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New Cheap Thrills Poster Makes it Rain... Blood

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New Cheap Thrills Poster Makes it Rain... BloodHot on the heels of yesterday's red band trailer for Cheap Thrills comes the official one-sheet for you guys to gander at. Check it out, and look for the film via Drafthouse Films in limited theaters on March 21st.

The E.L. Katz directed Cheap Thrills stars David Koechner, Ethan Embry, Amanda Fuller, and Innkeepers costars Pat Healy and Sara Paxton.

The script is by Trent Haaga (Deadgirl) and David Chirchirillo.

Synopsis
Recently fired and facing eviction, the married father of a newborn has his life turned upside down when he meets a wealthy couple who offer a path to financial security... but at a price.

Cheap Thrills

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V.E. Schwab's Novel Vicious Acquired for Adaptation

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V.E. Schwab's Novel Vicious Acquired for AdaptationAnother book to film adaptation is on its way, and we have the early word on who has acquired V.E. Schwab's novel Vicious, in which two ambitious pre-med students discover that under the right conditions a person can develop extraordinary supernatural abilities.

Per Deadline, producer/financier Story Mining & Supply Co. has teamed with Ridley Scott's Scott Free Productions to acquire rights to Schwab's Vicious. SM&SC’s Jeffrey Sharp and production president Evan Hayes will produce with Ridley Scott and Michael Schaefer, along with Allison Gillogly. She brought in the book, which was published in September by Tor Books.

The acquisition was made through the development fund of SM&SC, which was formed earlier this fall by Sharp and writer/director/financier Jim Kohlberg. Kohlberg and Sharp are behind Starz’s "Outlander" and The Yellow Birds, scripted and directed by David Lowery.

Book Synopsis:
Victor and Eli started out as college roommates—brilliant, arrogant, lonely boys who recognized the same sharpness and ambition in each other. In their senior year a shared research interest in adrenaline, near-death experiences, and seemingly supernatural events reveals an intriguing possibility: that under the right conditions someone could develop extraordinary abilities. But when their thesis moves from the academic to the experimental, things go horribly wrong.

Ten years later Victor breaks out of prison, determined to catch up to his old friend (now foe), aided by a young girl whose reserved nature obscures a stunning ability. Meanwhile, Eli is on a mission to eradicate every other super-powered person that he can find—aside from his sidekick, an enigmatic woman with an unbreakable will.

Armed with terrible power on both sides, driven by the memory of betrayal and loss, the archnemeses have set a course for revenge—but who will be left alive at the end?

V.E. Schwab's Novel Vicious Acquired for Adaptation

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New Penny Dreadful Teaser Reminds Us We All Have Our Demons

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Go Behind the Scenes of Showtime's Penny DreadfulReady for a quick sneak peek of Showtime's hotly anticipated new spring series "Penny Dreadful"? We have one for you right here which reminds us that we all have our demons.

Timothy Dalton, Reeve Carney, Josh Hartnett, Harry Treadaway, Rory Kinnear, Billie Piper, and Eva Green star. Dalton will be playing African explorer "Sir Malcolm," while Carney has snapped up Dorian Gray. Hartnett will play the role of "Ethan Chandler," a charming American who finds himself trapped in the darkest corners of Victorian London. Green will play "Vanessa Ives," a seductive and formidable beauty full of secrets and danger. Treadaway will stitch to life Victor Frankenstein.

"Penny Dreadful" is created, written, and executive produced by three-time Oscar nominee John Logan (Hugo, The Aviator, Gladiator) and executive produced by Oscar winner Sam Mendes (American Beauty, Skyfall) and Neal Street's Pippa Harris (Revolutionary Road, Call the Midwife). Juan Antonio Bayona, best known for his work on the hugely successful 2007 horror film The Orphanage and the 2012 Oscar contender The Impossible, directs the first two episodes.

"Penny Dreadful" is set to premiere on Showtime in spring 2014. For more info in the meantime, visit "Penny Dreadful" on Showtime, "like""Penny Dreadful" on Facebook, and follow @SHO_Penny on Twitter.

Synopsis
Some of literature's most terrifying characters, including Dr. Frankenstein, Dorian Gray, and iconic figures from the novel Dracula, are lurking in the darkest corners of Victorian London. "PENNY DREADFUL" is a frightening psychological thriller that weaves together these classic horror origin stories into a new adult drama.

Showtime's Penny Dreadful

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UK DVD and Blu-ray Told: You're Next!

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UK DVD and Blu-ray Told: You're Next!It's been raved about all year while making the festival rounds - and for good reason. Now, director Adam Wingard's brutal and bloody home invasion shocker You're Next will be bashing its way into households across the UK on January 13th, 2014, courtesy of Lionsgate.

Are you ready to fight back?

Synopsis:
You're Next - a chilling warning scrawled in blood on a neighbour's wall - starts an evening of bloody mayhem for the Davison family.

A lively reunion is abruptly brought to an end when a gang of mysterious killers, disguised in animal masks, wage an all-out assault on the Davison's secluded home. Using a series of sophisticated traps, axes, crossbows and machetes, the family members are slaughtered one by one until nowhere is safe. But neither the attackers, nor their victims, have counted on Erin (Sharni Vinson), an innocent girlfriend who has the killer instinct to fight back...

Special Features

  • No Ordinary Home Invasion: The Making of You're Next
  • Audio Commentary with Adam Wingard, Simon Barrett, Sharni Vinson, and Barbara Crampton
  • Audio Commentary with Adam Wingard and Simon Barrett

    You're Next

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  • UK Readers: Ring in the New Year with Dolph! Win Battle of the Damned on Blu-ray!

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    UK Readers: Ring in the New Year with Dolph! Win Battle of the Damned on Blu-ray!To celebrate the release of the spectacular action sci-fi Battle of the Damned starring the killer combination of Dolph Lundgren, zombies and robots (seriously!) - out on DVD and Blu-ray 26th December - we have a copy on Blu-ray to give away to one lucky winner!

    Following a deadly viral outbreak, private military soldier Max Gatling (Lundgren) is enlisted to rescue a female survivor from the confines of the contaminated zone on the outskirts of civilisation. Gatling soon gets more than he bargained for when he is compelled to lead a group of survivors and a band of deadly prototype robots against an army of the damned.

    We love seeing one of our all-time favourite action heroes back on the screen beating those undeads into submission. Not only does Dolph prove he can still kick some serious zombie ass, he does it looking as chiseled and charismatic as ever.

    Synopsis:
    In the near future on the outskirts of civilization, a remote test facility lies in ruin following a catastrophic security breach. All that remains is a handful of survivors, their small armory of weapons, and a fleet of the infected. The breach led to a viral outbreak that left thousands dead or mutated. Now the infected walk the land, stalking the few that still live. Led by private military operative Max Gatling (Lundgren), they fight the infected and soon learn there is a band of malfunctioning prototype robots also on the march. They are armed and incredibly dangerous...

    To be in with a chance of winning, simply send us an E-MAIL HERE including YOUR FULL NAME AND POSTAL ADDRESS; then sit back and dream of that sweet, sweet Lundgren-on-zombie-on-robot action. We'll take care of the rest.

    Battle of the Damned

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    Pucker Up! Kiss of the Damned Planted on UK DVD in January

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    Pucker Up! Kiss of the Damned Planted on UK DVD in JanuaryStarring Milo Ventimiglia of "Heroes" fame and directed by Xan Cassavetes (daughter of legendary actor/director John Cassavetes), steamy vampire romp Kiss of the Damned is set to take a bite out of the UK DVD market on January 27th, 2014, courtesy of Eureka! Entertainment.

    Thankfully, the only sparkles are those being worn by these erudite blood-suckers.

    Synopsis:
    Milo Ventimiglia ("Heroes," Rocky Balboa) plays Paolo, a screenwriter who has ensconced himself in a house far away from Hollywood in order to finish what seems like his last stab at writing a commercial screenplay. He’s easily distracted though, and after meeting the beautiful Djuna (Josephine de La Baume; Rush, One Day) during a night out, he’s inextricably infatuated. Djuna digs Paolo too, but she’s got a rare “blood disorder” that doesn’t allow her to venture out into sunlight. Scarily persistent, Milo keeps courting her until she finally relents and agrees to hook up with him under one condition – she needs to be tied up so she can’t bite him. Needless to say, their lovemaking is somewhat acrobatic (despite the bondage), and she’s presented with a fair shot at his neck, which she takes.

    Djuna begins to school Paolo in the ways of the vampire. They try to drink only synthetic or harvested blood and kill only animals (killing humans is strictly forbidden). But that doesn’t mean they live in a prudish culture. Paolo instantly takes a shine to the Euro-glitterati lifestyle that accompanies eternal life. Soon enough, trouble comes in the form of Djuna’s more carnal and violent sister, Mimi (Roxane Mesquida). Mimi doesn’t believe in the whole “not killing people” thing. She’s also not big on being tied down, preferring her three-ways and one night stands anytime and anywhere she can get them.

    Special Features

  • Cast & Crew Commentaries
  • Trailers
  • Commentary with Writer/Director Xan Cassavetes

    Kiss of the Damned

    Kiss of the Damned

    Kiss of the Damned

    Kiss of the Damned

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  • Charles de Lauzirika Talks Crave and More

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    Charles de Lauzirika Talks Crave and MoreCharles de Lauzirika has probably been involved with some of your favorite behind-the-scenes footage and DVD extras on classic films like Blade Runner and the cult series “Twin Peaks”.

    With Crave (review here) he’s graduating to a new level of filmmaking by directing his first feature about an eccentric photographer who begins to walk down a very dark path. Moving into directing is a good move and a brave one (for anyone) but especially for Lauzirika since DVDs are dropping off more and more and extras are now harder to come by as studios don’t put the effort into new releases quite like they used to.

    Crave is certainly a decent first effort but also an effort that Lauzirika himself isn’t completely satisfied with. For anyone looking to direct themselves one day, the below interview should offer some insight and advice for any first-timer.

    Dread Central: Working on a lot of behind-the-scenes documentaries over the years from Blade Runner to "Twin Peaks", you've certainly shown yourself to be a fan first and foremost. You've mentioned wanting to delve into the making of Star Wars at some point. If you had the chance, would you prefer to focus on the original trilogy or look into the films to come as well?

    Charles de Lauzirika: Well, of course, it’s not up to me… but in some alternate universe where it was up to me, I’d want to build an anthology template that spans all the existing films in such a way that future films are simply added to that template, while also embracing the unique historical phenomenon of these films along the way. I would want to embrace the human story of these movies while also lovingly fetishizing the details. If you could take the journalism of those superb J.W. Rinzler “Making of” books, fuse that with the spirit of the vintage “Art of” books and transform that into a video documentary experience somehow, combined with all versions of the films presented with the best picture and sound quality possible, I think you’d really have the definitive home video exploration of the Star Wars universe. And it would be an inclusive experience that brings all different types of Star Wars fans back together under one tent.

    In a way, that’s what I tried to do with Blade Runner. We gave the fans all five versions to the best technical standards we could, along with hours and hours of really in-depth and geeky content that was built upon an epic and fascinating behind-the-scenes narrative. Basically, if you gave me Star Wars, I would give each one of the films the Blade Runner or Alien Anthology treatment. Yes, even the Prequels. But this… all of this is academic.

    DC: How has the transition been from researching and compiling behind-the-scenes material into directing your first film? Is it the actors that are hardest to deal with or the logistics?

    CL: Well, you also have to deal with actors when you’re making the behind-the-scenes content because you’re either shooting them on set or you’re interviewing them, and even though they might be perfectly nice to you, you’re still considered somewhat of an intruder. So working with actors as the film’s director was certainly more creatively and personally stimulating and meaningful. But of course, both you and your actors are basically speaking a different language than when you’re dealing with them as a documentarian. It’s more fun and creative as the director, but the responsibility and pressure is greater. In a way, you could almost say the same about the logistics, except the scope of those logistics is also much greater. I don’t know if one is harder than the other because in theory, if you want to make films, you should enjoy all of it, including the headaches.

    DC: Can you talk a little bit about the Philip K. Dick story you originally wanted to make as your first feature and why Crave ended up being your first endeavor instead? Is it politics or did you find a passion for the material as well?

    CL: When I was working on Blade Runner, I got to know some of Philip K. Dick’s family, including his daughter, Isa Dick Hackett, who runs the film side of the Dick Estate with their production company Electric Shepherd Productions. I mean, I’ve been wanting to direct since I was seven years old and saw Jaws. I always had directing in the back of my mind, even when I was doing other things. So when I met Isa and we became great friends, I asked her if I could possibly direct a short film based on one of her dad’s short stories. She said yes and sent me five stories from which to choose. But in reading those, I came across a sixth that I was instantly hooked by. It’s called “I Hope I Shall Arrive Soon”. So I brought that one up with Isa and it was a story that’s particularly special to her. So she allowed me to develop it, but after some consideration and my imagination starting to run wild, it quickly became something closer to a feature-length adaptation. And the possibilities of this particular premise almost gave me too many ideas… so many that I pretty much short-circuited.

    So I started working closely with Kalen Egan, who is Isa’s development executive at ESP, and after months of some truly enjoyable back-and-forth, I suggested to Kalen that he write the script with me. But as the scope and ambition of the film grew, Isa eventually asked me if I would consider directing something smaller in order to prove that I could direct a feature of this size. After all, if we were going to try to raise the money it was going to take to realize this story, wouldn’t it be helpful for me to have something to show? So that’s exactly what I did. I reached out to my neighbor at the time, Robert Lawton, who had recently directed his own first feature, Sex and Sushi, which was ultra-low budget but had tons of confidence, and I asked him if he had any ideas for a script that I could make lean, mean and fast. Rob pitched me “Travis Bickle meets Walter Mitty.” I took the bait and soon we were quickly developing a script off Rob’s original idea. That took some months, and we didn’t always see eye-to-eye, but out of all that, we ended up with a script and several months later, Crave was up and running in Detroit.

    DC: Did you walk away from the edit of Crave wholly satisfied, or did you want to keep coming back and improving it? Since it was your first, was it harder to walk away and not want to keep improving, and do you think you’re better prepared now for the next project?

    CL: I’m definitely not completely satisfied with the final edit of Crave. It wasn’t an ideal situation by any means. But it rarely is. Now that I’ve seen it screen with an audience several times, and I’ve had some time to let it breathe, I would probably go in and trim some more, and maybe shuffle some moments to make a couple of the more conventional scenes a little more unusual and interesting. I would also take another pass at the sound mix, too. But at some point you just have to finish, or you’ll be working on it forever. It’s not that I would ever run out of enthusiasm to keep refining it, but I’m pretty sure everyone around me would! But you know, I made a lot of mistakes on this… mistakes I kind of had to make. Sometimes you have to stick your hand in the fire and get burned so that you never do it again. And I got burned more than a few times on Crave. But so long as I use those lessons on the next one, the pain will probably have been worth it.

    DC: You must be exhausted after maintaining your day job working on behind-the-scenes footage and balancing that with making your first film. Also, how did you first find yourself working on bonus features in film? A lot of fans would love to do that.

    CL: Surprisingly, making Crave while doing the behind-the-scenes work wasn’t as taxing as I thought it was going to be. The Crave shoot itself luckily landed smack-dab in the middle of a gap in my DVD schedule, and then all the post-production on Crave limped along for a couple years as I would go and do some DVD work, then come back to Crave, then do some more DVD work, and then come back to Crave again. Like I said, it wasn’t ideal. But it did provide me with a little more perspective on the film as we were finishing it.

    As for how I ended up working in the behind-the-scenes producing job, it’s a story I’ve told many times. It was really a ‘right place, right time’ situation. I read on The Digital Bits that Fox was planning a DVD box set of the Alien films, and this was back in 1998 when Fox wasn’t investing a lot of enthusiasm into their DVDs. They seemed hesitant about the format, so since I was working for Scott Free at the time, working in development, I approached Ridley Scott about getting involved in that first Alien DVD. After I briefed him on what the format was capable of, and how big I thought it was going to be, he basically put me in charge of all of his DVD special editions. Then I started doing that for Tony Scott. And then other directors asked for me. And eventually I started making full-blown documentaries and had my own company and a regular team of collaborators and so on. It’s not a job I would recommend anyone pursue right now. It was the Wild West back then so anything was possible. Now it’s kind of a ghost town. Back then the studios were aggressively trying to create the best product possible and there was a lot of support and enthusiasm for the format. But those days are mostly gone now. Occasionally you still see an elaborate special edition, but that’s generally because it’s for a movie by an A-list director who gets what he wants. However, I can’t really complain because I’m still lucky enough to be doing it. It’s just that there used to be a bunch of us in this job, and now those of us who are left at this party are looking around and wondering, ‘Where did everybody go?’

    DC: It was great to see Ron Perlman and Edward Furlong in the film. Were they some of the first names you had on your list?

    CL: Ron was certainly a name who came up early on, amongst several others. We had a whiteboard in the production office which I would occasionally draw storyboards on or write down actor names. The day I wrote down casting ideas for Pete, I think the board was pretty much covered in ink. But that’s how you start, just by throwing ideas out to see what clicks. Then you narrow that down into a more realistic and reasonable list, and then you reach out to the representatives of the actors you’re most interested in to see who’s available and if any of them are interested. At that point your list gets shorter still. But of all the names that survived, Ron was ultimately the one I thought was best for the role and best for the film.

    As for Eddie, I hadn’t really considered him at first. But Oakley Stevenson, our costume designer, knew him and made the connection. When she mentioned his name, it was kind of an epiphany. He was so perfect, I hadn’t even thought of him! As it turned out, Eddie was absolutely a blast to work with. He came out to Detroit during a week-long break in his Green Hornet schedule. He worked so hard and always gave me more than I needed. I’d love to work with both him and Ron again. And of course Josh [Lawson] and Emma [Lung] as well.

    DC: Was it difficult filming in Detroit on a limited budget? Were you forced to cut corners or did it help with being creative?

    CL: Actually having a limited budget is the first reason I considered Detroit. I don’t know how it is now, but back in 2009 it was relatively affordable and gave you a lot of bang for your buck thanks to the willingness of the city to work with you on what you needed, for the most part anyway. And the tax incentive they had back then was essential to making this film the way it was made. The most difficult thing about Detroit was simply the bitter, bitter cold weather. And we were only there in early fall. I can’t imagine what it’s like in full-blown winter. But the cold weather took its toll on the production for sure. I feel like we were working at only about 60% efficiency because of how damn freezing it was. You could only work so long before you’d have to find warmth somewhere, and then those hour-long lunches just ended up getting stretched a bit longer every day as people cherished the warmth. No one wanted to go back out into the cold, least of all me. Starting the film as late into cold weather as we did wasn’t my call, and that’s one of those lessons I’ll be very aware of on the next film I do.

    I was forced to cut corners here and there, but then on the other hand, I feel like we had too much of other things. It was a strange production that was kind of out of balance. The priorities were off in some ways. Money being wasted on some fronts, preparation and communication taking a back seat on others. But in other ways the crew was fantastic and very loyal to the production. I met some amazing people on this production who I’m still friendly with today. When the Blu-ray of Crave comes out, there’s a pretty candid video production journal on there that I think will be very interesting for new filmmakers and even non-filmmakers. It’s not quite Hearts of Darkness, but we also don’t shy away from much either. I wasn’t expecting to have a fully-loaded special edition for Crave done right out of the gate, but when I realized this might be the only opportunity to do it, I said, ‘Why not?’

    DC: I would think that seeing a lot of other directors and the way they shoot when you're putting together special features would be helpful in showing you how to stage action and control a set. Was it almost like its own film school?

    CL: Definitely. I mean, I went to USC Film School and came out of there with a lot of great connections and friendships, but not so much in the way of filmmaking knowledge or experience. I think back then I learned more about filmmaking from having made my own Super-8 and VHS films and reading magazines like Cinefex, CineMagic and American Cinematographer, all of this before going to USC. But outside of USC, when I was interning or doing P.A. jobs for production companies like Lightstorm, Lucasfilm and Silver Pictures is when I really started to learn some practical film industry lessons. But still, it was all most political and procedural knowledge I was gaining. It was still knowledge obtained from some distance. It wasn’t until I started working for Ridley and Tony Scott at Scott Free that I started to really get under the hood of professional A-list filmmaking, and I was exposed to what it really takes to make a major motion picture. And fortunately, thanks to Ridley and later Tony, I was able to start witnessing their process with enough trust and access that I really learned some incredibly valuable lessons. The way they handled problems and politics was important, but more importantly, it was how they paced a shoot, or covered a scene, or how they would let go of unimportant things in order to get very important things. How they would negotiate their way through a minefield every day to make sure they were capturing their vision. And just picking up little tricks and bits of advice that became helpful later on as well. I remember on the set of Domino, Tony Scott told me it was always important to change your shoes once a day while you’re directing. I didn’t always get to do that on Crave, but whenever I did, it really worked. Just like the “fists with your toes” thing in Die Hard. It really gave me a little extra steam. But that’s just the little stuff. I mean, when you’re on set and you get to observe not just the machinery of the production but also how that machinery is being operated by a world class director, you can’t help but file away certain memories and observations for your own use later. There were a few times on Crave when I didn’t have an immediate answer to a question or a problem, but I would think back to something I saw Ridley or even Michael Bay do and kind of run that through my own filter, my own sensibilities, and it would help. The key is to be decisive. Own your vision. Own your film. That really gets you through a lot, especially when the crew has faith in you that you know what you’re doing, even if deep down you might have doubts. But that’s okay. That’s part of the process. Just keep marching forward and try to keep your eyes and ears open for ways to make your film better than what you originally had in mind.

    DC: Did you always plan on having a more open-ended finale where the audience isn't really certain what happens to Aiden? Is it harder to come to terms with the fate of a character like him who is such an antihero? He's not a cut and dried character so it's harder to have a definitive ending I would think.

    CL: I love ambiguous endings, or at least endings that leave you wondering not so much about what it all means but more about what happens next. And given how fractured Aiden’s psyche is, especially at the end of the film, there are bound to be fragments left behind. Would it have been satisfying to know the answer to the question the film leaves you with? I don’t think so. And I want the viewer to be there with me participating in the narrative. We know what has happened. We know what should happen. We know what could happen. The audience has plenty to work with. So I think it’s better to let them work with that rather than just hand it to them. I want them to keep talking about the film after it’s over. This isn’t like getting a haircut where at the end you’re either satisfied with the haircut or you’re not, but the haircut is over until the next one. I’m asking the audience to enter into a relationship with the film and even though there are ups and downs, I’m hoping it’s a more meaningful and long-lasting experience than just being provided with a common everyday service. And to me, all of this is because Aiden is not the usual protagonist. He’s more complicated than that. And he deserves a better, more interesting ending than just tidily winning or losing the day. He’s uncertain about his own future, so the ending should reflect that, I think.

    jDC: Is filmmaking something you're certain you want to continue to do? Was it more taxing and overwhelming than you had initially thought? So long to the day job?

    CL: When I was packing my bags after we wrapped in Detroit and I was on my way to the airport to return home to L.A., I was intensely sad because I wasn’t on my way back to set. I really was. I was already missing the circus of it all. So I think that’s a good sign that I definitely want to continue directing features. Like most people, I have bills to pay, so I will continue with the day job for the foreseeable future, but not just for the money. I actually enjoy traveling the world, documenting the work of amazing filmmakers and actors, and working on exciting new films. I mean, who wouldn’t? It’s a film geek dream come true. And hopefully, I will continue to do that… just with my own films as well, so I can tell my own stories. That’s the goal, anyway.

    Crave is now available to rent or purchase across all VOD platforms including Amazon, iTunes, and YouTube.

    Crave

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    IDW Bringing Dan Goldman's Red Light Properties Webcomic to Print in 2014

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    IDW Bringing Dan Goldman's Red Light Properties Webcomic to Print in 2014Dan Goldman’s cult favorite webcomic Red Light Properties is about to make its long awaited print debut. Re-edited, re-lettered, re-colored, and re-scripted, the first-ever print edition of Red Light Properties will be available as a trade paperback from IDW Publishing in late January, 2014.

    The book includes more than 20 never-before-seen pages and is designed to be the definitive reading experience, the first of an ongoing series of Red Light Properties releases from IDW.

    The critically-acclaimed Red Light Properties presents the adventures of an ambitious Miami real estate agency with a very specific business model. The husband-and-wife-run agency unearths properties that are unsellable because they’re haunted. The husband then cleans out said haunted homes by whatever (often unsavory) means necessary. The ghosts find closure. The seller unloads their property. The RLP Agency receives a fee. Everyone wins… except maybe for the Tobins, who are barely on speaking terms. You see, it’s not an easy business, flipping haunted houses.

    Following his Eisner-nominated work on the acclaimed Shooting War, his non-fiction graphic novel 08: A Graphic Diary of the Campaign Trail, and the launch of the webcomics collective ACT-I-VATE, Red Light Properties represents a departure for Goldman.

    “2014 finds me at an interesting crossroads. It’s been more than a decade since I began creating comic books. After my work on '08,' I’d had my fill of politics and topical comics. Instead I wanted to use a longer story about a broken but unique family to talk about life, death, family, and how the spaces we live in can hang on to echoes of us after we’re gone,” said Goldman. “This coming January marks four years since the online launch of Red Light Properties, and it’s the perfect time for IDW to publish the first print volume as part of their ongoing relationship with Monkeybrain Comics.”

    Like fellow artists Brian Bolland, Dave Gibbons, and Cameron Stewart, the Brooklyn-based Goldman uses computers to draw comic books. At the forefront of digital-first comics, his approach with Red Light Properties is perhaps more akin to a film production than to traditional comic book storytelling. Building 3D virtual sets to shoot inside of, working off actors’ performances (often his own), Goldman produces the series using just a laptop, a Wacom stylus, and a smartphone.

    On the eve of his 40th birthday this May, the print publication of Red Light Properties represents a major milestone for the writer/artist and his series. With its memorable cast and mad mash-up of Ghostbusters and Property Brothers, Red Light Properties will have readers talking for years to come.

    IDW Bringing Dan Goldman's Red Light Properties Webcomic to Print in 2014

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    New Dying Light Video Will Have You Fearing the Night

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    New Dying Light Video Will Have You Fearing the NightNighttime and zombies. They go together like peanut butter and jelly. Seriously, it's a perfect combination, and as you'll see in this latest video for the upcoming game Dying Light, it can also prove to be a deadly one.

    From the Press Release
    Techland and Warner Bros. Interactive Entertainment have released a new gameplay video from Dying Light, showcasing the darker side of the game's revolutionary day-and-night-cycle mechanic. The video gives a glimpse into different strategies that players will adopt depending on the time of day in order to survive.

    Slow, apathetic, and easily visible, the infected are not much of a threat in daylight. A skilled courier, sure of their parkour skills and smart enough not to engage in combat with too many enemies, can effortlessly avoid larger groups of the infected or escape beyond their reach. But this relatively safe state of affairs is turned upside down as the sun sets!

    At night, it is you who is at a disadvantage. Without daylight, the senses of the infected become more acute while their thirst for human flesh skyrockets. They run, jump, and climb, so there is really no place where you are safe anymore. They grow in strength, which means fighting them is not even an option. Those of them who were too afraid of light to come out during the day now swarm the city hunting for you. Still, there is something even worse lurking in the shadows...

    Synopsis:
    Dying Light is a first-person action survival horror video game with a harrowing day-night cycle set in a vast open world. Currently under development by Techland, the game will be available in 2014 for Xbox One, the all-in-one games and entertainment system from Microsoft, and PlayStation®4 from Sony plus Xbox 360, PlayStation®3, and PC.

    During the day players will traverse an expansive urban environment overrun by a vicious outbreak, scavenging the world for supplies and crafting weapons to defend against the growing infected population. At night the hunter becomes the hunted as the infected become aggressive and more dangerous. Most frightening are the predators which only appear after sundown. Players must use everything in their power to survive until the morning’s first light.

    To learn more as it is revealed, visit the official Techland website.

    Dying Light

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    First Images from Grimm Episode 3.09 - Red Menace

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    Grimm Episode 3.09 - Red Menace"Grimm" is off for the next few weeks but will return in the new year on January 3rd with Episode 3.09, "Red Menace"; and as these new stills show, we finally get the Renard/Adalind reunion we've been anxiously awaiting!

    "Grimm" Episode 3.09 - "Red Menace" (airs 1/3/14)
    A WESEN WITH A UNIQUE ABILITY IS AT THE CENTER OF A REVENGE-FUELED INVESTIGATION – Nick (David Giuntoli) and Hank (Russell Hornsby) investigate a Wesen "healer" whose ability holds risks that far outweigh its rewards.

    Meanwhile, Juliette (Bitsie Tulloch) takes in a friend when domestic issues escalate, and Hank makes a move on his physical therapist, Zuri (guest star Sharon Leal).

    Elsewhere, Captain Renard (Sasha Roiz) finally tracks down Adalind (Claire Coffee) and has a stern warning for her. Silas Weir Mitchell, Bree Turner, and Reggie Lee also star.

    Grimm Episode 3.09 - Red Menace

    Grimm Episode 3.09 - Red Menace

    Grimm Episode 3.09 - Red Menace

    Grimm Episode 3.09 - Red Menace

    Grimm Episode 3.09 - Red Menace

    Grimm Episode 3.09 - Red Menace

    For more info visit "Grimm" on NBC.com, check out some InstaGRIMMS on Instagram, "like""Grimm" on Facebook, and follow "Grimm" on Twitter.

    Grimm on NBC

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    Blair Erickson Opens Up the Banshee Chapter

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    Blair Erickson Opens Up the Banshee ChapterFor me personally, it just hasn’t been a great year for independent American horror. That’s why it’s refreshing to end 2013 on a fairly high note with a film like Banshee Chapter. Based on actual testimony and uncovered documents, the story is based on the MK-ULTRA experiments conducted in the Sixties on people like Ken Kesey.

    So, in theory, we can all probably blame the CIA for the invention of tie-dye.

    It’s always encouraging to see a first-time director deliver, and Blair Erickson has done exactly that. Hear what he has to say about the film below.

    Dread Central: I enjoyed the film and it’s nice when I don’t have to go back to old classics all the time to get my horror fix.

    Blair Erickson: I know what you mean. A lot of times you feel like everything is just stale and repetitive and you’ve seen it before. We were definitely trying something weird, and it’s cool because horror fans are interesting enough people where they can give a chance to something different, unlike most genres where you kind of get in trouble if you do something a little too weird.

    DC: “Weird” is my middle name! Had you been wanting to tell this story for a long time and what got you into horror and made you want to jump off the ledge and try directing in the first place?

    BE: You know, I had. You could probably say the idea goes back to even college, maybe. The idea of this chemical that did something like that had been something that we played with for ages, and then, after reading so many books about MK-ULTRA experiments, I just started using that has a background to build a little mythology around. It ended up being more true than you’d think but it’s clearly a fictional story, but I think it became a great metaphorical vehicle for exploring what it is about our government that is so disturbing right now.

    Why I decided to finally pull the trigger on it was I had been a creative director at this ad agency and we were doing these great, interactive, transmedia projects where I was writing and directing a lot of short, live-action content for “The Terminator” series or the new Dreamworks movie and it just sort of hit me, ‘Why am I doing this for other people’s stories when I could be coming up with my own and telling my own stories? I should just try that.’ The first draft was, of course, way too big and way too expansive and then just trimming it down to get ninety minutes of material.

    DC: It makes sense that you first thought of the idea in college. I hope you weren’t experimented on, though.

    BE: I’ve never, ever taken dimethyltryptamine [DMT]. I think, at this point, after researching it so much I don’t think I ever would. Ever since the script came out, people started offering it to me. I think there is something to it. You can call it other dimensions; you can call it just fucking with your mind. But there’s something that chemical does to your mind that I’m not comfortable screwing around with. I do think it serves as a great setup for the questions that it raises.

    DC: Did you ever do acid? Did you ever want to go really psychedelic with the film at all and make it really out there?

    BE: Years ago in college, absolutely. The prehistoric ancestor to this film was, in college, myself and Michael McMillian, who’s actually in the film, had made this short thirty-minute film called “Night Trip” about these three kids who drop acid and as they’re driving there’s a dead body in the middle of the road. From there, it increasingly becomes a more terrifying acid trip. In this one, it became less about the drugs and more about the creepy paranoia and how that really is a legitimate thing. What we ultimately ended up mining is the fear in this that the government would unleash something that would never go away and would follow you to the ends of the Earth and have these malicious intentions toward you. When you look at things like the NSA, is that really so far fetched? Does it really have to be a movie monster or is it something that might actually exist.

    DC: You can explore that in a horror film and people agree with it and it becomes part of the collective unconscious as opposed to ramming it down our throats saying we have chips in our brains.

    BE: Right. Exactly. I think saying "the collective unconscious" is exactly right. If you really trace the origins of this, this goes back many decades to our government doing stuff like this. In many ways, this is the origin story of the NSA. At some point, our government felt very comfortable doing terrible things to U.S. citizens and no one was ever called into account for it. If you think about it, why wouldn’t that be just the appetizer for something very terrible, and that’s exactly what it seems like right now. We have characters in their early twenties that are discovering this but I think anybody from the older generation, especially people in their fifties and sixties, these things were just like, ‘Oh yeah, we’re aware of that.’ What’s funny to me is that Americans tend to be the least aware of these things. When I go around and people ask what the movie’s about and I say the MK-ULTRA projects, five times out of ten in the U.S. I’m going to get a blank stare back. We have this idea that if we ignore, it goes away, but of course, we all know that’s now true and I think we’re seeing that more and more every day.

    Banshee Chapter is now available for digital rental or purchase and also on DVD (for under ten bucks!) from Amazon.

    The Banshee Chapter

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    Official Dawn of the Planet of the Apes Trailer Now Live! See it Here!

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    Official Dawn of the Planet of the Apes Trailer Now Live! See it Here!At last the first official trailer for 20th Century Fox's Dawn of the Planet of the Apes has arrived. Check it out here and let us know what you think!

    Look for the film in theatres on July 11th, 2014. Dawn of the Planet of the Apes stars Andy Serkis, Jason Clarke, Gary Oldman, Keri Russell, Toby Kebbell, Kodi Smith-Mcphee, Enrique Muriciano, and Kirk Acevedo.

    Synopsis
    A growing nation of genetically evolved apes led by Caesar is threatened by a band of human survivors of the devastating virus unleashed a decade earlier. They reach a fragile peace, but it proves short-lived, as both sides are brought to the brink of a war that will determine who will emerge as Earth’s dominant species.

    For more visit the official Dawn of the Planet of the Apes website, "like"Dawn of the Planet of the Apes on Facebook, and follow Dawn of the Planet of the Apes on Twitter (#DawnOfApes).

    Dawn of the Planet of the Apes

    Dawn of the Planet of the Apes

    Dawn of the Planet of the Apes

    Dawn of the Planet of the Apes

    Dawn of the Planet of the Apes

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    Stills Gallery and Official Synopsis of Dracula Episode 1.07 - Servant to Two Masters

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    Dracula Episode 1.07 - Servant to Two MastersThings have been a bit quiet on the "Dracula" front lately, but with the series returning on January 3rd with Episode 1.07, "Servant to Two Masters," finally an official synopsis and several stills have arrived!

    "Dracula" stars Jonathan Rhys Meyers as Dracula/Alexander Grayson/Vlad Tepes, Oliver Jackson-Cohen as Jonathan Harker, Jessica De Gouw as Mina Murray/Ilona, Thomas Kretschmann as Abraham Van Helsing, Katie McGrath as Lucy Westenra, Nonso Anozie as R.M. Renfield, Victoria Smurfit as Lady Jayne Wetherby, Ben Miles as Mr. Browning, and Robert Bathurst as Lord Thomas Davenport.

    For more info visit "Dracula" on NBC.com, "like""Dracula" on Facebook, and follow "Dracula" on Twitter.

    "Dracula" Episode 1.07 - "Servant to Two Masters" (airs 1/3/14)
    Intoxicated by his newfound invulnerability to the daylight, Grayson dares to deny his curse and regain his humanity. Renfield is dispatched to Budapest to acquire a mysterious and long sought after relic on his employer’s behalf.

    Harker discovers Grayson manipulated him into slandering General Shaw and strategizes on how to seek his revenge… eventually aiding The Order of the Dragon in compromising Grayson’s demonstration of his technology.

    NBC's Dracula

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    Robert Kirkman Talks Adding The Walking Dead Comics' Big Bad Negan to the TV Series

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    Robert Kirkman Talks Adding The Walking Dead Comics' Big Bad Negan to the TV SeriesHe first appeared in Issue #100 of The Walking Dead comics and killed off a much beloved character by wielding "Lucille," his baseball bat covered in barbed wire. We're talking, of course, about Negan, and if you're wondering when we might see him on the TV show...

    Comics creator and series executive producer Robert Kirkman recently chatted with EW and had the following to say about how much time might elapse between the death of the Governor and the arrival of Negan, who is the leader of the group known as The Saviors:

    “Well, there was a lot of breathing room in the comics between them,” said Kirkman. “Whether or not we have the same amount of breathing room or if we do cut that down a little bit and bring him into the show a little early remains to be seen. But I definitely do think there needs to be some kind of space from a Governor into a Negan. You have to have something of a break in there. So I wouldn’t expect him to be showing up — definitely not in Season 4. I don’t know. I wouldn’t expect it too soon. But we are all very excited about the prospect of bringing that guy into the show. The plan is that we will see him eventually.”

    "The Walking Dead" returns to AMC on February 9, 2014.

    Based on the comic book series written by Robert Kirkman and published by Image Comics, "The Walking Dead" stars Andrew Lincoln, Norman Reedus, Steven Yeun, Lauren Cohan, Chandler Riggs, Emily Kinney, Danai Gurira, Chad Coleman, and Sonequa Martin-Green. The series is executive produced by Scott M. Gimple, Robert Kirkman, Gale Anne Hurd, David Alpert, Tom Luse, and Greg Nicotero.

    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.





    The Walking Dead 4x09 Sneak Peekby ByCarLost

    The Walking Dead Season 4 on AMC TV

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    Destination Truth's Josh Gates Finally Finds the Truth

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    Destination Truth's Josh Gates Finally Finds the TruthFor several years now Josh Gates has been seeking the hard facts behind the world's most insane paranormal incidents and hot spots on the Syfy show "Destination Truth." Finally, after years of searching, he's learned the truth about something... hamburger ear muffs friggin' rule!

    Apparently Gates went to Amazon to grab a "Destination Truth" t-shirt. Due to a shipping mix-up he ended up with a pair of Adult Hamburger Ear Muffs. This lead to one of the funniest Twitter rants we've ever seen.

    Check out a sampling below, and get ready for said product to absolutely explode in sales. Thanks to Buzzfeed for the heads-up.

    For additional laughs check out Josh's review for the product on Amazon.

    Destination Truth's Josh Gates Finally Finds the Truth

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    Purge Sequel Grows with Three New Cast Additions

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    Purge Sequel Grows with Three New Cast AdditionsLast week it was announced that Frank Grillo would be playing the lead in Universal's sequel to this year's The Purge, and today the cast has been filled out with a handful of fresh new faces. Read on for the scoop!

    THR reports that Michael K. Williams (pictured; "Boardwalk Empire,""The Wire"), Carmen Ejogo (Sparkle), Zach Gilford ("Friday Night Lights"), and Kiele Sanchez (A Perfect Getaway) will all be joining Grillo in the film though no details have been revealed with regard to what characters they will each be playing.

    James DeMonaco is returning to write and direct the sequel to his hit film The Purge for Universal and Blumhouse. Jason Blum of Blumhouse will produce through his first-look deal with Universal. Michael Bay’s Platinum Dunes and Sebastien Lemercier are also returning to produce. Look for “the next chapter of The Purge” in theatres on June 20, 2014.

    In the original film starring Ethan Hawke, Lena Headey, and Max Burkholder, a wealthy family is held hostage for harboring the target of a murderous syndicate during the Purge, a 12-hour period in which any and all crime is legalized.

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    Holiday Horrors: We Dare You to Eat the... Cthurkey!

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    Holiday Horrors: We Dare You to Eat the... Cthurkey!Over the years we've seen a lot of different kinds of foods that made us scratch our heads and think to ourselves: "Yeah, we're not gonna eat that." Popeye's Rip'n Chick'n facehugger-looking chicken sandwich, KFC's Double Down two-breast chicken sandwich with no bun and bacon and sauce holding it together, etc. But this...

    This is something so vile looking it kind of leaves us speechless. Stare into the culinary abyss that is THE CTHURKEY!

    The frightening hybrid of crab, turkey, and octopus was put together by database administrator Rusty Eulberg and to add an air of menace to the proceedings is served on an old Nazi plate complete with Swastika.

    Rusty Eulberg, a database administrator from Lubbock, Texas, tells The Gothamist that he brought forth what he called the Cthurkey about two years ago. Reached by phone at work, Eulberg says, "Apparently my Cthurkey—I always called it a Cthurkey as opposed to a Cthuken (no duck)—blew up online. A buddy of mine just told me he found it on Tumblr."

    According to Eulberg, he and wife, Jennifer Robledo, "wanted to do something unique for Christmas dinner with friends of ours. Jenny is a big fan of Cthulhu so we went and bought some crab legs and some octopus and bacon and cooked them all separate and slapped them together on a plate, and that was it. The next year I made a Cthicken; the same thing using squid instead of octopus and a chicken."

    Eulberg says, "The universal reaction was, 'Oh my God, I couldn't eat that.' But each individual piece was cooked separately; all I did was set them together on the plate. It was delicious. The crab leg was awesome and the bacon added a nice flavor to the turkey. And for added horror, the serving platter is an old Nazi plate with a Swastika on the bottom that a friend bought in an old abandoned Luftwaffe base in Germany."

    Cthurkey

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    Reawakening Becomes Lazarus; Gets a Release Date

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    Reawakening Becomes Lazarus; Gets a Release DateOver the summer we told you about an upcoming zombie flick called Reawakening, which was building up a pretty respectable cast. Though we hadn't heard anything in the past couple of months, it has returned to our radar today with a brand new name as well as a release date.

    As reported by Variety, Reawakening has title morphed into Lazarus, and Lionsgate has set a U.S. theatrical date of January 30th, 2015. Refresh your memory with all the undead details below!

    The cast includes Olivia Wilde (pictured), Sarah Bolger, Mark Duplass, Donald Glover, and "American Horror Story" regular Evan Peters.

    Jason Blum is producing through his Blumhouse banner along with Mosaic Media Group.

    Lazarus follows a team of research students who discover the secret to bringing subjects back from the dead. However, their actions result in a series of sinister consequences. Glover and Peters will play members of the team along with Duplass and Wilde.

    David Gelb (Jiro Dreams of Sushi) is directing from a script written by Jeremy Slater (Fantastic Four) and Luke Dawson (Shutter), who is executive producing with Matt Kaplan. Lionsgate execs Erik Feig and John Sacchi are overseeing the project for the studio.

    Look for more on this one as it comes.

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    New I, Frankenstein Poster Ready For its Close-Up

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    Director Stuart Beattie Tweets I, Frankenstein Concept ArtWe're a little over a month away from the release of director Stuart Beattie's I, Frankenstein, and to get you further keyed up for the event, Lionsgate has stitched together a brand now poster for the flick. Check it out!

    Synopsis
    I, Frankenstein, starring Aaron Eckhart, will be digitally re-mastered into the immersive IMAX® format and released into IMAX® theatres across the U.S. beginning January 24, 2014, as well as a number of international territories.

    The IMAX release of I, Frankenstein will be digitally re-mastered into the image and sound quality of The IMAX Experience® with proprietary IMAX DMR® (Digital Re-mastering) technology. The crystal-clear images, coupled with IMAX’s customized theatre geometry and powerful digital audio, create a unique environment that will make audiences feel as if they are in the movie.

    200 years after his shocking creation, Dr. Frankenstein's creature, Adam (Eckhart), still walks the earth. But when he finds himself in the middle of a war over the fate of humanity, Adam discovers he holds the key that could destroy humankind.

    The action thriller I, Frankenstein is written for the screen and directed by Stuart Beattie from a screen story by Kevin Grevioux and Beattie. The film is brought to life by a cast that includes Eckhart, Bill Nighy, Yvonne Strahovski, Miranda Otto, Socratis Otto, Jai Courtney, Kevin Grevioux, Mahesh Jadu, Caitlin Stasey, and Aden Young as Victor Frankenstein.

    Lionsgate / Lakeshore Entertainment / Sidney Kimmel Entertainment present a Hopscotch Features / Lakeshore Entertainment / Lionsgate / Sidney Kimmel Entertainment production.

    I, Frankenstein

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    Devil's Due Delivers an International Poster

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    Devil's Due Delivers an International Poster20th Century Fox has just released a new international (UK) one-sheet for Devil's Due, and we like it... a lot! I mean, what with all the holiday cheer in the air, this is the perfect time for some anti-Christ inspired spookery! Dig it!

    And remember... you must Pray for Sam while you still can!

    20th Century Fox's Devil’s Due, featuring Allison Miller ("Terra Nova") and Zach Gilford ("Friday Night Lights"), opens in theaters everywhere January 17, 2014. Penned by Lindsay Devlin, it's directed by Matt Bettinelli-Olpin and Tyler Gillett (Radio Silence).

    Synopsis:
    After a mysterious, lost night on their honeymoon, a newlywed couple find themselves dealing with an earlier-than-planned pregnancy. While recording everything for posterity, the husband begins to notice odd behavior in his wife that they initially write off to nerves, but as the months pass, it becomes evident that the dark changes to her body and mind have a much more sinister origin.

    Devil's Due

    Devil's Due

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