The season six finale of AMC’s “The Walking Dead” has caused such anger and speculation, that it’s kind of incredible in its own right. Fans have been going crazy trying to figure out who Negan could’ve possibly killed. Was it Carl? Glenn? Abraham? Jesus? At this point, no one knows and those that have DO an inkling of where the story might be going, the writers/producers/etc…, certainly aren’t talking.
But for creator Robert Kirkman, the ending isn’t something people should get upset over. As he writes in issue #154 of the long-running comic, “…a character you love and are going to miss is DEAD, and we gave you a few extra months to hope, to no grieve. Is there uncertainty? Yes. But that was kind of the idea.”
Defending it further, Kirkman explains that the reason events unfolded as they did was to give viewers, “…something to talk about.”
You can read the full statement below, courtesy of Comic Book Resources.
Next Friday Greg McLean will not only see his “Wolf Creek” series hit Stan, but also have his supernatural horror The Darkness open in theaters across the country.
The Darkness, which stars Silent Hill and Rogue‘s Radha Mitchell, as well as Kevin Bacon (“The Following,” Stir of Echoes), follows a family that, after a vacation at the Grand Canyon, brings home a supernatural force that preys off their own fears and vulnerabilities, threatens to destroy them from within, while also consuming their lives with terrifying consequences.
Every good horror movie has a visual cue that the audience can recognize. The Darkness is shrouded in black handprints, which canvas the posters, trailers and TV spots.
We caught up with McLean, who explained to us the original of the black handprints, which are uniquely inspired by ancient Native American art.
“I drew a lot from Native American Mythologies and rituals in my research,” McLean explains to us in an exclusive interview. “During the research I kept on seeing these hand prints in ancient cave paintings – which were symbols of death and they evolved from the idea that these demonic forces appeared via a ritual fire and left hand prints in ash. Ash also being a symbol of death and rebirth.
“There’s such incredible depth and richness to Native American culture, legends and religion one could spend a lifetime reading and studying and constantly be amazed. As someone not from the states the Native American history of the USA has always fascinated me and much of that found it’s way into the movie.”
Speaking of inspirations, McLean talks a bit about a haunting that ignited the idea behind The Darkness.
“The script idea began years ago when a friend told me a story of a real haunting that happened near where they lived,” McLean revealed. “The way it was related to me was so mundane, and the family so normal and what went down was so extreme, the concept of how the supernatural can explode into incredibly relatable circumstances stuck with me. It was a powerful moment and I thought about that for years until I came across the true stories of objects being taken from sacred sites bringing bad luck and disaster to individuals and homes. Those two thoughts were really the genesis of the movie.”
The Darkness (watch the trailer) will be opening in theaters everywhere next Friday, the 13th.
Drag Me to Hell is a masterpiece. That is not a popular opinion among some of you, but the fact is that it’s a brilliant horror comedy that culminates in one of the most brutal endings in horror movie history.***SPOILERS FOR A SEVEN-YEAR-OLD FILM BELOW***
As many of you already know, poor Christine Brown (Alison Lohman) does get dragged to Hell in the final scene of Drag Me to Hell. There are quite a few people who, shockingly, are alright with this and feel that Ms. Brown deserved her fate to burn in Hell for all eternity.
How could anyone think that poor, poor Christine Brown deserved to get dragged to Hell only to be tortured by the Lamia? The goat demon gives you a pretty clear idea of what would happen to her: it would feast upon her soul while she festered in the grave. Does anyone deserve that treatment?
Without calling any of you out, here is a small sampling of reader comments from posts I have made on this site about Drag Me to Hell:
- “I couldn’t even root for the lead girl. She was so unlikable and then when she killed the kitten it just sealed my disdain for her.”
- “It’s really the old woman that’s the victim in this story and Alison Lohman, I think her character Christine deserved probably what she got.”
- “The audience kind of overlooks and makes excuses for the selfish choices her character makes throughout the film and therefore ends up shocked and surprised by what happens to her in the end.”
- “She was a self-centered person who gave the appearance that she was a nice innocent lady who was willing to make Ganush suffer in Hell after all that she did to the old lady while she was alive. The bank teller dug her own Hell.”
- “Drag Me to Hell had a happy ending. That Alison’s character was such a douchebag that I was happy she was pulled down to Hell. I hope she was suffering every day down there. So yes, happy ending indeed!”
- “She basically tried to blame her boss every time the demon encountered her and it was so annoying. She just wasn’t as good a person as she thought she was.”
Look, we all have our own opinions and we are certainly entitled to them, but how could anyone think that Christine deserved to spend her afterlife being tortured in Hell? You may need to watch that final scene again to refresh your memory:
To be clear: no one (save for Hitler and maybe a couple of other historical figures on that level of evil) deserves this fate. Let’s assume for a moment that Christine was a Grade-A megabitch. Even then, she wouldn’t really deserve a fate like this. It would be easier to accept and laugh at, but even Heather Chandler herself didn’t deserve to down a mug full of drain cleaner. And she was the worst.
If one were to (literally) play Devil’s advocate, then one would need to look at the aforementioned charges brought up against Ms. Brown:
- She shouldn’t have rejected Mrs. Ganush’s request for a third extension on her mortgage.
- She was selfish for wanting to live and she was self-centered in that she only cared about her own survival.
- She killed her kitten.
It’s that last one that really gets many of you going, so I’ll save it for last. First: was it wrong of Christine to deny Mrs. Ganush her request for a third extension on her mortgage? Sure. It was morally wrong and a bit mean-spirited. Mrs. Ganush had exhausted her income when “the sickness took [her] eye.” That being said, have none of you ever been stuck between a rock and a hard place in order to advance in work? If you’ve been in the same position for a significant period of time with no advancement in your place of employment, it can be a bit frustrating. Christine was even cornered into this decision by her boss (the always great David Paymer), who basically told her she wouldn’t get the promotion if she didn’t shut Ganush down. It’s a shitty thing to do, but does she deserve to burn in Hell for this decision? Not at all. It’s not like she slapped the hag and kicked her out the door for everyone to laugh at her. She made a bold career move and that’s it.
Second: is Christine selfish for wanting to live and for caring solely about her own survival? Many times in Drag Me to Hell, Christine tries to throw other people to the Lamia. From her insistence at the séance that her boss put her in this position to her legitimately trying to send Mrs. Ganush to Hell (after failing to do the same to her obnoxious co-worker Stu), Christine certainly makes a case against herself. Still, would none of you do the same thing? If it were coming down to the wire and you were faced with being dragged to Hell or sending anyone else there in your place, wouldn’t you pick anyone else? Maybe you are more selfless than I am, but in the heat of the moment you are capable of making any kind of decision. As mentioned before, no one deserves this fate, but Christine (again) is being forced into a decision. Mrs. Ganush didn’t have to curse Christine. She made the choice out of spite, and if anything that makes her worse (and arguably more deserving of this fate) than Christine.
Lastly, does Christine deserve to burn in Hell for all eternity for killing her cat? Look, I get it! Killing a pet is basically the worst thing you could ever do in a movie (or real life). I’ve got a 2-year-old dog that, I kid you not, I would take a bullet for, but are you really telling me that you wouldn’t sacrifice any animal in order to save yourself from eternal damnation? Christine may have acted a little too quickly (she could have gone to her family farm and slaughtered a pig, for instance), but she wasn’t thinking clearly. After all, at this point in the film she had just been air-molested by the Lamia and was feeling pretty desperate. I’m not excusing the cat-killing, I’m just saying that it doesn’t condemn her to Hell.
This may be a controversial statement, but those who believe that Christine deserves her fate only think that they feel that way. Those select few are rationalizing their feelings over losing a character who had not committed any sort of grave sin. What do you do when an innocent character is dealt the cruelest punishment in cinema history? You convince yourself that she somehow deserved it. “She killed a helpless kitten!,” you cry. “She was being mean to that vindictive gypsy who was granted two extensions on her mortgage and probably deserved to be thrown out of her house!,” you say. I call shenanigans! There is no way any of you really, truly believe that Christine had this coming to her.
Let’s open the floor for discussion. Are you one of the select view that thinks Christine Brown was a selfish, horrible character who had it coming? Or are you on the opposing side of the argument and actually empathize with Ms. Brown? Let me know in the comments below or Tweet me if you really want to get into it!
Spike is ramping up production for a TV series based on Stephen King’s “The Mist” and now news has broken that Emmy-award winning director Adam Bernstein will be helming the premiere episode, according to Deadline.
“The Mist” tells a harrowing story about a seemingly innocuous mist that seeps into a small town and creates immense havoc.
The series will receive 10 one-hour episodes. Production kicks off this summer and a 2017 premiere date is anticpated.
If you’re the kind of person who celebrates Halloween throughout the month of October and you just so happen to live in the Los Angeles area, here’s an event that will be right up your alley!
On October 25th at the Ace Theater in LA, the horror world’s most charming chin-with-a-man-attached Bruce Campbell will be hosting a screening of Evil Dead, Sam Raimi’s 1981 classic horror film that introduced the world to Ash Williams. However, this isn’t just your normal everyday screening. Oh no, my lovely readers! What sets this one apart is that composer Joseph LoDuca will also be in attendance to introduce the Up chamber orchestra, who will be performing the score to the film live!
Tickets are on sale tomorrow but you can snag them today with the password “ASH”. Just head on over here to grab yours.
Scream Factory has announced that they will be releasing the Gus Krieger-directed psychological thriller The Binding, which stars Amy Gumenick, Josh Heisler, and Leon Russom. The DVD/blu-ray will be coming out August 2nd.
Once upon a time, God Almighty appeared before one of the chosen, and commanded that he slay his own flesh and blood. Perhaps that time has come again…
Sarah Iman (Amy Gumenick) is a young mother and faithful minister’s wife. Her religious devotion and idyllic home life, however, are put to the ultimate test when she is forced to uncover the truth behind her husband’s horrific visions. As tensions rise and secrets come to light, Sarah soon finds herself spiraling toward a terrifying choice between faith and blood.
The trailer can be seen below. When you’re watching it, do me a favor and write in the comments if the husband looks exactly like Sean Astin. Like, I could’ve swore that was him.
The Binding bonus features:
· Over 20 mins of deleted scenes
· Cast interviews with Amy Gumenick (Sarah Iman), Josh Heisler (Bram Iman) and Leon Russom (Minister Uriel)
· Commentary track with writer and director Gus Krieger
· Teaser Trailer
I’ve been dying for Hollywood to finally get USS Indianapolis into production. It’s been in development hell for years, and even had some really hot directors attached.
It’s more of a thriller, but it involves sharks eating people, and is based on an honest-to-God true story.
Somehow, completely off my radar, this movie got made – and it stars mother fuckin’ Nicolas Cage.
Hannibal Classics and Patriot Pictures are behind the World War II disaster movie that’s full title is USS Indianapolis: Men of Courage.
Cage stars as Capt. Charles Butler McVay, whose ship was torpedoed in the South Pacific in July of 1945, after delivering parts for the first atomic bombs. “President Truman has selected you to lead a highly classified mission,” Cage is told.
Because the ship was without an escort, the Indianapolis was not reported missing until four days later. Of 1,197 crewmen aboard, approximately 300 went down with the ship, while the rest faced exposure, dehydration, saltwater poisoning and shark attacks as they waited for assistance. Only 317 sailors survived, and McVay was court-martialed, then exonerated more than half a century later.
The trailer, via Variety, shows several shark attacks during those five days and the subsequent court martial.
Mario Van Peebles directed from a script by Cam Cannon and Hannibal Classics principal Richard Rionda Del Castro.
Earlier this month Scream Factory acquired all U.S. distribution rights to the visceral body-horror film Bite (review) from director Chad Archibald. That release date has now been tagged as May 6th when the film will be available via VOD, On Demand and in select theaters.
Check out this exclusive clip that starts off steamy and ends all sticky…
When she returns from her tropical bachelorette party getaway, a young woman begins to succumb to an insect bite in the palpably disturbing film Bite. Witness the skin-crawling chronicle of one woman’s truly terrifying descent into madness when the visceral body-horror feature Bite debuts in select U.S. theaters May 6th, 2016. Directed by Chad Archibald (The Drownsman), Bite had a sensational premiere at the 2015 Fantasia International Film Festival in Montreal, where it won an Audience Award, and has recently played at numerous top international genre film festivals.
While on her bachelorette party getaway, Casey, the bride to be, gets a seemingly harmless bite from an unknown insect. After returning home with cold feet, Casey tries to call off her wedding but before she’s able to, she starts exhibiting insect like traits. Between her physical transformation and her wedding anxiety, Casey succumbs to her new instincts and begins creating a hive that not only houses her translucent eggs, but feeds on the flesh of others. As her transformation becomes complete, Casey discovers that everything can change with a single bite.
Starring Elma Begovic, Annette Wozniak, Denise Yuen, Jordan Gray, Lawrene Denkers, Barry Birnberg, Daniel Klimitz, Tianna Nori, and Caroline Palmer. Bite is directed by Chad Archibald and produced by Black Fawn Films.
Ever since the invention of motion-picture cameras, filmmakers have been searching the darkest recesses of their brains in an effort to come up with the next great movie monster. From George Romero’s zombies to Wes Craven’s Freddy Krueger, the villains that have most iconically terrorized the silver screen have mostly been creatures quite unlike those found within our physical realities, providing a safe distance from the fear we feel while watching them stalk and slash. When we go to bed, we can pretty sure that we won’t be torn apart in our sleep by a werewolf or feasted on by a hungry vampire, but one thing we cannot promise ourselves is that we’ll be safe from the scariest monsters of them all: the human beings we’re forced to share this planet with.
It is for this reason that no sub-genre of horror is more genuinely terrifying than the home invasion film, which preys upon the very real fear of the safest place in your world being flip-turned into a living nightmare. Countless films released in the last several decades fall under the home invasion umbrella, from 1967’s Wait Until Dark to 2011’s You’re Next, but it wasn’t until Bryan Bertino made his own contribution to the sub-genre that the home invasion film truly reached its pinnacle of terror. Released in 2008, The Strangers upped the fear factor by throwing motive completely out the window.
There’s absolutely nothing deceptive about the simplicity of Bertino’s premise. In The Strangers, James Hoyt (Scott Speedman) and Kristen McKay (Liv Tyler), whose troubled relationship is given a wonderfully nuanced introduction within the first 15-minutes, are spending the night in a remote vacation home. Around four in the morning, they receive a knock on the front door from a young woman who claims to be looking for a friend of hers, and soon thereafter, a trio of masked maniacs break into the home and terrorize the couple. Why, you ask? That’s a question directly addressed in Bertino’s script, and the answer sends chills up the spine just thinking about it.
“Because you were home,” answers one of the masked intruders.
More than merely a creepy tagline, that bone-chilling reveal hammers home the entire theme of The Strangers, which is that sadistic killers don’t need a reason to make you their next target. It’s comforting to believe that you need to wrong someone in order to become their enemy, but the reality, as is terrifyingly on display in The Strangers, is that your peaceful existence can be shattered simply because you were in the wrong place at the wrong time. And sometimes, as the world learned courtesy of the infamous Manson Family murders of 1969, which loosely inspired Bertino to pen this very film, that wrong place can be within the walls of your own home.
Like the real-life murders of Sharon Tate and friends, there’s really no point to the brutality on display in The Strangers, and though many over the years have criticized the film for that, it is my belief that it’s actually the single most chilling aspect of it. Right out of the gate, a narrated sequence (a nod to The Texas Chain Saw Massacre) more or less lays out everything we’re about to see, letting us know that the two characters we’re about to meet will not survive the night. Less than 80-minutes later, as promised, James and Kristen are uneventfully stabbed to death, and just like that, the film ends. No twist. No surprises. When it’s over, we realize there was no point to what we just witnessed, and if the palpable terror of that pointlessness doesn’t linger with you long afterwards, well, it sure does for me.
Everything about The Strangers, very much unlike the majority of modern horror films, is quiet and understated, which is a huge reason why it’s so effective at imparting the fear that it does. In the most chilling moment, Kristen is pouring herself a glass of water in the kitchen while the so-called “Man in the Mask” watches from afar, something we see but Kristen does not. The brief glimpse of the masked madman in the background, which is purposely out of focus, is the visual equivalent of the iconic reveal from When a Stranger Calls that the killer is calling from inside the house, and it’s the complete antithesis of the jump scare that plagues so many horror movies today. By showing us that the killer is inside the house, and then making us wait for him to strike, Bertino imbues the bulk of the film with a tension so thick you can cut it with a butcher’s knife, proving with only his first film that he understands precisely what makes a horror film scary – and it’s sure as hell not creepy images lunging towards the camera.
The Strangers doesn’t make you afraid to venture out into the woods with your friends, nor does it make you fear that your dead loved ones are going to come back from the grave and feast on your flesh. Rather, it makes you afraid of something you simply cannot escape doing each and every night: being in your own home when the sun goes down. Because you never know who might come knocking, and just being home might be enough to get you killed.
Can anything really be scarier than that?
We’re big fans of French retrosynth wizard Perturbator here on Bloody-Disgusting and I think it’s pretty obvious why. Inspired by the horror and sci-fi films of our youth, Perturbator’s music is a glorious explosion of synth goodness that is as exciting as it is innovative.
The 2014 album Dangerous Days was one of my favorite releases of that year and I’ve been eagerly awaiting a followup ever since. Today is that day. Today marks the release of The Uncanny Valley, and album that is sure to not only please fans of the genre but also win over newcomers.
Opening with “Neo-Tokyo”, we’re immediately thrust into aggressive percussion and beefy synth basslines with fluttering and sparkling pads. But what makes this track stand out is that it flows wonderfully, going from a hard-hitting attacks to an almost hypnotic cadence.
The album then transitions into “Weapons for Children”, which has this synthetic “whining” around the 3/4 mark that is just badass. There’s really no other way to put it. And the fact that the album then follows with “Death Squad”, which might as well make you feel like The Terminator, just puts the cherry on top of the icing. This opening trifecta already does an amazing job of hooking the listener in but then what follows are three wildly different sounding additions that prove that Perturbator is not only back with amazing music but that he’s matured and grown in his approach, bringing far more to the table than one would have imagined.
“Femme Fatale” feels like something that should appear in Blade Runner 2. A noir jazzy tune, it exudes the same sadness and that dreary yet beautiful feel from the original 1982 sci-fi film. To be fair, the opening sample of a rainstorm probably helped trigger my memory. “All these moments will be lost… Like tears… in rain…”
Then we’ve got “Venger”, which features the sublime vocals of Greta Link, whose voice adds a delightful dimension to the already stellar track. And “Disco Inferno” is groovy beyond belief, with funk wah guitars that add such a splash of color and fun.
I could go on and on about the strength of this album, with songs like “Diabolus Ex Machina” or “Souls at Zero”, which ends using a sample from Tod Browning’s Freaks, but I think you’re realizing by now that I am absolutely besotted with this release. As I stated above, Perturbator has shown enormous growth and maturity with The Uncanny Valley. There is clearly a mind-boggling amount of thought that has gone into each track, ensuring that each instrument, each tone, each pad, does something interesting. From syncopating the bass against the hi-hats to creating a call-and-response system between various tones, Perturbator skillfully weaves an album that is intricate and absolutely fascinating.
The Final Word: With The Uncanny Valley, Perturbator has released an album that will be heralded as one of the very best of its kind. This is one of those records that you return to over and over and find something new each time.
Fortissimo Films’ sales trailer for Dennis Bartok’s English-language horror, P.O.V., leaked online ahead of Cannes.
“P.O.V follows the story of Dana Milgrom, a track coach who, having survived a near-death car accident, finds herself completely paralysed and trapped inside her own body. While recovering, she becomes convinced that an evil presence exists inside her hospital room and is intent on killing her – and she may not be the only target.”
The Descent‘s Shauna Macdonald stars in Bartok’s directorial debut, which was shot in Ireland and various locations around the UK. Steve Wall and Ross Noble also star.
I love the set up, that Macdonald’s character is trapped in bed and watching herself be haunted by the ghost of someone named “Nails.” I think that they need a change of title, though, as P.O.V. makes me think it’s just another meta found-footage film. It’s clearly something way better.
Brendan McCarthy and John McDonnell produced through their Ireland-based, horror production outfit Fantastic Films along with Jan Doense and Herman Slagter of The Netherlands-based, genre-specific, House of Netherhorror.
Heading into Cannes is Geoff Redknap’s unique thriller, The Unseen, starring Aden Young, Camille Sullivan, Julia Sarah Stone, and Ben Cotton.
In the film, “A man, who years earlier mysteriously abandoned his family and isolated himself in a small northern town, returns for one last chance to reconnect with his troubled daughter. When she goes missing, he risks everything to find her, including exposing the fact that he is becoming invisible.”
We have the first ever stills to go along with the Cannes sales trailer, thanks to Fabien M.
Geoff Redknap worked as a make-up effects artist, before turning to writing and directing. His short,The Auburn Hills Breakdown played at festivals worldwide. Geoff’s feature script, Hangfire was a finalist in the 2012 Austin Film Festival Screenplay Competition and won the Golden Feather Award at the Reykjavik International Film Festival.
The great Willem Dafoe (John Wick, Antichrist) has joined Prometheus star Noomi Rapace and Glenn Close in sci-fi thriller What Happened to Monday?, which was filmed last July at the Castel Film Studios in Bucharest.
Dead Snow and Hansel & Gretel: Witch Hunters‘s Tommy Wirkola directed the feature, which is produced by Vendome Pictures and Raffaella Productions and fully financed by SND, which will handle French distribution rights as well as international sales.
“Set in a world where families are allowed only one child due to overpopulation, a resourceful set of seven identical sisters must avoid governmental execution and dangerous infighting while investigating the disappearance of one of their own.”
Rapace plays all seven sisters, who are named after the days of the week.
Close plays the fierce head of the Child Allocation Bureau, Nicolette Cayman.
New additional cast includes Marwan Kenzari (Accused, Reckless), Christian Rubeck (Hansel & Gretel: Witch Hunters) and Pal Sverre Hagen (Kon-Tiki).
The script was written by Kerry Williamson (Alex Cross) and Max Botkin (Robosapien: Rebooted).
[H/T] ScreenDaily and Fabien M.
The 1986 sci-fi action/horror film Aliens is one of the greatest sequels to ever grace the silver screen, if not one of the greatest movies ever made. The mix of stunning practical FX with amazing characters and outright thrilling segments has made it a must-see film for pretty much…everyone! But just because the movie is practically flawless doesn’t mean it isn’t ripe for parody every once in a while. And when it comes to poking fun at popular titles, there’s few shows that do it better than Adult Swim’s “Robot Chicken“!
Remember in Aliens when Ripley and Hicks enter an elevator only to have a xenomorph try to catch a ride with them? Well, the below segment follows that moment only it sees the aftermath from the perspective of the alien, who finds out the hard way that its acid blood can make for a very long and painful fall! Check it out down yonder and enjoy a good laugh!
E.L. Katz, who broke out in a big way with his excellent thriller Cheap Thrills, is heading to Cannes with Small Crimes, Bloody Disgusting learned.
Small Crimes is written by Katz and Macon Blair (Green Room, Blue Ruin), and is to be produced by, get this, David Lancaster (Drive, Nightcrawler, Whiplash).
That’s quite the team.
Based on dave Zeltserman’s eponymous novel, “After serving time for the attempted murder of a District Attorney, disgraced former cop Joe Denton returns home looking for redemption. An embarrassment to his parents, abandoned by his ex-wife, it seems as if things can’t get much worse. But then Joe nds himself trapped in the mess he left behind, in the cross re between a crooked sheriff, the vengeful DA, and a ma a kingpin who knows too much.
Delightfully suspenseful, blackly comic, Small Crimes follows Joe’s desperate and misguided attempts to extract himself from this nightmare, only to dig himself into a deeper — and bloodier — hole.”
Katz also directed the phenomenal opening sequence to ABC’s of Death 2, and is helming an episode of MTV’s “Scream.”
The cast is to be revealed at Cannes. Thanks to Fabien M. for the tip.
Channeling Hellraiser and A Nightmare On Elm Street comes Bed of the Dead, from the minds behind Bite.
In the film, “Four twentysomethings find themselves stuck on a haunted antique bed where leaving means suffering a gruesome death. Plagued with frightening hallucinations, they must figure out the bed’s secrets before they are ultimately picked off one by one.”
Bed of the Dead was written and directed by Jeff Maher and produced by Black Fawn Films in association with Breakthrough Entertainment.
Colin Price, Alyssa King, and Gwen Cumyn star.
Here’s the sales art, courtesy of Breakthrough and Bloody reader Fabien M.
Thanks to Fabien M. we have the first ever images from the Franco-Belgian co-production movie Grave, also selling at Cannes under the title Raw.
In the film, “Everyone in Justine’s family is a vet. And a vegetarian. At 16, she’s a brilliant and promising student. When she starts at veterinary school, she enters a decadent, merciless and dangerously seductive world. During the first week of hazing rituals, desperate to fit in whatever the cost, she strays from her family principles when she eats raw meat for the first time. Justine will soon face the terrible and unexpected consequences of her actions when her true self begins to emerge…”
Julia Ducournau directs Grave, which stars Rabah Naït Oufella, Laurent Lucas, and Bouli Lanners.
Below are some of the first ever stills that really pique my interest.
From cowering in fear to tough as nails, here’s a brand new look at The Purge: Anarchy‘s Frank Grillo in Beyond Skyline, the sequel to Colin and Greg Strause’s Skyline that’s directed this time by Liam O’Donnell, who worked on some effects in Aliens vs. Predator: Requiem and Iron Man 2. He co-wrote the screenplay with Joshua Cordes. The duo wrote the first film, too.
Grillo stars in the film as a detective who embarks on a relentless pursuit to free his son from a nightmarish alien warship.
The full cast includes Frank Grillo, Bojana Novakovic (Drag Me to Hell, Devil), Jonny Weston (Under the Bed, Project Almanac), Iko Uwais, Callan Mulvey, Antonio Fargas, Pamelyn Chee, Yayan Ruhian, Jacob Vargas, Valentine Payen, Betty Gabriel, Jack Chausse, and Kevin O’Donnell.
The sequel’s storyline allegedly takes place at the same time the first one did.
Hydraulx Entertainment is behind Beyond Skyline, and do some seriously badass effects work.
[H/T] Fabien M.
The ending of a film can make or break it.This is especially true for horror films. When they utilize twist endings to shock the audience, it can be a bit of a double-edged sword. The eight films below are films whose twists really came out of nowhere. Did you see any of them coming? We think not!***SPOILERS Aplenty Below*** April Fool’s Day
Not surprisingly, April Fool’s Day wasn’t that successful when it was initially released. People were none to pleased that the slasher film they thought they were seeing turned out to not be a slasher film at all, but one big April Fool’s Day prank! Surprise! No one actually dies in the film. Interestingly enough, the film was actually never intended to be a horror film, but the studio wanted to market it as one. April Fool’s Day is actually a fairly clever film (that just celebrated its 30th anniversary) that is a ton of fun. Plus, you’ve got to laugh at the fact that a bunch of horror fans were duped in 1986.Saw
By now, the Saw franchise has become a bit of a joke, especially with the dismal Saw: The Final Chapter concluding the franchise (though Saw VI is actually one of the better sequels). That being said, if you were one of the lucky ones who saw Saw when it first hit theaters in October of 2004, you know how shocking that ending was. No one, and I mean no one expected Jigsaw to be the “corpse” on the floor. It was one of the most jaw-dropping moments in horror movie history.
MVD Entertainment Group Presents
In Select Theaters May 6th
And DVD June 28th
With Star Wars back in full force thanks to The Force Awakens, Rogue One and the slew of other movies lined up it comes as no surprise that we’re starting to see more documentaries on the beloved franchise. I Am Your Father previously took a look at David Prowse and now ELSTREE 1976 will expand on that film by taking a look at not only Prowse but some of the other lesser known but still very important actors from the franchise.
This looks fascinating. I’m big on any documentary that explores film and it’s even better when looking at one of the franchises most responsible for shaping the landscape of cinema as we know it today.
ELSTREE 1976 explores the lives of the actors and extras behind one of the most celebrated Science Fiction films in cinematic history, Star Wars.
From the man behind film’s most iconic villain, to the actor whose character was completely cut from the final film, the documentary delves into the eccentric community these individuals have formed and how the Star Wars franchise – which spans five decades from A New Hope to The Force Awakens – continues to impact their lives decades later.
Many of the minor characters were merely part of the set design, but eventually gained recognition as the Star Wars universe expanded into books, comics, etc. Fans learned the history of masked characters like Boba Fett and Greedo, but the sci-fi blockbuster also had a lasting impact on the people inside the costumes.
Not all of the interviewees had minor roles in the series however. For example, David Prowse, whose six-foot-eight bulk filled out Darth Vader’s suit and provided the menacing movements of film’s most iconic villain, wouldn’t be recognized on the street by all but the most ardent Star Wars fans. In the final cut of the movie, his face and voice were replaced by Sebastian Shaw and James Earl Jones, respectively. Others got to work on what would become the biggest movie of all time, but saw their characters cut entirely from the finished film.
The movie will start a US theatrical run on May 6th in select cities including Los Angeles and New York City. For the full list of theaters and ticket information, check http://filmrise.com/elstree-1976