Across the nation people are killing themselves in horribly creative ways for especially disturbing reasons. Detectives Langford and Jensen investigate these strange suicides in an attempt to unravel the mystery popularly known as “The Empty Man Virus”. In “The Empty Man” #2, Jensen and Langford are finally confronted with one of the horrors that haunt the victims of The Empty Man. More players are introduced, and more mysterious are revealed. Trying to put all the pieces together is the real fun of this meticulously plotted horror mini-series, but for the faint of heart, its going to be a bumping ride.
ART BY: Vanesa R. Del Rey
PUBLISHER: BOOM! Studios
RELEASE: July 9, 2014
Reviewed by Epic Switzer
If the creators of “True Detective” on HBO had written the show on acid, they might have come up with something like “The Empty Man”. I’ve written a lot on the horror-noir genre recently, and this book is among the best of the best. It’s really quite impressive that Bunn manages to fill each issue with so many different things.
There is the central mystery of The Empty Man Virus, there’s the concept of psychic disposition or “extrasensory potential” as a scientific study, there at least two religious cults at play, and a host of complex characters with their own agendas and secrets. Its hard to believe in just four more issues all will be said and done, but I have the feeling its going to be extremely satisfying.
Premise is the hook, but character is the heart, and Bunn is building them out with expert pacing. As the plot progresses we learn just enough about what the characters are hiding to keep us intrigued. It doesn’t hurt that Del Rey’s characters emote genuinely without mugging, and are represented uniquely yet familiar. Speaking of the art, the panel work is subtle yet effective, which is something I always appreciate. Like film editing, layout is often best when it is invisible.
By way of critique, I was a little confused at the way Langford reacted to the spider monster. I realize he deals with gruesome death and wanton violence on an almost daily basis, but having never actually seen anything supernatural before, he was suprising casual about the encounter. There were a couple of panels during the fight in which it was difficult to figure out what I looking at at first, but all of this is nitpicky stuff because the bottom line is I really love this book.
It is exactly the kind of mind-fuck horror I’m interested in reading and its being done perfectly. This is going to end up being a gorgeous trade when its finished, so if for some reason you can’t snag issue one today, don’t forget to pick up the collection. “The Empty Man” just got moved to the top of my stack.
Epic Switzer AKA Eric is an aspiring filmmaker and screenplay writer living in Los Angeles. His work tends to focus on the lighter side of entropy, dystopic futures, and man’s innate struggle with his own mortality. He can be found on twitter @epicswitzer or reached via email at firstname.lastname@example.org.
A childhoods worth of fantastical creatures and inventions grow up in a world that’s morals aren’t black and white, but shades of grey. That’s the amazingly creative world of “Shutter.” This month the story takes shape with the seemingly random events from previous issues coming together, but come with heaping spoonfuls of intrigue and mystery.
ART BY: Leila De Duca
RELEASE: July 9, 2014
Reviewed By: Torbin Chimners
Issue four begins with an excellent short story revealing the background of a character introduced last issue. It’s told in a totally different style to the norm, but perfectly fits the story it’s telling. It’s formatted like I imagine comics looked in the 1920’s. Last month’s issue #3 opened in a similar fashion telling the story of issue #2’s cliffhanger, albeit with an absolutely brilliant Busy Town reference. I’m hoping this is a new trend that’ll continue as it’s a marvelous way to open a book.
Shawn and Ekland’s side story stands strong on its own. Ekland brings Shawn to Mikey, a smoking platypus who operates out of an alley with a fax machine. If that’s not something you want to read about, I don’t think we can be friends. In past issues I wasn’t overly interested in their side story. Not that it was bad, I was simply salivating so much for more of Kate’s story that nothing else mattered much. Now I’m equally anticipating both. With the world around Kate being a bit more whimsical and relatively safe for now, I’m genuinely excited to see Shawn and Ekland dig into the exceedingly violent and filthy underbelly of this astonishing world.
Visually you’ve got the whole package and then some here. The sheer amount of detail on each page is staggering. The characters are as expertly rendered as the background. Nothing looks phoned in, it’s a labor of love and you can damn well tell. The more you think about it the more impressive it is. The characters don’t all wear the same tights every issue and most of them are extraordinary creatures but Shutter’s art never suffers.
This is why I read comics. It’s a wondrous story that can only be told through this wonderful medium. If it were a film or television show the cost would be astronomical. That would mean there would be a million fingers in its pie, deluding, twisting and corrupting everything that makes it magical. Do the creativity in your life a favor and read “Shutter.”
Torbin Chimners AKA Torin Chambers is a rad dude from the nineties who does film stuff or something. Thomas the Tank Engine is his favorite transformer. Find him on Twitter@Vulgar_Rhombus
In 2012 a chilling new horror series launched with one of the most alarming covers I’ve ever had the pleasure of collecting. “Colder” was a unique story about the nature of insanity from Paul Tobin and Juan Ferreyra that oozed confidence and chilled to the core. The original work was an incredible look at mental illness that you don’t often find within the pages of comics, it’s not an easy thing to attack and it’s certainly no stranger than the bulk of comic panels. However the raw vulnerability of the first volume made for a book that wasn’t scared to linger on the horror of human perception. So much so we said ourselves “If you aren’t reading Colder, you’re missing out. Hugely. Don’t make that mistake.”
So today we’re happy to have the EXCLUSIVE reveal of “Colder: The Bad Seed.” This is a direct continuation of the first series and brings an entirely new threat into Declan’s world. We we’re lucky enough to sit down with Paul Tobin to talk about mental illness, working with Juan Ferreyra on the horrors in volume two, and his favorite type of fear.
BLOODY DISGUSTING: What interests you most about mental illness? And what sort of research did you do to prepare to dive back into the world of Colder?
PAUL TOBIN: Mental illness to me is all about the perception, and from both sides. It’s secrets that nobody else shares. An insane person can see something that doesn’t exist in “reality,” but at the same time it’s real in THEIR reality, and I find that fascinating. I’ve had a few (ahem) altered states where I’ve had hallucinations, and during them I KNEW that I was seeing something that wasn’t real… but… couldn’t deny my eyes anyway. So, the perception of “crazy” is a knife edge: both sides deny the other. And, from one perspective, both sides are right. As far as what kind of research I’ve done, life experience, mostly. I work in a creative field. Plenty of wonderfully strange people to learn from. I like my friends between a little insane and moderately insane. More interesting that way, right?
BD: What can you tell me about the mysterious Swivel? How could he possibly be any worse than Nimble Jack?
PT: Swivel’s of the same breed as Nimble Jack, in a way, in that they both have a specific goal that’s entirely normal. Nimble Jack was just hungry. Swivel just wants to grow his crops. Nothing wrong with either of them. It’s that perception switch of insanity that I play with, though, that record-scratch moment of, “Oh, he just wants to do this very simple and normal thing, and so there’s no problem, and… wait… THAT’S what you mean. Well, hell. That ain’t good.” That’s what I love about writing Colder, just taking the everyday events and desires and making them horrible things. Floors always seem solid until the earthquake hits, and you never quite feel like you have your balance afterwards. That’s the feeling that artist Juan Ferreyra and I are going for: just that feeling of unbalance, that your equilibrium is forever in danger.
BD: How much time has passed since the events of Colder?
PT: Not long. A couple months. Enough time that Declan and Reece have gotten on with their lives together, though in an odd way, for Declan. He’s still on a quest, and that quest leaves a door opens.
BD: How are you and Juan working to outdo the horrendous and unsightly horrors of the first volume?
PT: We made a very conscious decision NOT to try to outdo the first series. Our primary goal is to create a new work, a solid one. I think creators who feel a conscious need to top a previous work can quickly move their works into parody… losing the subtlety, characterization, and the general feel of what made a work successful in the first place.
BD: Now that Declan has overcome his “insanity” what causes the most conflict in his life?
PT: In a way, what causes the most conflict in Declan’s life is that he HAS overcome his insanity. And when you take away the insanity, you don’t have anything left but the truth. If that truth turns out to be horrible, there’s unfortunately nowhere left to turn.
BD: What excites you most about Bad Seed? What scares you most about it?
PT: Working with Juan is always such a treat. In the beginning I worked with him as per my normal methods: I’m a very “complete” scripter. But now I’ve built so much trust with him that I often will just describe the overall scene, and then know that Juan is going to bring it to life in a better way than I could have conceived. So, I think we constantly surprise each other. That’s a damn fun way of working. As far as what scares me most, it’s losing that knife edge… of starting to lean into cheap horror, the cat jumping from the closet, that sort of thing. It’s important for horror writers to stay true to the fear.
BD: What type of fear/terror/horror are you trying to tap into with this new volume?
PT: I love a lot of the Korean and Japanese horror movies, and works by such artists as Junjo Ito and Toshio Saeki… just anything that slips the carpet out from under reality. When it comes to horror, I don’t want to sit there screaming, I want to wake up sweating.
Colder: The Bad Seed hits in October, and we’ll have all sorts of coverage leading into the launch of #1. For now, here’s what Dark Horse has to say:
Colder: The Bad Seed #1
Writer: Paul Tobin
Artist: Juan Ferreyra
Life goes on for Declan Thomas after his deadly encounter with the psychotic Nimble Jack, but Declan’s strange powers continue to develop, offering him a profound connection with the nature of insanity. Little does he know that the malevolent Swivel wishes to pick up where Nimble Jack left off!
In last month’s Remake vs. Remake segment I pitted Zack Snyder’s 2004 Dawn of the Dead against Chuck Russell’s 1988 remake of The Blob and came out in favor of the latter, which is hands down one of my favorite 80′s movies.
But this week I figured I’d get interesting. I figured I’d pose a neck and neck challenge to myself and to you horror fans. How about John Carpenter’s 1982 masterpiece remake of The Thing pitted against David Cronenberg’s 1986 masterpiece remake of The Fly? Not so easy, is it? Not for me at least.
On one hand, The Thing is a filmmaker at the top of his game (while I love Halloween, The Fog, Big Trouble in Little China, Escape From New York and They Live, Carpenter’s mastery reached its height here). On the other hand, you could say the same thing about Cronenberg and The Fly, which saw his body horror leanings reach delirious new highs and includes an almost career defining performance by Jeff Goldblum (and Geena Davis for that matter).
Both movies have excellent, top notch and incredibly inventive practical gore effects. Both are anchored by an unrelenting sense of escalation and doom, you don’t get the sense that things are going to end well either way. Both films have tight scripts that define character through action and cut all the fat. The Fly perhaps pulls at the heartstrings more (you’re more likely to cry at the sight of Seth Brundle guiding a shotgun to his mutated head than you are at the prospect of Macready freezing to death offscreen). But isn’t it the point of The Thing‘s chilly disposition that you’re slightly numb to the outcome?
Here’s the thing, I can’t categorically say that one film is better than the other. I don’t have an objective statement to make about one’s quality over the other. So I can only go with my personal, subjective preference. The litmus test of “which one do I actually watch more?” The answer there is The Thing, hands down. It’s in my Blu-ray player several times a year, perhaps only because The Fly is an overall more grueling experience.
What about you guys?
UK rock duo Royal Blood have released an official video for their track “Figure It Out”, which is rather inventive and loads of fun. The video opens up with a woman walking through a mall as everything is bathed in red. People keep fleeing from her and it’s uncertain why until suddenly the red turns into blue and reveals that the woman has blood all over her. I won’t spoil the rest but it gets violent and it gets fun!
“Figure It Out” comes from the band’s upcoming self-titled debut album, which comes out August 25th via Warner Bros. Records.
I’ve been championing these guys for a few weeks and I don’t plan on stopping any time soon! They have a raw, unbridled energy about them that is highly infectious.
Netflix just sent us two character posters for “The Killing,” which premieres exclusively on Netflix on August 1.
Joel Kinnaman will return for a final season, along with his partner, Sarah Linden (Mireille Enos).
In the slow-burn series, a police investigation, the saga of a grieving family, and a Seattle mayoral campaign all interlock after the body of 17-year-old Rosie Larsen is found in the trunk of a submerged car.
“The fourth and final season of ‘The Killing’ picks up right after the season 3 finale. As Detective Linden (Mireille Enos) and Detective Holder (Joel Kinnaman) struggle to manage the fallout from their rash actions at the end of last season, they are assigned a new case — a picture perfect family is murdered, survived only by the son, Kyle Stansbury (Tyler Ross), who was shot in the head during the massacre. Joan Allen guest stars this season as Colonel Margaret Rayne, the headmaster of the all-boys military academy where Kyle attends. The new season also stars Gregg Henry, Sterling Beaumon and Levi Meaden.”
Aw c’mon, guys, it wasn’t that bad.
While I admit that Scott Derrickson’s Deliver Us From Evil failed to pack the punch I was hoping for, I’m gobsmacked over the amount of flak it’s getting from critics. The film currently has a 32 percent on Rotten Tomatoes, which bums me out because I feel that although it might not be successful on all fronts, the film is admirable as hell for trying to do something different within the constraints of the exorcism genre. In this article I wanna address some of the arguments critics have made against the film.
(spoilers follow, duh)
As a recovering Catholic, the use of demonic elements will always give me the willies. It never fails. Even though I don’t believe in a Devil, the fear of one is so ingrained in me that exorcism films (even shitty ones like The Devil Inside) will affect me at least a little. What makes Deliver Us From Evil more effective than others is that Derrickson (along with his co-writer Paul Harris Boardman) grounds the supernatural elements strongly in reality. Horror-procedural hybrids have been done before (Angel Heart comes to mind), but this is the first time I can remember recently where one took its supernatural elements so damn seriously. And not since The Exorcist back in 1973 has a possession film felt so much like it existed in the real world. Maybe The Entity, but that was more demonic molestation.
Derrickson has stated in interviews that he is in fact a man of faith, which definitely comes through in this film. Not just because of that preachy bit at the end at Sarchie’s kid’s baptism, but because of the consistently solemn tone in regards to the spiritual battle between good and evil Sarchie and Mendoza embark on. It’s way more absorbing and wholehearted than an exorcism movie needs to be.
Some of the negative reviews I’ve read of the film call its story disjointed and incohesive. That’s an argument I really don’t understand. At first it may feel like Sarchie and his partner Butler are aimlessly driving around the Bronx, taking random calls, but quickly it becomes apparent that it’s all a thread leading up to Sarchie’s spiritual journey. The dead baby in the alley, the domestic dispute, the infant-throwing at the zoo – it’s all connected to help Sarchie come to terms with the “true evil” Mendoza speaks of. Sarchie’s seen so much horrible shit in the “sewer” (as he refers to his job) that it reinforces Mendoza’s argument. He goes from disbelieving in God because of the shit he’s seen to recognizing it all as a sign of true evil. And it all really feels organic thanks in part to Eric Bana’s solid performance (despite that sketchy NY accent).
I’ve also heard critics bitch about the pace, that it takes too long to really have any thrust. This I disagree with too. The story is structured like a police procedural, so it purposefully lacks that aggressive pace in the beginning. We’ve seen the trailer, poster, commercials, etc., so we know what’s going on. Sarchie doesn’t so he’s got to use his detective skills and Popeye muscles to figure shit out. It’s a really interesting way to tell an exorcism story, much more compelling than someone getting possessed, then exorcised, roll credits. One critic I read even complained that the exorcism takes place at the end of the film. Say whaaa? That’s when it goes down in pretty much all of the exorcism films I’ve ever seen, so unless they’re complaining about it being a cliche, I really don’t get it.
Another common complaint was funny man Joel McHale playing a jacked up knife-enthusiast cop “adrenaline junkie.” Okay, with you on this one. It’s really tough to see past McHale, the sarcastic, dry-witted comedian that he is. I didn’t buy him at times either. There’s no denying the bro chemistry between him and Bana on screen though. They were entirely believable as partners, guys who have probably been driving around at night for years, using humor to cope with the sick side of humanity they witness every shift. During his brawl with Santino in the stairwell is the only time I could see past McHale and felt like I was watching the character of Butler. Once he realizes he can’t win, there was some goddamn conviction in McHale’s performance. I felt sorry for the macho bastard.
The one major complaint I wholeheartedly agree with is the use of The Doors as a major plot point. It would’ve been fine to bring up once or twice to help Sarchie connect the case of Jane to the others, but using it during the climactic exorcism scene was miserable. Once Jim Morrison’s heroin-fueled voice rang out, it totally broke the thick supernatural feel of the moment. Speaking of the exorcism scene, holy crap. That was a helluva process. I love that there were stages to it and that both Sarchie and the demon-fighting veteran Mendoza slipped during the incident, almost falling prey to Santino’s manipulation.
People bitched about Olivia Munn too and while I agree she’s not the greatest actress, she wasn’t given all that much to do.
Yes, Deliver Us From Evil is filled with cliches and elements we’ve seen countless times in exorcism and cop films, but Derrickson presents them a truly refreshing and serious way. Even the impossibly tired “your job is consuming your life and your ignoring your family and by the way I’m pregant” trope that seemingly every big screen detective goes through feels imaginative here against the backdrop of the supernatural. Before completely dismissing it based on the wave of negative reviews, I suggest checking it out. Exorcism films with big releases have been pretty lame lately (The Devil Inside, Devil’s Due), but Deliver Us From Evil is definitely a fresh and compelling take with atmosphere so thick you could cut it with a spoon.
Polluted Pictures shared with Bloody the first promotional image featuring Tristan Risk (American Mary) and Francisco Barreiro (Here Comes the Devil) in their roles as the pained couple in the feature film Love Sick.
“Love Sick is the story of Rebecca and Marcus who have been together for 10 years and after much deliberation have decided to part ways. After separating and being with others, they quickly realize how hard it is to disconnect from one another. The pain, lies, and betrayal all begin to manifest physically within the both of them as well as infect the others who have become involved with intimately. They love each other so much that it hurts… some more than others.”
Joining the cast are Bill Moseley (Devil’s Rejects), Barbara Crampton (You’re Next), Augie Duke (Bad Kids Go To Hell), Andrew Sensenig (Upstream Color), Camden Toy (Buffy the Vampire Slayer), and Ruben Pla (Contracted, Big Ass Spider).
Polluted Pictures is presenting the project for the first time to accredited participants at the Frontières International Co-Production Market that takes place during the Industry Rendez-Vous of the Fantasia International Film Festival, from July 24 to 27, 2014.
The film is scheduled to shoot this winter.
Filmax (the [REC] franchise, Summer Camp) tells Bloody Disgusting that shooting begins July 16 on Sweet Home, with Rafa Martinez at the helm.
Sweet Home is described as a realistic and claustrophobic film that keeps track of the scariest side.
Here’s a translation of the film’s plot: “The plot is situated in a daily environment: a couple decides to spend a romantic evening in a floor of a semi-abandoned building that slip because she works as a consultant for the council house and got the keys. During the evening they discover that a hooded murderer is the only tenant left in the building…and they have become the new target.“
Ingrid Garcia Jonsson (Beautiful Youth) stars with Bruno Sevilla (Mindscape).
Martinez co-wrote the screenplay with Teresa of Rosendo and Ángel Agudo.
Sweet Home, produced by Julio Fernandez for Filmax and with the participation of TVE, will shoot in Barcelona and English.
Although I’m sure many of you know this, there was once an Aliens attraction in San Francisco called “Aliens: Ride at the Speed of Fright.”
The ride was similar to Star Tours and featured Re-Animator star Jeffrey Combs in the ride’s introduction.
Here’s a breakdown as described by Xenopedia.
Aliens: Ride at the Speed of Fright was a motion-simulation ride produced by Praxis Films in association with Iwerks Entertainment. It was shown in 1994 in San Francisco at the Pier 39′s TurboRide Simulation Theatre and was also shown in the United Kingdom at the American Adventure theme park. It was still being shown in October of 1995 at American Adventure.
It was an interactive movie ride. The viewer would sit in a chair that would move, vibrate and jolt, all in an effort to simulate the viewer experiencing what was being shown on the screen. The ride consisted of a pre-movie in which the situation and plot. A Colonial Marine from A-sqaud called Hyer has just returned back to his ship, the New Jersey, having narrowly escaped an Alien encounter on the mining colony Tekeah-3.
He recounts the experience to a Marine Captain and B-squad. The mission was supposed to be a routine reconnaissance for A-squad but they encountered the Aliens – hundreds of them. The Marines activated a bomb and tried to escape. During their retreat, the APC crashed and was badly damaged. Many of the Marines were injured, Hyer included but he escaped to find their dropship destroyed. He found a shuttle on the colony and left the planet.
The Captain is determined not to leave the other injured marines behind and others the B-squad and Hyer back to the colony. Their orders are to rescue A-squad before the bomb goes off. The Sergeant tells his marines and the viewer/rider to buckle in (complete with a shot of the chairs belt buckles) and then the ride begins.
The ride starts with the dropship plummeting towards the colony. According to AvPGalaxy user Corporal Hicks, “If I recall correctly the chair shakes to simulate the turbulence until you land and the APC drives out.” From this point on you’re in the APC, as if you’re the driver. The riders “drive” through the interior of the colony complex, avoiding various obstacles and mounting debris (the chair moving to simulate) until the APC arrives at the wreckage of A-squad’s APC.
B-squad gets out and carries the wounded marines into their APC while fending off an Alien attack. The Marines then pull out of the complex in the APC. After crashing down a hole, the APC arrives in the Queen’s lair and using the turret manages to kill her. The APC then uses the turrets again to blast a hole to the outside and escapes, making it back onto the dropship in time. As the dropship heads back into orbit, the bomb detonates, then a Facehugger drops into frame.
Aliens: Ride at the Speed of Fright is roughly 20 minutes long with the pre-movie being 10 minutes and the ride itself being 10 minutes. It’s comprised of stock footage used from Aliens (the ships, some close-ups of the Aliens) and original footage shot with the Marines, and obviously the ride segments.
One actor, Jeffrey Combs, would later go on to have some important recurring roles in the Star Trek franchise. B-squad also has two characters that are very reminiscent of Apone and Vasquez from Aliens.
The Colonial Marine costumes are based loosely on the outfits used in the film, but the camouflage appears to be British DPM as opposed to safarilague used in Aliens. They do seem to use replica or similar armor. The weapons used aren’t the Pulse Rifles. They appear to possibly be some modified version of the Chinese Type-56B.
While I believe this is included on the extra features in the box set, here are videos of both the introduction and the ride to see what you missed out on back in the early 90′s.
One of the most frustrating things a horror movie can do is waste an interesting premise. Such is the case with Karl Mueller’s debut feature Mr. Jones, which blows its promising concept of metaphysical dreamscapes and a monster doubling as an avant-garde artist on boring imagery and tired found footage thrills. It feels like Mueller (who co-wrote 2011′s The Divide) came up with notion for a cool and unique film but wasn’t sure how to pull it off.
The film follows aspiring documentary filmmaker Scott (Jon Foster) and his girlfriend Penny (Sarah Jones), who he’s dragged to an isolated cabin out in the desert somewhere. She left behind her entire life so Scott can fulfill his nature documentary fantasy, so when he begins slipping in his filming efforts, some friction between them sparks resentment. It doesn’t help that Scott’s always filming everything with a very awkward camera rig that films what’s in front of him and his own face at the same time. I’m all for innovative techniques in found footage movies, but Scott’s method just seems uncomfortable.
While he’s filming one of his nature segments (which is actually him whining about filming a nature segment), his backpack is stolen by a mysterious hooded figure. When Penny and him go to investigate the man, they discover that he’s the elusive Mr. Jones – a cult figure of the avant-garde art scene who anonymously leaves skull-ridden totems in various locations. Penny compares him to J.D. Salinger and Banksy, only I don’t think those guys lumbered around the desert in a hooded cloak, carting around bones and twigs. Maybe they did, what do I know?
Here the film jumps to documentary style talking head interviews where experts, art critics, fans, etc. discuss Mr. Jones. Some of the folks urge Scott to avoid contact with Mr. Jones because he may be a guardian-like figure keeping evil from the dream world at bay with his totems. Again, this talking-head segment feels like Mueller may be fluffing out the film because of shortcomings in the story.
Scott and Penny see this is as their chance to make a groundbreaking documentary about Mr. Jones, so they do the most logical thing they can think of: break into his house and go through his shit. Even for a horror film these two are a couple of real knuckleheads.
The film takes a startling turns towards balls-out supernatural horror during its third act. There’s a lot of static and visual noise as scenes from earlier are replayed from a different angle, offering up questions of what really happened. There’s a loose idea of changing identities going on, with Scott and Penny’s dream-alter-egos running about because Mr. Jones’ sanctum was disturbed, but it’s tough to tell what the hell is going on during the visual assault that makes up this segment. It’s a whole lotta noise.
Mueller begins with a promising idea, then pads it out with talking head interviews and a barrage of disorientating images. It’s engaging stuff for about 20 minutes, but by the end of the film it felt like Mueller simply didn’t know what to do with all of his ideas.
Mr. Jones is available now on Blu-ray and DVD. No special features are included.
Giallo Disco Records has opened up pre-orders for a vinyl edition of Volkan Akaalp‘s score to the Turkish short film Baskin, which is currently going through the festival rotation and winning several awards. Horror director Eli Roth has been quoted as saying the film is, “Disgusting. Disorienting. Brilliant”
Giallo Disco journeys further east with the release of BASKIN. Our first original soundtrack written by Turkish composer Volkan Akaalp for the short film by enfant terrible Can Evranol (To My Mother And Father). BASKIN tells the story of four cops discovering a nightmare of Lovecraftian proportions during a routine investigation. This incredible soundtrack is an eastern twist on the works of Fabio Frizzi, industrially corroded by early 90s R&S Records.
The vinyl comes with a full colour sleeve and two exclusive remixes on the b-side by Giallo Disco heads Vercetti Technicolor and Antoni Maiovvi.
The orders will begin shipping at the beginning of August. Head below to stream the album!
Game creator Edmund McMillen has posted a new track from the upcoming video game The Binding Of Isaac: Rebirth, which is said to be coming out by the end of this year. The track, entitled “Genesis 22:10″, is the new title screen music and is composed by Ridiculon (Matthias Bossi and Jon Evans). You can listen to it below.
The name Bernie Wrightson is synonymous with monster culture and horror artwork. Very few people inspire the term "legendary," but Bernie more than fits the bill. Unfortunately, word has come that Wrightson has just suffered a minor stroke.
The news came from Steve Niles on Twitter, who goes on to write, "He is doing good. I just spoke to him and we were joking around. Please send love and thoughts."
No problem, Steve, and we couldn't echo the sentiments more! Please, if you're reading this, post your thoughts to Twitter sending as many positive vibes as you can using the hashtag #GetWellBernie.
Hang in there, sir! Fight back and we'll fight the good fight along with you! Much love from the D.C. family! Bless you... you're in our thoughts!
Clip numero tres from The Purge: Anarchy has arrived, and it's not just gonna stand by and watch the chaos. It's gonna do something about it, damn it! Check it out (along with TV spot #14), and don't just sit there and pretend you don't see anything.
All crime will once again be legalized on July 18th of this year when The Purge: Anarchy invades theaters. The sequel stars Frank Grillo, Michael K. Williams, Zach Gilford, Carmen Ejogo, Jasper Cole, Zoe Borde, Chad Morgan, and Kiele Sanchez.
Related Story: The Purge: Anarchy news archive
The New Founders of America invite you to celebrate your annual right to Purge.
The Purge: Anarchy, the sequel to summer 2013's sleeper hit that opened to No. 1 at the box office, sees the return of writer/director/producer James DeMonaco to craft the next terrifying chapter of dutiful citizens preparing for their country's yearly 12 hours of anarchy.
Returning with DeMonaco to produce are Blumhouse Productions' Jason Blum (Paranormal Activity and Insidious series) alongside Sébastien K. Lemercier (Assault on Precinct 13, Four Lovers) and Platinum Dunes partners Michael Bay (Pain & Gain, Transformers franchise), Brad Fuller (The Amityville Horror, A Nightmare on Elm Street), and Andrew Form (The Texas Chainsaw Massacre, Friday the 13th).
Click here for a limited time offer in which you can Purge $2 off your advance ticket purchase.
FX's "American Horror Story" series is known for its more than memorable Halloween episodes, and this upcoming season, subtitled "Freak Show," looks to be no different. TVLine just announced the episode's first guest star: P2, The Hunger Games, and Final Girl's Wes Bentley.
They also had some spoilerific info about Bentley's character so if you don't want to know, skip the next sentence.
"Bentley will appear in the show’s two-part Halloween episode (tentatively set to air October 21st and 28th) as Eddie, a dark tormentor from Kathy Bates’ past who is hell-bent on revenge."
Jessica Lange, Denis O'Hare, Emma Roberts, Gabourey Sidibe, Jamie Brewer, Evan Peters, Kathy Bates, Sarah Paulson, Angela Bassett, Frances Conroy, and Michael Chiklis will star.
Ever since its debut back in 2010, AMC's "The Walking Dead" has made a big splash at San Diego Comic-Con, and this year looks to be no exception. Read on for the details of which cast and crew members are heading to America's Finest City!
The cast and producers of AMC’s record-breaking hit series “The Walking Dead” will participate in a panel at this year’s Comic-Con in San Diego, CA, during which they will discuss what fans can expect in the highly anticipated fifth season, which debuts in October.
“The Walking Dead” panelists include: Andrew Lincoln, Norman Reedus, Steven Yeun, Lauren Cohan, Danai Gurira, Melissa McBride, Chad Coleman, Michael Cudlitz, executive producer and showrunner Scott Gimple, executive producer Gale Anne Hurd, executive producer Robert Kirkman, executive producer and special effects make-up supervisor Greg Nicotero, and executive producer David Alpert. The panel will be moderated by “Talking Dead” host Chris Hardwick.
The panel runs from from 12:20-1:20 pm on Friday, July 25, in Hall H, with an autograph session following from 1:50-2:50 pm in Booth #4237.
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 be sure to hit up the official "The Walking Dead" page on AMC.com.
There is something for everyone on this year’s IDW San Diego Comic-Con exclusives list, especially the horror crowd. Read on to see the must-haves IDW is bringing to the big show.
A few exclusives are available for pre-order from IDW’s webstore (if a title is clickable, then you can pre-order it). Fans who pre-order will be able to pick up their items from IDW's booth, #2643. All exclusives will be available during show hours.
Mike Mignola’s Hellboy: Artist’s Edition Variant HC
Mike Mignola is one of the preeminent comics creators of the past 25 years, and Hellboy, his iconic creation, struck a meteoric chord with fans from the very start and has not abated in the 20 years since his debut. Featuring a variant cover from Mignola himself, only available at SDCC! $125, limited to 100 copies, 2 per person
Dave Gibbon’s Watchmen: Artifact Edition Variant HC
Watchmen has been called the greatest graphic novel of all time. Alan Moore and Dave Gibbons created a story and graphic narrative unlike anything that preceded it and revitalized the entire art form that followed. Featuring a variant cover from Dave Gibbons, who’ll be signing all 5 days of the Con at the IDW booth! $100, limited to 225 copies, 2 per person
Locke & Key: Welcome to Lovecraft #1 B&W Variant
Relive the acclaimed series’ frightful beginning in black & white for the first time! Gabriel Rodriguez’s original line work is on full display in this very special convention exclusive! $10, Limited to 900 copies, 5 per person
Locke & Key: The Covers of Gabriel Rodriguez Variant HC
This convention exclusive displays an original blue-line pencils and inks cover by Gabriel Rodriguez for the show debut of this Locke & Key covers collection! $40, Limited to 100 copies, 2 per person
Wraith: Welcome to Christmasland Variant HC
This special convention variant features a bloody exclusive cover by Locke & Key co-creator and artist Gabriel Rodriguez for Joe Hill's original new comic miniseries hardcover collection. $40, Limited to 100 copies, 2 per person
Monster Motors Variant Edition
Ghostbusters artist Dan Schoening provides a convention exclusive cover celebrating the madness that is Comic-Con for Brian Lynch’s newest IDW project! $10, Limited to 200 copies, 5 per person
Winterworld #1 Variant
All-new stories based on the Chuck Dixon/Jorge Zaffino classic with Dixon returning to script and Butch Guice doing some of the best work of his illustrious artistic career. Convention exclusive cover featuring Wynn, by Will Rosado! $5, Limited to 200 copies, 5 per person
Locke & Key: Alpha Key
The highly sought after keys made by Skeleton Crew Studios, modeled after Gabriel Rodriguez's designs in Locke & Key, return to the IDW Booth at San Diego Comic-Con with the specially plated edition of the Alpha Key. $25, Limited to 100 pieces, 1 per person
You can see everything IDW has on tap for SDCC 2014 in the below slideshow.
Netflix is promoting their Emmy-nominated original series, “Hemlock Grove,” (read our special report from set), premiering on Friday, July 11th at 12:01 AM PT, by sending press a tongue in the mail, accompanied by a clip from Dr. Pryce.
“Consider it a preview, a promise of more to come, a gift,” he exclaims. The video is part of a viral tying into the Godfrey Institute, a place that turns dreams into progress.
We’ve shared the clip and image below, along with a Season 2 featurette and a look back at Season 1!
The drama series was the first foray into television by internationally acclaimed horror master Eli Roth (Hostel, Cabin Fever). Roth says Netflix supported them taking the series in a “dangerous direction” stating that “they encouraged us to go even further – into a scarier, darker, and sexier place,” he explained. “We guarantee you won’t see anything like this anywhere else on television.”
“Hemlock Grove” is a supernatural thriller which explores the strange happenings in a small Pennsylvania town. The show focuses on the unlikely friendship between the founding family’s young heir, Roman Godfrey (Skarsgård), and gypsy newcomer and outsider, Peter Rumancek (Liboiron). Each holds a monstrous secret that has been unleashed.
“Season two continues with the town coming to grips with the shocking massacre incurred by one of its deadliest creatures. Roman and Peter are now faced with new responsibilities and the realities that come with adulthood. Roman’s relationship with his mother, Olivia, is all but dead as he struggles with his unwanted Upir birthright and the disappearance of his sister, Shelley. Peter moves in with Destiny and is forced to get a job after his mother is sent away. Meanwhile, in search of a new life, newcomer Miranda Cates, embarks on Hemlock Grove with an unknowingly profound effect on Peter and Roman. And Norman, still reeling from the loss of his family, must face the harsh truths that are uncovered about those he still loves. The White Tower looms menacingly over the town as Pryce’s mysterious experiments are questioned and he will be faced with the hardest decision of his career.”
Based on Brian McGreevy’s novel of the same name, who is returning? All ten episodes of the one-hour series stars Famke Janssen (X-Men), Bill Skarsgård (“Simon & The Oaks”), Landon Liboiron (“Terra Nova”) and Dougray Scott (Mission Impossible II). The series also stars Madeline Brewer (“Orange is the New Black”), Madeleine Martin (“Californication”), Joel de la Fuente (“Law & Order: SVU”) and Tiio Horn (“18 to Life”).
Excited for Kevin's Smith's Tusk, heading our way this fall from A24 Films? If you'll be at San Diego Comic-Con in a few weeks, you'll be able to watch the trailer debut, but in the meantime we can all enjoy the film's official poster.
In a posting on his Silent Bob Speaks blog today, Smith calls Tusk "the best film I’ve ever made (or at the very least, the most interesting)," adding, "Thank you all for saying #WalrusYes on Twitter last year. Can’t wait to show you the movie."
Tusk, written and directed by Smith and born out of one of his immensely popular SModcasts, stars Justin Long, Haley Joel Osment, Genesis Rodriguez and Michael Parks. In the horror film Long plays a journalist who finds the story of a lifetime in Mr. Howe (Parks), a worldwide adventurer with amazing tales and a curious penchant for walruses.
Producers are Sam Englebardt, William D. Johnson, and David Greathouse for Demarest and Shannon McIntosh for Smith’s SModcast Pictures banner. Jennifer Schwalbach and XYZ's Nate Bolotin are executive producers.