Gary Graham appeared at a local sci-fi convention a few years back. I kept joking I was going to show up for the Q&A session and do nothing but ask Robot Jox questions until he had security throw me out.

Looking at the list of extras for Scream Factory’s upcoming Blu-ray and not seeing the star’s name anywhere, I can’t help but wonder if Graham really would have had me tossed for annoying him with requests for Robot Jox anecdotes. Must be holding out for that Alien Nation: The Series box set.

Robot Jox streets on July 7th.

Synopsis:
Fifty years after a nuclear war, the two superpowers handle territorial disputes in a different way: Each fields a giant robot to fight one-on-one battles in official matches, each piloted by a man inside, known as “robot jockeys”, or “jox.”

The contest for possession of Alaska will be fought by two of the best. The conscientious Achilles (Gary Graham) fights for the Americans. Opposing him is a Russian, Alexander (Paul Koslo), a ruthless and bloodthirsty adversary who has killed his previous nine American opponents.

With a traitor feeding the Russians secret weapons information and new, genetically-engineered jox looking to take his place, Achilles faces obstacles at every turn in the hardest battle of his life.

Stuart Gordon’s Charles Band-produced 1989 Cold War parable in the form of giant-sized Rock’em Sock’em Robots battling it out for political sovereignty is finally getting the Blu-ray treatment, and nobody can accuse Scream Factory of skimping on the extras.

Special Features Include:
• Audio Commentary with Director Stuart Gordon
• Audio Commentary with Associate Effects Director Paul Gentry, Mechanical Effects Artist Mark Rappaport, and Stop-Motion Animator Paul Jessel
• Interview with Actor Paul Koslo
• Archival Interviews with Director Stuart Gordon, Pyrotechnic Supervisor Joe Viskocil, Associate Effects Director Paul Gentry, Stop-Motion Animator Paul Jessel, and Animation & Effects Artists Chris Endicott and Mark McGee
• Behind-the-Scenes Footage
• Stills Galleries
• Trailers

Here’s the old VHS trailer to give you a taste of what Pacific Rim would have looked like as a low budget production from 1989.

The post Scream Factory Reveals Just How Fully Loaded the Robot Jox Blu-ray Will Be appeared first on Dread Central.

Promising a very emotional and dramatic conclusion to “Supernatural” Season 10, exec producer Jeremy Carver takes us inside the season finale, Episode 10.23, “Brother’s Keeper.”  Will Dean be cured in time?  Which strange bedfellows and drastic measures do we have to look forward to in the ep?  And most importantly, why the hell is Death back?

Tune in Wednesday night to find out!

“Supernatural” Episode 10.23 – “Brother’s Keeper” (airs 5/20/15, 9PM)
SUPERNATURAL SEASON FINALE — Dean (Jensen Ackles) makes a shocking decision regarding the Mark of Cain that would change not only his life, but Sam’s (Jared Padaleck) too. Meanwhile, Crowley (Mark Sheppard) and Rowena (guest star Ruth Connell) face off, and Castiel (Misha Collins) gets caught in the middle.  Phil Sgriccia directed this episode written by Jeremy Carver.

For more info visit “Supernatural” on cwtv.com, “like” “Supernatural” on Facebook, and follow @CW_spn on Twitter.

The post Producer’s Preview Looks Inside Supernatural Season Finale Episode 10.23 – Brother’s Keeper appeared first on Dread Central.

In advance of tonight’s Episode 2.07 of “Salem,” entitled “The Beckoning Fair One,” series star Janet Montgomery (aka Mary Sibley) sat down with a group of journalists for a Q&A, and we have the highlights right here.

They include who she perceives to be Mary’s biggest threat, what it was like having Stephen Lang back on the show, why audiences sympathize with Mary, Sebastian’s motives, John’s return, going for the horror, and LOTS more!

Strap in, heathens, and read on for the goods.

Q:  Who would you say poses a bigger threat to Mary, John Alden or the Countess?

Janet Montgomery:  That’s an interesting question. I think they’re very different threats… John, you know, now is this witch hunter. And Mary won’t see that coming. But I think the Countess is also equally dangerous in a very different way. I don’t know if I could say who is the bigger threat…  I think to find out that John has turned again her and is going to kill her, I think would probably the most heartbreaking. The Countess is more predictable. You know, obviously… The Countess wants to kill her.

Q:  With regard to the Countess, there’s usually a character that comes in and kind of stirs the pot even more. Is that going to be the threat for the season? Their relationship and rivalry?

Janet Montgomery:  Definitely it sets apart the rest of the season. But I think what’s so great about this season is Mary started off slightly cocky almost. And she had a real confidence. She felt that she was in control. She wasn’t listening to any warnings. And now we start to see the world, and she’s got enemies coming. Everybody’s trying to get her, and nobody’s on her side. So really, there’s so much coming… the Countess is all part of a lot of other people who are trying to get at Mary… the Countess is only one part of that.

Q:  There’s an element to Mary that you can’t help feeling for her a little bit because of the way things happened to her. This is not something that she asked for, but she’s had to adapt to survive. So there’s an element of sympathy that we have for her.

Janet Montgomery:  Well, I think that’s what the writers have done really well and what I am constantly striving to do… for the audience to sympathize with Mary… “Oh, she did this because of this.” She’s doing everything she can, and she does have a heart. But also, there are things that are unredeemable that she’s done and that she’s doing. But she’s very complicated. And I think a lot of us can say that about ourselves. You know, we’re neither good nor bad. We’re all somewhere in the grey area. And that’s what – that’s sort of the sort of characters I want to play. And what I’m really trying to do with this character is every time she does something that I think, “Wow, how are people going to sympathize with this?,” I manage to find a way in which people can understand why she’s doing it. You know, we’re all just survivors at the end of the day.

Q:  We’re going to see the return of Increase Mather. What can you tell us about what’s coming up? And how is it to work with Stephen Lang? He seems so much fun.

Janet Montgomery:  Stephen Lang is an absolute joy to work with. He’s a true professional. He’s exciting to work with. And he creates such a wonderful working environment. We have fun together when we’re working together, but we also both have a very similar work ethic… he’s one of my favorite people to work with. I always want to be very prepared. I like to feel free in the scene to move around. And he has a very similar work ethic. So it’s always good fun to work with him. I was really sad that we killed him at the end of last season because for me as a young actress, he could have elevated my work… his character is different this year. And I think people will be excited to see the dynamic between him and Mary slightly change.

Q:  Mercy is also a threat, and now she’s teaming up with the Countess. What can you tell us about that?

Janet Montgomery:  It’s coming from all angles for Mary. She’s got so many enemies now and very few allies. Mercy sort of seems a bit like a child compared to the Countess… The Countess is a real threat. Mercy was trying to just warn Mary, but sort of like throwing her toys out the pram in the corner.  The fact that now the two of them have come together, I think there’s a real danger in what Mercy’s capable of.  She’s unpredictable.  Mary doesn’t necessarily worry about Mercy so much though; she thinks Mercy’s dead. So that’s another real kind of worrying situation for Mary.

Q:  Mary and Tituba have this very complex, kind of feisty, deep relationship history. What are your thoughts on Mary’s sexuality?  Do you see her as bisexual?

Janet Montgomery:  It’s interesting, that question… the  language of witches is often sexual. It’s often based in a sexual nature. And you know, with the relationship with Tituba, obviously there’s a sisterly relationship like family. There’s also the fact that they’ve grown up together.  And so they’re like best friends. So there is a sexuality in their relationship. And I think that comes from just the way witches would speak to one another. Like they speak in a sexual way to one another, whether it’s physically or through language. Do you know what I mean? So I think that’s something that I’m playing with, with all kind of the relationships with other witches. And [it] came in this season as well with Anne Hale. Like, the way they communicate… I think sexuality doesn’t really necessarily come into it, you know… I  would say that she doesn’t… Mary would never say she was straight or bisexual.  I think it’s more she just very sexual if that makes sense.

Q:  Looking at this season, do you have a favorite episode or even a scene that sticks out for you acting-wise that you can speak a little bit about?

Janet Montgomery:  I had this scene in Episode 9 that’s coming up, and I’m not going to tell you what happens in it, but it was a very emotional scene. It involved John. I think everyone is waiting for Mary and John to be reunited. That doesn’t necessarily happen in 9, but 9 is a big moment where they sort of talk about everything. And I think that for me was like my work grew so much. It felt like I was just having a conversation with the other actor. And nothing was being pushed because I – now I feel like I know Mary so well that there’s no need for me to try and push anything. It just sort of comes very naturally. And the emotion with how she’s feeling come very naturally to me.

Q:  Mary all season has been working for witch equality. Are the witches starting to get on board with her plan and actually back her up against the Countess? Or are they just going to let her be on her own?

Janet Montgomery:  Well, it’s a very difficult situation. I think Mary has sort of chosen to go on her own. And she doesn’t really have anyone else to turn to. But I think eventually, she’s going to have to turn to the Essex witches, and that’s going to be interesting to see whether they support her or not.

Q:  Returning to Tituba for a moment, she was Mary’s most trusted ally, but after the events of last season, can you trust her again. Are they going to continue to work together because they have to?

Janet Montgomery:  I think the difficult situation with Mary and Tituba is, obviously, Tituba has been lying to her for so long. What she’s done is sort of unforgivable. But Tituba, at the same time – and what I love about the writing on this show – has her own reasons for that. And she thought she was doing the right thing. So I think there is room for Mary to forgive Tituba. But I just feel like… it’s going to take a while. And I think that people kind of like to see them at odds with other. The relationship works that way. So you never really know where each one stands with each. So you don’t know if Mary’s just going to kill Tituba at any moment or if actually she’s forgiven her. I think that’s an interesting dynamic.

Q:  Mary has so many elements going against her this season. It seems like she can’t catch a break. What is it like performing as a character who can not really trust anyone and has all these ulterior motivations?

Janet Montgomery:  It’s kind of stressful, to be honest. When you play a character so intensely and you’re working 14-15 hours a day, every day in this character, you start to become a bit of a paranoid mess you self as an actor. It definitely spills over into your everyday life. And the emotions that Mary feels become more my own emotions.  I’m ready for a break at this point in the season. It’s great fun to play, but it is intense. And I think it exhausts me in a way that I’m not used to.

Q:  In terms of your character, you’ve really been put through an emotional wringer this season whereas other characters have been put through a physical wringer, such as Elise Eberle. In terms of that, are you going to have any big special effects or monster effects sequence for your character this season?

Janet Montgomery:  It’s actually really interesting because as the season goes on, Mary does have quite a lot of physical stuff… I have a great stunt double, but I’ve done quite a lot of it myself… my character has gotten more physical, and I’ve enjoyed that part of it as well. It’s nice to not just be so Puritan-like and actually get kind of down and dirty some.

Q:  Regarding John Alden and Mary, do you think they are ready to confront each other? Mary at this point doesn’t know that he’s on a witch hunting crusade; how do you think she’s going to handle it with everything else she’s going through?

Janet Montgomery:  I don’t think Mary is… [she] believes he’s dead. So I think it’s going to be like a ghost coming back. And I think she’s already been through this with him. She’s just starting to get strong on her own and feel like she’s doing things by herself. And everything’s for her son. But she’s definitely not ready for John to reappear in her life. Whereas, obviously John, the longer it goes on and the more he’s sort of watching her from a distance, I think the harder it’s going to be for him to kill her.

Q:  Do you think it’s going to be more painful for her to realize that he’s actually alive or that he’s trying to kill her?

Janet Montgomery:  Well, I think that she will somehow understand why he’s trying to kill her because he doesn’t know anything about the fact that she’s been manipulated by the witches. They have a child together… let’s just hope he stops before he kills her to hear an explanation… like, “Oh, maybe she has good reason not to show up into the wood.”

Q:  It was recently revealed that Sebastian is apparently in love with Mary. Is Mary skeptical of the entire thing? Does she actually believe that he has feelings for her?

Janet Montgomery:  I think Sebastian is a great character because he’s a very dangerous young man. I think he is in love with Mary. I think he believes in his heart that he is in love with Mary. But he’s also very much in love with his mother. So the dynamic of that… I love the character. And I love the possibilities if Mary chose to be with someone like Sebastian; it would be almost like Bonnie & Clyde.  It could be like a complete massacre going on in Salem.

Q:  Both he and Dr. Wainwright are really taken with Mary. Is that going to develop into any sort of a full-fledged triangle? Or what’s coming up with that?

Janet Montgomery:  I think there’s a good possibility there could be. But there’s also John Alden. Not only is there a triangle… what would you call that? A square. It does seem like everybody in Salem. Someone wrote something online which I think was pretty accurate. That everybody either wants to make love to you or kill you. And I think that’s very true with Mary at the moment. People either want to make love to her or kill her. So definitely Sebastian’s very taken with her. Dr. Wainwright is obviously taken with her. And John wants to kill her at the moment. So who knows what’s going to happen.

Q:  About Anne Hale, your interactions with Tamzin have been great this season so far. Could you talk a little bit about what’s coming up with you two?

Janet Montgomery:  She’s been this sort of moral compass… she’s a real do-gooder all of last season. And now that she’s a witch, you almost get to see the demise of her, which makes you understand Mary somewhat more. Choices she’s forced to make that change her path forever.  I think it is a similar journey for Mary. The interaction between the two characters is just stronger throughout the season. The more Anne accepts that she’s a witch, the more she needs Mary.

Q:  Going back to our first question about threat assessment, with John Alden having the weapons that he has and the Countess having certain strengthens more than Mary, how much of a threat might he be to the Countess?

Janet Montgomery:  Well, that’s an interesting question. I honestly think the Countess has lived for centuries and centuries. And I don’t think that even with the help of the Indians and this margin that John sort of created with these weapons, I don’t think he’s going to be any match for the Countess. I think the Countess is like a league of her own. Although, obviously, at one point Increase Mather defeated the Countess… Anyone who is super-powerful – Mary felt very powerful at the beginning of the season – can stop her…  I think the Countess is being quite smart at the moment because she’s not aware of what Mary is capable of even though she knows that she probably is much stronger and she could pursue Mary very easily. She’s keeping her close in order to find out what sort of threat she is.

Q:  What about the horror aspect of the series? We’re surprised by how much you guys can actually do. It’s really amazing.

Janet Montgomery:  Yes. It is amazing – you never know, especially with a new network, how much you can show and how much is too much. And I think the thing that makes the show really work at the moment, and especially we’ve really done it in the second season, is just going for it. And the writers are not holding back. And it’s very shocking. That really works for the show… having free rein to create the world. And it means that we’re doing something very different from anything else that’s on TV. We’re not holding back because of certain… worrying that we’re going to upset someone out there.

Q:  The episode in which Increase Mather comes back is directed by Joe Dante. Allan Arkush directed earlier this season. What was it like to work with these esteemed old school horror directors?

Janet Montgomery:  Well, it’s really interesting actually. Every director that we’ve had has been very different… when I worked with Joe Dante, everyone was a little bit nervous because he’s… an icon. And I was surprised how different his shots looked. You get used to TV, the way they shoot things. It was sort of cinematic almost… [Joe] trusted me as the actor. And he came in very little. Like he’d maybe say one or two things. But it was – he let me do my own thing. And that was quite nice really. I guess there’s a different way of working. And he was happy with what I was doing. So he left me to it. So I was happy as well.

“Salem” Episode 2.07 – “The Beckoning Fair One” (air date 5/17/15)
Countess Marburg (Lucy Lawless) threatens to destroy all that Mary Sibley’s built.  Faced with losing everything, Mary (Janet Montgomery) turns to the darkest form of witchcraft, Necromancy, to bring an ally to her side.  But this ally is also her greatest and deadliest enemy — Increase Mather (guest star Stephen Lang). 

With the final days leading up to the second phase of the Grand Rite upon them, Mary tries to fortify her political hold over Salem with a move that could assure her success or seal her fate. 

Meanwhile, Wainwright (Stuart Townsend) returns to Salem to shocking results; Tituba (Ashley Madekwe) makes plans for her recently captured prey; Anne (Tamzin Merchant) learns that her newfound path comes with hidden costs; Cotton (Seth Gabel) gets a surprising visit; and the Countess uncovers a startling truth about her enemy that could change everything. Written by Donna Thorland and Adam Simon; directed by Joe Dante.

For more info follow “Salem” on Twitter and YouTube (@SalemWGNA), and also be sure to “like” the series on Facebook.

The post Salem’s Janet Montgomery Talks Her Biggest Threat, Stephen Lang’s Return, and Lots More! appeared first on Dread Central.

Starring Amy Everson, Kentucker Audley, Ryan Creighton

Directed by Jason Banker

I’ve reviewed plenty of films in the past that have covered from end to end the whole “woman scorned” premise, and for the most part, they can be a little frightening. While in the majority of some of these movies we never truly get to see the spinning cogs of the damaged female mind, and why it commits the atrocities it does – that is until Jason Banker’s Felt had completed its 80-minute dive into a fractured psyche…and it was frightening to behold.

Based upon the true experiences of lead actress Amy Everson (playing herself) – we focus in on a woman who simply wants to hurt men – her mind is not at ease, and as a result of some fairly heavy trauma incurred from the male species, she is a soul that appears innocent and reserved on the outer core, but once a peek behind the veil is offered, we see a side of a woman that is primal, abhorrent, and simply terrifying to think could reside inside one’s mind. Her pastimes include making (and wearing) male-specific spandex suits (complete with genitalia), and wearing it at different locations – parties, cemeteries, and deep in the woods. Her friends try in vain to set her up with dates, but they’re usually to no avail, and with each passing day, her festering troubled past is metastasizing like a tumor of hatred, and this thing is going to explode.

After a short while, Amy becomes enamored with a new fella, Kenny (Audley), and while some could look at this potential relationship as a fortuitous leap in the right direction for our tortured personage, deep down we’ve all got to realize where this one is heading, and it doesn’t look good. As we witness the remainder of the film, it’s clear to any set of working eyes that this union is going to take a turn that won’t soon be forgotten, and interspliced with artsy-surreal sequences that will have you scratching your brain-bucket makes it even more eerie in its presentation. I don’t consider myself a trained eye by any stretch when it comes to dissecting a film down to the bone, but even through this movie’s mental-diversion tactics, I could forsee the end result from a mile away, although that didn’t make it any easier to watch, or comprehend for that matter.

Everson’s performance is simply disheartening – you can see the exoteric layers of innocence lost, and once they’re peeled away, the internal workings are as ruined as a patchwork-rig of circuitry that’s been slapped together by a novice electrician – there’s a whole lot of sparking going on, but don’t dare get near it, as the results will be extremely painful. Banker does a fantastic job of giving the audience a crystal-clear view of anguish in its purest form, and how someone buries the sentiments until the pressure becomes far too much to conceal. This is one that needs to be checked out, and while you won’t get blown away with action and gore, you’ll get that uneasy feeling in your gut for quite a while after the end credits have rolled.

The post Felt (2015) appeared first on Dread Central.

By now you’ve no doubt noticed the inclusion of trending pics like Joy Ride 3, The Canal, Jinn and Extraterrestrial to Netflix’s streaming lineup. It’s hard to miss them, as they’re plastered all over the main page and have been since arriving on the popular site. But there are a few other flicks that have made their way to Netflix this month that may not necessarily go noticed by those with a schedule that puts the breaks on leisurely browsing.

Once more, we’re here for you. Check out an assortment of recent additions that are more than worth your time.

Ghoulies III: If you know the Ghoulies franchise, you know these flicks are designed to provide brainless entertainment. They’re goofy, they’re cheesy and not a single film in the series boasts a truly special storyline to follow. That doesn’t change the fact that fans of outlandish B-movies will probably always love these movies. A cold case of beer, a few buddies and an improvised drinking game ensure good fun.

[REC] 4: Apocalypse: Full disclosure: I wasn’t crazy about [REC] 4 upon initial viewing. A return to the fourth flick in the popular zombie franchise, however, has me singing a different tune. Sure, the familiar found footage angle has been done away with, and yes, the concept (the virus has now been transferred to a ship floating about in no man’s land) feels a bit silly, but the flick still manages to entertain. There’s a valid attempt at tying all four features (yes, even the left-field third installment) together, Manuela Velasco returns to reprise her role as Angela Vidal and the final act is balls-out action. It’s a far cry from the masterpiece that [REC] was, but it’s enjoyable.

Late Phases: One of the best werewolf flicks to hit the masses in years, Late Phases is an awesome character study first and foremost. These aren’t your typical protagonists and antagonists, and the conflict is a bit atypical for the subgenre. Nick Damici is great, Adrián García Bogliano’s style pops and Robert Kurtzman’s creature effects are unique. This is a fine little treasure to unearth.

Hayride 2: Pitchfork probably isn’t going to earn a place amongst welcomed and adored serial killers like Jason Voorhees or Michael Myers, but those with a soft spot in their hearts for low budget slasher fare are going to find his presence rewarding. Hayride 2 has a slightly different feel than that provided by the first film, but at the core it’s the same business, and the second installment doesn’t mark any major spiral in quality for this young series.

Housebound: Housebound sneaks onto Netflix, disappears and returns before we ever realize it had vanished from the database to begin with. Right now it’s live, and if you haven’t caught it yet, you need to. This is an awesome, multi-layered ghost story with quality twists and a few amazing performances (Morgana O’Reilly rocks!). It also looks damn good and moves at a stellar pace. If you’re looking for a film that breaks the rules but pays off huge, Housebound is a guaranteed safe pick. Catch it now before it disappears temporarily.

Bad Milo: Bad Milo makes for one big nod to over-the-top films of the 1980s, and it’s every bit as thrilling as some similar past works to come before it decades ago. Ken Marino is gold as the unfortunate soul who forces a menacing, toothy monster right from his ass. Yeah, you just read that right, and if you’re thinking we need to spend another moment even discussing the film, you clearly don’t have the curiosity required to seek out a toilet humor treasure like this, which is indeed worth seeing.

Honeymoon: Honeymoon has been hanging out on Netflix for a number of weeks now, but it’s been such a low-key release you may have simply missed it. Don’t. This one has amazing atmosphere, two wicked performances and a spin on the age old invasion tale that proves extremely gratifying. Certainly one of the best to land in our laps last year, Honeymoon should be owned, but there’s no reason not to test the waters on Netflix first.

Grabbers: Like Honeymoon, Grabbers isn’t a brand spanking new release on Netflix, but it is an ass-kicking monster movie that essentially pits a tentacled savage against more than a few kegs of beer. Yep, you read that right. We’re going to refrain from jumping into too many plot points, but you should know that this is an excellent film with quality comedy, special effects and performances. The screenplay is genius, and Richard Coyle turns in his finest performance to date. If creature features are your thing, you’re going to adore Grabbers

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George A. Romero’s career as a director has spanned well over 40 years now, with 16 feature films to his credit (plus one O.J. Simpson documentary!). Though mostly known as the father of the modern day zombie movie, and of course the director of the three best zombie movies ever made, Romero has also strayed away from the undead to direct a handful of non-zombie flicks over the years, including films like Creepshow and Martin, and even the non-horror films Knightriders and There’s Always Vanilla.

But what about the projects Romero was attached to that never quite got off the ground? The filmmaking business is a fickle one, and any director that has been in the game as long as Romero has is bound to have a handful of projects that died before they ever had a chance to live. Things just don’t always work out as planned in Hollywood, and no exceptions to that rule were made throughout the career of this master of horror.

Whether we’re talking films that ended up being directed by someone else or projects that never ended up getting made, by anyone, Romero’s career has been plagued by things that almost were. Today we take a look at 10 of those projects – the ones that almost found a spot on George Romero’s resume!

On June 8th, 1984, the New York Times reported that the movie rights to Stephen King’s novel Pet Sematary had been sold … to George Romero. The article went on to state that King sold the book to his Creepshow partner for “a handshake, a token payment of roughly $10,000, and a healthy share of profits from the movie.”

While King’s wishes to write the screenplay and have the film shot in Maine were fulfilled, Romero of course didn’t end up in the director’s chair. Though he worked on the project for a year and a half, things just didn’t work out in the end, and Mary Lambert eventually took over.

It’s interesting to note that Tom Savini was also offered the chance to direct the film, but he turned it down!

Another film in a long list of Stephen King adaptations that Romero was going to direct is Salem’s Lot, which was set to be a feature film at the time Romero was attached to direct it. All systems were a go until Warner Brothers decided to turn the book into a mini-series, rather than a film, a change that was made after it was announced that a couple similar films were soon going to be hitting theaters (including Werner Herzog’s Nosferatu).

Not keen on the idea of modifying his vision to fit on network television, Romero dropped out of the project, and Tobe Hooper ended up creating a pretty effective little mini-series, despite the restrictions that Romero had no desire to work under.

Other Stephen King adaptations that Romero was at one point or another attached to? The Stand and From A Buick 8.

Would you believe me if I told you that there was once upon a time going to be a cross-over episode of “The X-Files,” based on Night of the Living Dead? After writing an episode for Season 5 of the show, Stephen King pitched the “X-Files” team on doing an episode that would essentially serve as a remake of Night of the Living Dead, which Romero was going to direct. Romero and King reportedly met with the show’s staff, and the plan was for the episode to air during the seventh season.

Of course, it never happened, though that season did feature the episode ‘Millenium,’ a cross-over with the series of the same name which centered on re-animated corpses. In the episode, Mulder even uttered a line that was more or less directly lifted from Night of the Living Dead, as an homage to the original concept for the episode. So close, and yet so far!

MORE UNMADE ROMERO PROJECTS ON NEXT PAGE!

The post From Pet Sematary to City of the Dead: 10 Awesome Things George Romero Almost Made appeared first on Dread Central.

Jack Heller’s upcoming monster movie Dark Was the Night is a couple of months out, but right now we have some new artwork and stills to share with you cats.

Kevin Durand, Lukas Hass, Heath Freeman, Sabina Gadecki, and Nick Damici star. Look for it in limited theatres and on VOD July 24, 2015.

Synopsis:
Maiden Woods is a remote and quiet town of decent hard-working people, but something stirs in the dark woods surrounding this isolated community. After a logging company decimates an area of the forest, a rash of increasingly violent and unexplainable events transpires. Sheriff Paul Shields (Kevin Durand) and his deputy (Lukas Haas) struggle to confront their own personal demons while facing down a new breed of raw terror that is possibly older than humanity itself… and much, much hungrier.

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According to Deadline character actor Ruben Blades has joined “The Walking Dead’s” spinoff series “Fear the Walking Dead.” Blades will play Daniel, the father of Mercedes Mason’s character.

“Fear the Walking Dead” premieres this summer on AMC. The main cast includes Cliff Curtis, Kim Dickens, Alycia Debnam Carey, Mercedes Mason, and Frank Dillane.

The new series will be set in Los Angeles and focuses on new characters and storylines. The show’s first season will consist of six one-hour episodes. The second season will air in 2016.

Robert Kirkman, Gale Anne Hurd, Greg Nicotero, and David Alpert from “The Walking Dead” are executive producers of the new series, which, like the original, is being produced by AMC Studios. Dave Erickson (“Marco Polo,” “Sons of Anarchy”), who co-created and co-wrote the pilot with Kirkman, is an executive producer and showrunner.

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One third of Platinum Dunes, producer Brad Fuller, recently sat down with Shock Till You Drop to dish some details on the latest Friday the 13th film headed our way. Read on for the skinny!

“I could just say that for a long time we were stalled,” Fuller tells Shock regarding the script. “I think you guys reported that the movie was going to be a found footage movie, and that was a road that we went down and tried to figure out. Ultimately, I think [fellow producers] Michael [Bay], Drew [Form], and I felt that we couldn’t figure that out so we kind of jettisoned that whole notion, and we had to start over. We’re in the latter phases of that starting over, and hopefully we’re getting a script in the next month or two, and we’ll go back to Crystal Lake.”

Fuller continues, “At the end of the day, those movies are so fantastic because Jason Voorhees is such a dynamic presence and people love to see him do what he does well. We hope to put Jason in a situation where he’s able to do that again and it doesn’t feel like you’re seeing the same thing over and over.”

“Hannibal” screenwriter Nick Antosca will be the one penning the future exploits of Jason Voorhees for The Signal director David Bruckner, Platinum Dunes, and Paramount Pictures.  Michael Bay, Andrew Form, and Brad Fuller of Platinum Dunes are producing.

Paramount is aiming for a Friday, May 13, 2016, release. More soon!

The post Friday the 13th – New Update From Brad Fuller appeared first on Dread Central.

Let’s just hope it cleans up afterward. Wait… what? Oh… it comes not cu… never mind. In any event, new distro news is coming(!) out of Cannes. Deadline reports that A24 has found a young filmmaker it wants to back long-term and has made its first multi-picture deal with a director.

The company has acquired Krisha, the first film by director Trey Edward Shults that won the 2015 SXSW’s grand jury and audience awards for narrative feature and strong reviews for its inventiveness. The deal calls for A24 to produce and distribute his second feature, It Comes at Night.

The new film, It Comes at Night, will be Shults’ follow-up feature, a psychological horror film about a father who will stop at nothing to protect his wife and son from a malevolent, mysterious presence terrorizing them right outside their doorstep. A24 will develop the film with Shults.

In a statement, the distributor called Shults “an artist on the rise, and we are proud to partner with him. His unique approach, singular style, confident storytelling, and edge shines through Krisha; and we are excited to collaborate with such an exceptionally talented filmmaker at the beginning of what will no doubt be a long, celebrated career.”

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A big batch of new TV spots has arrived for the upcoming Jurassic World so take a few moments to check ’em out and see if there are any new residents of the Park you might not have been introduced to yet.

Chris Pratt, Bryce Dallas Howard, Ty Simpkins, Nick Robinson, Irrfan Khan, Vincent D’Onofrio, Jake Johnson, Omar Sy, BD Wong, and Judy Greer star in the film, which will be released June 12th in 3D by Universal Pictures.

Colin Trevorrow (Safety Not Guaranteed) penned the script with Derek Connolly and directs. Steven Spielberg and Thomas Tull executive produce, and Frank Marshall and Pat Crowley produce Jurassic World, a new sci-fi terror adventure set 22 years after the horrific events of the original Jurassic Park.

Last chance not to see the creature as its image appears below under the trailers.

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Years ago while writing for a different publication, I stumbled across a short film entitled Killer Kabbage, a B-movie that deserved more attention than it received. If you haven’t heard of the flick, then you’re not alone. Apparently, few people had an opportunity to see the movie, something that director Michael Dotson hopes to rectify in the very near future.

Much to my endless enthusiasm, Dotson is remaking Killer Kabbage, complete with new special effects. For those who love B-movies about killer vegetables, the flick looks good enough to eat. Yes, I’m ashamed of that horrible pun. In fact, I’m pretty steamed about it.

Killer Kabbage should arrive at some point this fall. While you’re waiting for the film to take root (again, I’m very sorry), have a look at the trailer below.

The original 2011 short film is included below at no additional cost.

The post Killer Kabbage Grows Again, Releases New Teaser Trailer appeared first on Dread Central.

Are you seriously bummed that director Duncan Jones’ cinematic adaptation of World of Warcraft keeps getting pushed back? You’re not the only one. To help ease the pain of those fans who are extremely vocal in their displeasure of the countless Warcraft delays, Legendary Pictures shared an image of “True Blood” actor Robert Kazinsky as the orc Orgrim Doomhammer.

And it’s quite fantastic.

Jones said that he and the producers were “looking for someone who would be able to perform the gruffness, the humor, and the toughness of this character.” Kazinsky, who also stars in the upcoming Fox series “The Frankenstein Code,” seems to fit that description.

Check out Kazinsky as Orgrim Doomhammer below. Unless something else happens between now and then, Duncan Jones’ Warcraft should hit theaters on June 10, 2016.

The post First Look at Orgrim Doomhammer from Duncan Jones’ Warcraft appeared first on Dread Central.

The cast for Hulu’s upcoming adaptation of Stephen King’s novel 11/22/63 is already pretty impressive, and now comes word that T.R. Knight (“Grey’s Anatomy,” “The Good Wife”) is also climbing on board.

The “11/22/63″ mini-series follows James Franco’s Jake Epping, a high school English teacher who travels back in time to try to prevent the assassination of President John F. Kennedy. He finds his mission threatened by love, the infamous Lee Harvey Oswald (Daniel Webber), and the past itself, which does not want to be changed.

Per TVLine, Knight will play the recurring role of Johnny Clayton, a salesman in 1960s Texas who can’t quite break up with his estranged wife, Sadie Dunhill (Sarah Gadon), even as she falls in love with Jake. Charismatic but controlling, Johnny confronts Jake in a tense encounter that puts Jake’s double life at risk. But there’s equal danger in what will happen if Jake and Sadie expose Johnny’s own secrets.

Other cast members include Chris Cooper, Cherry Jones, George MacKay, Lucy Fry, Leon Rippy, and Brooklyn Sudano.

The nine-hour miniseries is a collaboration among J.J. Abrams’ Bad Robot Productions, author Stephen King, executive producer/writer Bridget Carpenter, and Warner Bros. Television.  Carpenter (“Friday Night Lights,” “Parenthood”) penned the script and will exec produce the drama alongside King and Bad Robot’s Bryan Burk. Bad Robot’s Kathy Lingg will co-exec produce, and Athena Wickham will produce. Kevin Macdonald (The Last King of Scotland) is directing the first two hours.  The drama hails from Warner Bros. Television, and Warner Bros. Worldwide Television Distribution will distribute the series globally.

A premiere date for “11/22/63″ has not yet been announced so stay tuned!

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From our first look at the trailer for tonight’s Episode 1.10 of “iZombie,” entitled “Mr. Berserk,” it doesn’t seem that Liv is too concerned about Lowell’s fate last week; but this inside peek at the ep hosted by executive producers Rob Thomas and Diane Ruggiero-Wright gives us a better indication of how she will handle her new beau’s fate.

“iZombie” Episode 1.10 – “Mr. Berserk” (airs 5/19/15)
STEVEN WEBER (“MURDER IN THE FIRST,” “CHASING LIFE”) GUEST STARS — Liv (Rose McIver) and Clive (Malcolm Goodwin) investigate the murder of a journalist working on a story linking psychotic episodes in a small number of consumers to the energy drink Max Rager. Liv goes straight to the top at Max Rager HQ and questions the man in charge, Vaughn Du Clark (guest star Steven Weber).

Meanwhile, Ravi (Rahul Kohli) tries to help Major (Robert Buckley), who continues to believe he’s going crazy. David Anders also stars. Jason Bloom directed the episode written by Deirdre Mangan and Graham Norris.

For more info visit “iZombie” on CWTV.com, “like” “iZombie” on Facebook, and follow “iZombie” on Twitter.

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Tomorrow night is the season finale of “Supernatural,” and while we hope that it wraps up the Mark of Cain storyline once and for all, here’s a new clip from Episode 10.23, “Brother’s Keeper,” in which threatening Rowena gets Sam nowhere fast.

“Supernatural” Episode 10.23 – “Brother’s Keeper” (airs 5/20/15, 9PM)
SUPERNATURAL SEASON FINALE — Dean (Jensen Ackles) makes a shocking decision regarding the Mark of Cain that would change not only his life, but Sam’s (Jared Padaleck) too. Meanwhile, Crowley (Mark Sheppard) and Rowena (guest star Ruth Connell) face off, and Castiel (Misha Collins) gets caught in the middle.  Phil Sgriccia directed this episode written by Jeremy Carver.

For more info visit “Supernatural” on cwtv.com, “like” “Supernatural” on Facebook, and follow @CW_spn on Twitter.

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French filmmaker Bertrand Blier is set to debut an adaptation of his second novel, Existe en Blanc.

Produced by Sylvie Pialat’s Les Films du Worso and Edouard Weil’s Rectangle Prods, the movie will star actress/director Maiwenn (High Tension, The Fifth Element), Benoit Poelvoorde (My Worst Nightmare, Nothing to Declare), and Anais Demoustier (Elles) as well as Gregory Gadebois (The Piano Tuner).

Published in 1998, the book is in typical Blier dark humor, much like his Buffet Froid, the 1979 film featuring Gerard Depardieu and Jean Carmet. SCOPE Pictures, a leader in Belgian film production, describes the story of Existe en Blanc:

As a very young boy, Baudouin Treuttel develops a particular passion for women’s bras, which leads him to stand swooning in front of lingerie shop windows. His family is even weirder. His father refuses to speak or listen and won’t come out of his office or his car. His mother is a beautiful, fragile woman who regularly disappears into her room. There’s also Mathilde, the fat cleaning lady of the house who teaches the precocious boy about the facts of life. Baudouin also walks around with a mysterious Belgian accent that comes out of nowhere, and he gradually starts to murder his mistresses who dare take off their bras in front of him.

Existe en Blanc will debut in Cannes this month and have Valerie Donzelli’s Margerite and Julien, another Rectangle Productions piece, as competition.

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Nothing like recycling a headline to make me giggle like a 14-year old! THR is reporting that Colossal, which is being shopped to buyers in Cannes, is the source of a monster legal battle.

The rights holders of the Godzilla franchise, Japanese company Toho, have sued Voltage Pictures over the film Colossal, which stars Anne Hathaway as a woman who realizes her mind is strangely connected to a giant lizard destroying Tokyo. It’s described as “Godzilla meets Being John Malkovich.”

In fact, it IS Godzilla, says Toho.

In a complaint filed Tuesday in California federal court, the company claims the filmmakers “are brazenly producing, advertising, and selling an unauthorized Godzilla film of their own.”

The rights holders point out an August 2014 interview with writer-director Nacho Vigalondo in which he says of his script, “It’s going to be the cheapest Godzilla movie ever, I promise. It’s going to be a serious Godzilla movie, but I’ve got an idea that’s going to make it so cheap that you will feel betrayed.” Vigalondo is a co-defendant.

The lawsuit focuses on the filmmakers’ efforts to publicize Colossal, which Toho claims have included infringing content. The Godzilla rights holders claim the filmmakers sent an email blast to potential investors, sales agents, and distributors on May 9th pitching Colossal with a publicity still from the recent Godzilla reboot (the complaint includes the pictures you see below) plus a document of “Director’s Notes” with numerous images from official Toho works.

The post Anne Hathaway to Beat Off a Colossal Beast IN COURT appeared first on Dread Central.

“The Strain” has been on our minds lately after word came that a massive open online course (MOOC) based on the show taught by university professors is kicking off soon, and coincidentally, today FX revealed “The Strain’s” Season 2 premiere date.

“The Strain” returns to FX this summer for its highly-anticipated second season on Sundays at 10 PM ET/PT, beginning July 12th.  The award-winning thriller from Guillermo del Toro and Carlton Cuse, based off of the best-selling The Strain Trilogy by del Toro and Chuck Hogan, was the most-watched new cable drama of 2014.

As the second season unfolds, the transformation has begun. It can no longer be denied — New York City is rapidly falling to an evil epidemic, and no one is coming to its rescue. Its citizens must fight or die. Dr. Ephraim Goodweather (Corey Stoll) and his unlikely allies tried to take down the embodiment of this evil — the Master — and failed.

Now Eph and Dr. Nora Martinez (Mia Maestro) concentrate on creating a biological weapon to wipe out the creatures, while Abraham Setrakian (David Bradley) searches for an ancient book he hopes will reveal the strigoi’s entire history… and possibly a way to kill them. Meanwhile, the Master is out for revenge, unleashing new and even more terrifying breeds of bloodthirsty creatures after our team.  Our team must find a way to defeat him before the infection spreads too far and becomes irreparable… before they become monsters themselves.

“The Strain” hails from showrunner/executive producer/writer Carlton Cuse along with co-creators/executive producers/writers Guillermo del Toro and Chuck Hogan. Gary Ungar, J. Miles Dale, Bradley Thompson, David Weddle, and Regina Corrado serve as executive producers. “The Strain” is produced by FX Productions.

Season 1 of “The Strain” was 2014’s most-watched new scripted series among all basic and pay cable networks in Adults 18-49 (2.4 million). On a Live+7, multi-run basis, “The Strain” received 6.28 million Total Viewers and 3.49 million Adults 18-49 per week.

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We haven’t heard much from you guys about “Wayward Pines,” the new M. Night Shyamalan show on FX, but with Episode 1.02, “Don’t Discuss Your Life Before,” heading our way in just a few more days, we thought we’d share these sneak peeks of the ep along with its synopsis.  In case you missed Episode 1.01, “Where Paradise Is Home,” it’s re-airing just before Episode 1.02.  Here are all the details!

“Wayward Pines” Episode 1.02 – “Don’t Discuss Your Life Before” (airs 5/21/15; 9-10 PM)
After finding Secret Service agent Bill Evans’ body in an abandoned house, Ethan continues to search for clues with the help of Beverly. Meanwhile, Theresa and Ben decide to go to Idaho to look for Ethan, and Ethan finds out why residents of Wayward Pines always have to answer their phones.

“Wayward Pines” Episode 1.01 – “Where Paradise Is Home” (airs 5/21/15; 8-9 PM)
Based on Blake Crouch’s international best-selling series of books and brought to life by suspenseful storyteller M. Night Shyamalan, “Wayward Pines” focuses on a Secret Service agent on a mission to find two missing federal agents, whose investigation only turns up more questions. But each question leads him to the most important question of all: What’s wrong with Wayward Pines?

“Like” “Wayward Pines” on Facebook at facebook.com/WaywardPines. Follow the series on Twitter at @WaywardPinesFOX, and join the discussion using #waywardpines. See photos and videos on Instagram by following @Wayward Pines.

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