took to reddit to explain the ethnic background of the shock rocker’s role.
When we set out to cast this role, it was intended for a native. Once Manson got involved we removed any reference to Pope being native from the film, for obvious reasons. This was all a big misunderstanding.
‘Let Me Make You a Martyr’ explores the perversion of the American dream in a forgotten culture of middle America. This story documents the lives of two characters who have fallen victim to tragic circumstances, June and Drew Glass – two adopted siblings (from different parents) who have fallen in love. We experience their struggle to preserve that love from the evil that encompasses the world around them. Drew had gotten himself into a great deal of trouble with their adoptive father Larry, who is a murderous criminal with a short fuse. As a result, Drew had to skip town and his whereabouts have been unknown for 4 years. The story picks up when Drew returns to try to make sense of his tumultuous past and rekindle the love he once had – this is the premise of our story. The first scene begins in an interrogation room with a detective (Michael Potts). The events that lead Drew to the interrogation are recounted in a series of flash backs.
This week, we talk Metal Gear Solid V, Mad Max, and say goodbye to the legend Wes Craven. Also, click here for my new interview with filmmaker Jennifer Nicole Stang about her upcoming horror feature, Blackwood Falls.