It’s Monday and our resident video game expert is here to woo your ear canals with some sexy tunage! That’s right, Adam Dodd has whipped up a list of songs that he’s been blasting and he wants to share them with you so that you can join in on his funky exploits. Head on in to give everything a listen!
“This is our gig, Fuck Bombers…”
Sion Sono is a madman and had directed some incredible films over the past few years. Remember Cold Fish? Yup. How about Suicide Club? Yeah, that’s the same Sono!
Next up in his infinite madness is the Drafthouse Films release of Why Don’t You Play In Hell, hitting theaters on November 7.
Check out this exclusive clip that lets the limbs go flying!
The film begins when “an amateur production crew and a Yakuza boss as they attempt to make a movie amid the decade-long war between two rival crime lords.”
Jun Kunimura, Fumi Nikaidô, and Shin’ichi Tsutsumi star.
Variety reports that [REC] co-director Jaume Balagueró will direct Muse, a supernatural thriller that marks his return to English-language genre 12 years after his Miramax/Dimension breakout Darkness, co-starring a young Anna Paquin, grossed $22.2 million at the U.S. box office.
Also written by Balaguero and Spanish scribe Fernando Navarro, “Muse turns on Salomon, who has been off work since the tragic death off his girlfriend. Now, anxious to return to some semblance of normality, he goes back to his job as a police officer. But he hasn’t slept for months and has been suffering a recurring nightmare in which a woman is brutally murdered.
Back at work, the nightmare becomes a reality: the same woman who appears every night in his dreams is found dead in exactly the same circumstances. Now, Salomon will do whatever he can to solve this case and to discover the identity of the mystery woman.”
“This is just the kind of story that has always fascinated me, as a movie-goer and as a director. The combination of the supernatural, seduction, macabre rituals and love is an explosive one and has all the elements required to make a truly terrifying movie,” Balagueró said.
Muse is set up at Julio Fernandez’s Barcelona-based Filmax Ent., which has produced all of Balagueró’s movies since feature debut The Nameless, including Sleep Tight and the four-pic [REC] franchise. Filmax International will present it to buyers at the American Film Market. Julio Fernandez is producing.
Paramount’s moving forward on its thriller Annihilation, tapping Ex Machina writer-director Alex Garland to adapt the script and direct the project, says Variety.
The studio and Scott Rudin acquired movie rights to Jeff VanderMeer’s “The Southern Reach” trilogy last year. The first book, “Annihilation,” was published in March. It was followed by “Authority” in May and “Acceptance” in September.
Rudin and Eli Bush are producing Annihilation, which “centers on a biologist seeking answers about her husband’s disappearance in an enivironmental disaster areas sealed off by the government for the last 30 years.”
Garland’s writing credits also include 28 Days Later, Dredd and Sunshine.
Following Cannes-competing Only God Forgives, Gaumont and Wild Bunch are set to re-team on Nicolas Winding Refn’s horror film The Neon Demon.
Variety reports that the two Paris-based powerhouses will co-finance and co-distribute the movie, kicking off pre-sales at the AFM.
A horror tale toplined by a soon-to-be-announced female star, The Neon Demon is penned by Refn and Mary Laws.
“One morning I woke and realized I was both surrounded and dominated by women. Strangely, a sudden urge was planted in me to make a horror film about vicious beauty,” said Refn about the origins of the movie. “After making ‘Drive’ and falling madly in love with the electricity of Los Angeles, I knew I had to return to tell the story of ‘The Neon Demon.’”
Principal photography is set to begin in the first quarter of 2015 and will be filmed in L.A.
She’s not back because she never left…
We landed the exclusive new poster debut for The Woman In Black 2: Angel of Death, the sequel to the hit 2012 haunted house film that starred Daniel Radcliffe.
The fright sequel, directed by Tom Harper and stars Jeremy Irvine and Helen McCrory, takes place in the same house 40 years later when a group of children who are evacuated from London during World War II come to stay and awaken the house’s darkest inhabitants.
It opens in theaters January 2, 2015.
“During the London bombings of World War II, school teachers Eve Parkins (Phoebe Fox) and Jean Hogg (Helen McCrory) lead a group of children in evacuation to Crythin Gifford, a remote village outside of the city. When the group takes up residence at the Eel Marsh House, 40 years after Arthur Kipps (Daniel Radcliffe) investigated the first haunting, Eve soon realizes they are not alone. The longer they stay in the house, the more the awful past of the residence unravels itself and the evil spirit that lurks around them threatens the well-being of the children. With the help of a pilot (Jeremy Irvine), Eve does all that she can to protect the children and discover the truth behind the Woman in Black.”
Metal Sucks is stating that they have received a press release that states Static-X vocalist Wayne Richard Wells, aka Wayne Static, passed away in his sleep and that his death was not the result of a drug overdose, as many had speculated.
The press release that Metal Sucks received reads:
HOLLYWOOD, CA (November 1, 2014) – Today is a sad day in the music industry – Front-man and founding member WAYNE STATIC of STATIC-X passed away quietly in his sleep at his home last night.
The couple was getting ready to leave for a Fall/Winter tour this morning. They were to have left the night before on Halloween, but decided they would head out early in the morning November 1st.
The couple, known for partying heavy, had left hard drugs in 2009 and had not touched them since. Static’s first solo album – Pighammer – was a tribute to his new non-drug life and hoped it would help others to get clean from hard chemical drugs.
More official information about his passing will be released in the following days. This is not a drug related incident or an O. D. Please be courteous to his family and wife and leave positive messages
I want to make it clear that I have not received this press release, so I cannot confirm this. No matter what, we still mourn the loss of Wells, who died at age 48. He leaves behind wife Tera Wray.
This week, Don and Justin kick November off with a review of the new movie Nightcrawler (*spoiler warning*), and the new game Sunset Overdrive. Also, now that Hallowen’s passed, portmortems on both Alien: Isolation and The Evil Within, and, finally, a little Shadow Warrior talk to round things out.
NECA released close-up shots capture Aliens Series 3’s ‘Kane’ as he attempts to reason with the little Alien that’s just melted through his helmet and is giving his face a friendly hug.
From 1979’s Alien, Kane in Nostromo Spacesuit is fully articulated and comes in special 35th Anniversary packaging.
I just need Ripley, the Alien Queen and the Power Loader…
Check out the first detailed looks below (and yes, the helmet comes off).
Pepsi Max is pushing out a new campaign revolving around “unbelievable experiences” – those moments that make you do a double take. Those moments that stop you in your tracks, and make you question reality.
They used Halloween as a launching point for said campaign, and churned out one of the coolest prank videos in recent memory.
Using face tracking technology, those who hit the restroom (and actually washed their hands) would be pranked when their face turned into some sort of monster. Thus the video name, “Monster Mirror.”
Joseph B. Carlin of Transfixion Films recently directed 5 fake Public Service Announcements that satirize the PSA ‘formula’ — show something scary or disturbing, abrupt cuts, use statistics and simple commands and questions.
They ride the line between horror and dark comedy and warn us against everything from mirrors to baths.
Bloody-Disgusting has teamed up with Australian metal band Our Last Enemy to bring you the exclusive lyric video premiere of “Wolves Of Perigord”, which comes from their 2014 album Pariah. The song deals with a story that is incredibly reminiscent of the 2001 film Brotherhood Of The Wolf where a pack of wolves terrorized a French region by the name of Perigord in 1766.
Head below for this exclusive premiere!
The band states:
We originally found the idea for ‘Wolves of Perigord’ by looking up animal attacks online that we would then send to each other. One day we stumbled across this story of these wolves which plagued a region called ‘Perigord’ in France back in 1766. They killed 18 people and even King Louis put out a reward for their death.
We found a lot of similarities between the band and a pack of wolves – constantly traveling, terrorizing and moving on from town to town, only being able to rely on each other and in the case of the wolves of Perigord, persecuted for doing what comes naturally to them, which it can feel like in a band at times.
What’s funny, is that the region of Perigord is no more, but the wolves are still remembered and some of them are stuffed in a museum, yet all the people who hunted and killed them are dead and forgotten. Who really won?
This song came together the quickest on the record, and was one of the last we wrote just before we hit the studio. It kind of fell together and it turned out to be a live staple and a radio favourite. Its funny how these things can happen!
Archstone Distribution is bringing the newly completed Echoes to this week’s AFM in Santa Monica.
Nils Timm writes and directs the film, which now has a trailer.
“Struggling with horrifying, sleep-paralysis induced visions, a young writer retreats with her boyfriend to an isolated desert house. As the visions intensify, she finds herself on the verge of losing her mind…or uncovering a life-threatening secret.”
Steven Brand, Billy Wirth, Kate French and Steve Hanks star, while Ditte Haleskov, Aaron Harvey and Nils Timm produce.
MPI has announced a November 14th release for the incredible Hollywood slasher Starry Eyes (read our review), which will be available on iTunes and other VOD platforms.
Written and Directed by Kevin Kolsch and Dennis Widmyer, “Determined to make it as an actress in Hollywood, Sarah Walker spends her days working a dead-end job, enduring petty friendships and going on countless casting calls in hopes of catching her big break. After a series of strange auditions, Sarah lands the leading role in a new film from a mysterious production company. But with this opportunity comes bizarre ramifications that will transform her both mentally and physically into something beautiful… and altogether terrifying.”
Alex Essoe, Noah Segan, Pat Healy, Amanda Fuller, Shane Coffer, and Fabianne Therese all star.
In next week’s episode of “The Walking Dead,” a new set of issues confront our group while on a mission. Will they be able to push through and survive these challenges? Or better yet, each other?
Below is both the promo for Episode 5.05 ‘Self Help,’ to go along with a sneak peak clip.
You can now read Clark’s rave review of last night’s Episode 5.04, ‘Slabtown’.
“It’s bigger than big”
Nightmare Man director Rolfe Kanefsky is getting back behind the camera for Epic Pictures Group.
He is currently in pre-production on Megafoot, which is to be sold at the upcoming AFM this week.
The film begins when a highly classified experiment accidentally unleashes a top secret killing machine known as MEGAFOOT. It’s up to an elite squad of soldiers to track down the beast and kill it before it destroys everyone and everything in its path.
Justin A. Martell and Mark Finch produce.
While the landfill of straight-to-video flicks that depend on a silly name grows steadily every month, Zombeavers (as screened at the Toronto After Dark Film Festival) actually has some great things going for it. Besides the title (which c’mon, you have to admit is a fun play on words), the horror-comedy is remarkably self-aware and well-executed. It doesn’t just make a farce of its genre tropes, it displays an actual love and understanding for them, while flexing some refined comedy chops. Don’t dismiss this buck-toothed bad boy as just another Sharknado, whoa no. Zombeavers actually delivers the goods.
It’s a cabin in the woods bikini bloodbath, but what the hell else are you expecting? After a barrel of toxic waste finds its way into a quaint lake, the resident beavers are transformed into bloodthirsty rodents hellbent for wood. There’s not much more to the plot than this, but writer-director Jordan Rubin and writers Al and Jon Kaplan manage to squeeze a lot of wit and engagement out of its simplicity. The short running time (75 minutes or so) is filled with silly scares, goofy beaver puppets, gore, and genuinely funny dialogue. About halfway through I was shocked how much of a good time I was having.
Rubin has a ton of experience in TV comedy writing (The Man Show, Craig Kilborn) and his ability to construct a solid and funny script is on full display. The comedy beats, the dialogue, the satire, it all works really, really well. Many of these small monster satires are made by unprofessional hacks who think tits, blood, and a marginally clever title make a good horror-comedy. They’re dead wrong. Zombeavers actually marries its concept, execution, and love of its predecessors into a coherent, entertaining film. Its title may be pure silliness, but it takes it silliness very serious, while always remaining aware how goddamn silly it all is.
A lot of these movies also have a cast I want to throttle within the first five minutes, but not the case here. The young cast is devoid of the overly obnoxious types that are entirely unbelievable as friends. The kids in Zombeavers actually seem like they’d hang out (though there is a lover’s spat causing a rift in their little group). The film is bookended with hysterical bits by Bill Burr and John Mayer (yes that John Mayer, making his acting debut) as the schlubs driving the truck the toxic waste barrel falls from. There are some amazing lines during those parts (especially if you’re a fan of Arby’s).
Zombeavers may not bring anything new to the table, but it packs a few surprises and it’s all executed very well. Unlike many of its ilk, you won’t feel like you’ve killed a few hundred brain cells by the end of it. Funny, bloody, silly, and quotable, this one’s definitely going to be a party movie for years to come.
With the expectation that The Walking Dead would abruptly slam on the brakes this week, we instead find “Slabtown” jumping the freaking track.
So far, this is my favorite episode of the season, hands down. Whatever happened to Beth, as throwaway a character as she’s been, has certainly been on my mind lately, and the payoff is huge. This episode gives two aspects I didn’t necessarily expect from this particular story juncture: sheer nail biting suspense peppered with meaningful character development.
Rejoining Beth in her high rise hospital room, almost feels like a dream sequence. A doctor and police officer, both in clean uniforms, enter the room and the intrigue, along with an eerily unsettling vibe, is immediate. Especially when we’re presented with the extent of the haze of apparent normalcy clouding this would be sanctuary.
Hospital equipment and lights attached to car batteries hum with the familiar sounds of a past life, while clean uniformed cops roam the halls, a man in scrubs mops the hallway in the distance. To think their could be anything this well put together at this point is mind boggling. Turns out the only things not so well put together are the people that built it.
These people are still waiting for rescue, and delusional enough to believe that ‘saving’ people and forcing them to contribute to their efforts was in line with some kind of greater good. And more so, that the abuse and entrapment of these individuals was justified if it meant keeping the machine running. “If we take, we give back.”
We meet a lot of different kinds of people on this show, some are outright Evil, some are crazed, and others straddle that fine line. These people don’t fit this model. While some of them definitely did lean towards evil, their delusion made them horrifying, and the skewed sense of self importance and self right righteousness it brought. I mean, these people were wasting energy doing laundry. A brilliant twist on the show’s established ranks of antagonism.
These people cling to an all but forgotten hope of being rescued from this hell on Earth. Either too stubborn or stupid to let go. In a lot of ways, they had a good thing going, but it was the delusional nature of their core philosophy that unnerved me in a way I no longer thought possible from this show, if for no other reason than sheer de-sensitivity.
From beginning to end this is a spectacularly well realized episode. From the unsettling surreal quality emanating from Beth’s hosts, to the harrowing escape plan, there was scarcely a moment I didn’t feel uneasy. That feeling was only multiplied by the supremely eerie setting of the fifth or sixth story of a besieged hospital. Sure, it was safe from the dead, but it was effectively a prison with no clear escape route, inhabited by insanity.
The two main sources of antagonism in this episode; Dawn, and her more sadistic male counterpart, Gorman paint a supremely off kilter picture with their every word and action. Moments like Dawn taking her anger over the loss of a prospective contributor out on Beth’s face, and the excessively creepy scene featuring the aforementioned sadist and a sour apple sucker, were truly hard to watch Beth endure.
This is the episode’s greatest strength, as it took a character we never really cared much about and turned her into an underdog that we had every reason to root for. Allusions to Beth’s suicidal past juxtaposed with her current strength illustrated her journey to becoming a survivor. In short, Beth’s character has gained a depth that will no doubt continue to resonate for as long as she remains a part of the show. No small feat.
This thread is ultimately brought full circle by the daring escape, which ends in heart wrenching failure. The build up and subsequent release presented here, for me, encapsulates everything that can make this show such an utter joy to watch, albeit a nervous, white knuckled joy. Neither element would’ve been nearly as engaging on its own, but together they form an expertly paced thrill ride.
The episode was light on the undead component, that is, until the last few minutes, but what we do get is on the same level as the rest of the material presented. Due to the desperate situation Beth and the newly befriended Noah are in, the encounter with the walkers feels more threatening, and sickening than they have in quite some time.
The looming terror of the elevator shaft used as a dumping/munching ground for the recently deceased, which ended up becoming the duo’s escape route, was electrifying. And the darkened, rotter filled basement, illuminated only by the shots fired from Beth’s jacked pistol was extremely effective in conveying the unabashed urgency of the moment. The zombies were scary again, and it was awesome.
While the episode did begin on a note of intrigue, where it ended has me more excited to see what comes next than I’ve been since we left off last season. With her one true ally (Noah) gone, and Dawn more pissed off than ever, Beth’s situation seems extremely grim. That is, until she see’s Carol being wheeled in on a stretcher. The single most exciting moment of the season thus far from where I’m standing. How the hell did this happen!?
As of right now, I couldn’t give a rat’s ass about what’s going on with Rick’s group, as surprised as I am to even type those words. Right now I’m more concerned with finding out how Carol wound up getting separated from Daryl, and just who Mr. Dixon was escorting at the end of the previous episode. I’d have to say my money’s on Noah at this point. Either way, I hope we follow this plot line for a while as I have an incredibly strong need to see how this all plays/played out.
If the next few chapters of this little diversion are half as strong as this one, it’s going to be a thrilling couple of weeks ahead. This is my definitive WD experience. Hat’s off.
What did you think of “Slabtown?” Was Beth’s struggle a compelling hour of television? When do you want to see Rick next, and where the hell is Morgan?
We may be just four episodes into Season 5 of “The Walking Dead,” but it’s already shaping up to be one of the show’s best, at least in this writer’s humble opinion. Before we move on to next week’s Episode 5.05, “Self Help,” with a photo and a clip, here’s a look “inside” tonight’s Episode 5.04, “Slabtown.” Just beware of spoilers if you’re not caught up yet!
“The Walking Dead” Episode 5.04 – “Slabtown” (aired 11/2/14)
In this episode we get to meet a whole group of other survivors, but what looks safe and nice on the outside has a bit of a dark side.
“The Walking Dead” Episode 5.05 – “Self Help” (airs 11/9/14)
A new set of issues confront our group while on a mission. Will they be able to push through and survive these challenges? Or better yet, each other?
To stay up-to-the-minute on all things walker related, follow @WalkingDead_AMC on Twitter and visit “The Walking Dead” on Facebook. For more info be sure to hit up the official “The Walking Dead” page on AMC.com.
The post The Walking Dead Video Blowout: Go Inside Ep. 5.04 – Slabtown; Sneak Peek of Ep. 5.05 – Self Help appeared first on Dread Central.
Darren Lynn Bousman, who directed such horror films as Saw II through Saw 4 as well as Repo! The Genetic Opera and 11-11-11, has posted the story of how he came to direct the music video “So” for Static-X via his public Facebook page.
In his story, Bousman explains that this music video gig was his very first professional job and became the, “…doorway in to doing what I love.“
I was very sad to hear of the passing of Wayne Static from Static-X. For those of you who know my story, my VERY first professional directing job was a Static-X music video. At the time, I was a tape vault assistant at THE FIRM, a musical management company. I was sitting in a managers meeting helping them with AV when I heard from one of the managers that the director for the Static-X music video fell out, and they were unsure what to do. I raised my hand and said, “I’ll do it.” At this time, I had never directed ANYTHING… (outside of a couple of bad short films). The co-owner of The Firm laughed at me, then told me to meet him in his office after the meeting. There was a collective gasp from the room. I was SURELY being fired for talking out of place.
Instead, Jeff gave me Wayne’s number and said, I’ll give you a shot, call Wayne and figure it out.
One week later I was shooting the music video for “SO”.
As fate would have it, I would reconnect with Static-X a few years later for the SAW III soundtrack.
Wayne, I thank you for allowing me a doorway in to doing what I love.
My thoughts go to his friends, fans, and family.