Although Nintendo has never had any issues with M-rated games being released on its consoles, in the past the powers-that-be have been notoriously hesitant to publish M-rated games themselves, instead leaving it to third-party developers like Sega and Activision.

For a long while, the only M-rated games published by Nintendo were Eternal Darkness and Geist, both on the Gamecube, and their hesitance to publish any more led to games like Disaster Day of Crisis, Dynamic Slash, and Fatal Frame: Mask of the Lunar Eclipse not being released in the US despite strong demand. As we’ve learned from Nintendo’s recent YouTube Content Creator bullshit and the terrible Wii U marketing (most people still think that it’s just an updated version of the Wii), they have a history of making decisions that seem questionable at the least.

Thankfully, as they moved into the 8th generation, their reluctance subsided as they published Devil’s Third, Bayonetta 2, and the Wii U versions of Ninja Gaiden 3 and the first Bayonetta. And they don’t plan to let up, as they’re bringing the fifth installment of the Fatal Frame series, titled Fatal Frame: Maiden of Black Water, to the Wii U on October 22, 2015.

Aside from the very spooky new trailer below, there’s very little publicity for the game, as if Nintendo is ashamed of itself for publishing it and has already deemed it to be a failure. Well, hopefully this article will make a few more people aware of its existence so that they can go out and buy it and Nintendo can continue to publish M-rated games. Hopefully.

Synopsis:
Fatal Frame: Maiden of Black Water is composed of three interconnected stories that converge to uncover the truth behind a recent string of tragic deaths in a forest marred by a history of suicides. As one of three people with the power of the Camera Obscura and the ability to see the shadows of those spirited away, you’ll explore the ruins of an eerie inn, a shrine filled with life-size dolls, and a lake full of dead priestesses. Each shadowy location is connected by a stream of water flowing throughout the mountain, and this once holy water is tied to the darkest mystery of all—the history of death and darkness on Mt. Hikami.

This game is free to start. You can download the trial version when the game launches on 10/22 and play most of the first two chapters for free. To continue playing, purchase the full game upgrade on Nintendo eShop.

The post Fatal Frame: Maiden of Black Water Unearths a New Trailer appeared first on Dread Central.

Doesn’t seem like it, but we’re almost halfway to Texas Frightmare Weekend 2016.  As such, the powers-that-be have already been ramping up the guests for next year’s show (which runs April 29-May 1), and it’s really looking like one for the ages.

The big announcement this week was the grand master himself: Robert Englund.  Englund will return to what he has been quoted as saying is his favorite convention next year, along with a growing list of guests.

Halloween II‘s 35th anniversary is being celebrated with a foursome of guests, and a metric buttload of horror legends are already signed to appear. The list so far:

George Romero

Tony Todd

Kane Hodder

Matthew Lillard

The Halloween II cast members: Lance Guest, Dick Warlock, Leo Rossi, and Pamela Susan Shoop

Gerrit Graham

Stephen McHattie

James Remar

Alex Winter

Mitch Pileggi

They’re adding more guests almost every day; this is just the beginning of things! Tickets are available NOW along with more show information at TexasFrightmareWeekend.com!

The Southwest’s biggest horror con continues to grow in its 11th year, and you can count on Dread Central to keep you posted on all things Frightmare!

The post Texas Frightmare Weekend 2016 Heats Up with Robert Englund Announcement appeared first on Dread Central.

Starring Derya Alabora, Esin Harvey, Gorkem Mertsoz

Directed by Lutfu Emre Cicek

With his feature length debut Naciye premiering this week at the Screamfest Horror Film Festival in Los Angeles, Turkish director Lutfu Emre Cicek brings us quite the curious little film. Although carried by an air of familiar dread throughout, there is certainly more than what initially meets the eye here. Sure, Cicek’s work is touched by familiarity in its moving parts – at times, it recalls the tone of Julien Maury’s Inside, Carpenter’s cinematography, and Almodóvar’s dramatic, but odd touch. (These influences make sense once you see the film, trust me!) On the whole, though, it is Cicek’s complex villain and taut approach to his visuals that provide some refreshing touches to a well-worn formula. Flawless it is certainly not, but the director is commendable here in his ability to build and maintain a tense film with healthy shades of emotional depth.

Naciye tells of a Turkish couple on the rocks – well-meaning, but often foolish Bertan (Mertsoz) and a very pregnant and frustrated Bengi (Harvey) – who travel to spend their first night at a newly rented home on the Marmara Coast. Bertan has secured the sprawling residence on an impulse in an effort to help the couple jump-start the picture perfect life he desires for them, and Bengi is reasonably unhappy over not being consulted in this decision. Things are about to get quite a bit worse for these two, however. Upon arriving, the couple finds that the house seems oddly lived in. While initially trying to write this off as negligence on the part of the previous residents, the truth soon becomes clear as they are swiftly terrorized by one of the house’s oldest past residents named Naciye (Alabora), an unhinged woman who has been squatting in the home for years and will not give it up without a fight.

Following a violent introduction to its titular character, we flash away to meet Bertan and Bengi – albeit in the middle of an awkward session of oral sex that seems to be causing significant discomfort for the latter. Appearing flustered and then angry, we immediately get a sense of Bengi’s unhappiness, despite Bertan’s admirable attempts to satisfy. Although it’s assumed that a difficult pregnancy is the cause for her mood, we see her retreat into the bathroom and burst into a fit of tears, gathering that something greater is amiss here. It is subsequently hinted that perhaps Bengi is hiding something from the optimistic, but oblivious Bertan, a traditional man who only wants the dream life and a picturesque family. These early moments between the two, although brief, do a wonderful job of initially connecting us intimately with our protagonists, and we feel quite like we have just walked in on a very uncomfortable turn of events in their relationship.

While this tension-filled setup between our expecting lovers promises for an exploration of sorts into their troubles, the film actually shifts quite quickly and spends more time exploring Naciye herself. We are shown glimpses into her past and simultaneously jump right into her brief reign of terror on the couple in the present as she sets to reclaim her home. It’s a narrative focus that works both for and against the film to varying degrees; while flashbacks to Naciye’s childhood provide more of the subtly disturbing moments here, her quick present-day descent upon the home cuts the engaging romantic drama between Bertan and Bengi short – right as it’s getting juicy, too! Once the couple encounter Naciye, what unfolds is essentially an extended hide-and-seek scene intercut with flashbacks. It will make you jump at times, but it will also make you wonder where the film might have gone had the weightier ideas introduced early on been explored more pointedly. At 81 minutes in length, perhaps an extended cut of the film would have allowed for these half-realized themes to truly flourish.

That’s not to say that Naciye completely botches its present-day horror story of survival, because it is very effective at times, thanks in large part to its focal residential set piece. Cicek draws out the tension in long, scanning shots in a way that puts us right there in the massive home with its new residents, fearfully looking around corners and taking in the creepy odds and ends scattered throughout. The score also successfully serves to elevate the tension; it is mischievous and unsettling, capturing the maniacal energy that very quickly descends upon the couple once they realize that their lives are in danger. To top it off, the sound design is notably anxiety inducing, with the heavy audible tick of a heartbeat, creaking doors, and wind chimes filtering in sinisterly through the sound of frantically pulsating piano keys. Cicek’s feel for atmosphere in his technical hand shines here in a fresh way, even if we may find the accompanying action to be slightly stale at points.

Ultimately, it does help to accept that this is Naciye’s film, and Alabora delivers the goods here as a villain that is all at once desperate, damaged, and oddly pitiable. There is a particular scene towards the end of the film in which simultaneous deaths occur and Albora channels her inner Pamela Voorhees in the most admirable of ways. She gets even more unapologetically vengeful, and at this point you certainly don’t blame her for the violence that follows. I may end up in the minority for this, but I found Alabora’s Naciye to be much more enjoyable to watch than, say, Béatrice Dalle’s overcooked La Femme from Inside.

While Naciye does misstep occasionally, it is still a solid and enjoyable watch, and is particularly one that I think could find some love and support on the festival circuit. Save for a couple of questionable editing decisions – including an ambiguously cut ending and an oddly positioned flashback to the home’s previous residents – Lutfu Emre Cicek stylistically and tonally shows great skill here as a fresh directorial face in the genre. His eye for the complex darkness in his characters is something I particularly found quite refreshing, so I do hope to see him move to subvert genre tropes and further embrace the exploration of the murkier recesses in people and relationships. We got a nice taste of it here, but I will be keeping my fingers crossed for an even darker, more unsettling follow-up — if he’s up for the challenge!

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

Doom, a film largely panned by critics and viewers alike, seemed fluffy enough to run with, so today we’re talking about this so-bad-it’s-actually-really-awesome movie. Even if you don’t happen to be one of the 14 people (here’s hoping we can add a few fans to the mix, if they’re willing to reexamine the film) in the United States that believe Doom is so bad it really is an awesome joyride of a flick.

It wasn’t too long ago that we discussed a handful of kick-ass pictures that feature genuinely impressive practical special effects. Within that lengthy lineup was Andrzej Bartkowiak’s cinematic adaptation of the popular video game Doom. Of course a few DCers were quick to rain down the negative comments, hurling a general disdain in the direction of the picture. But that disdain, coupled with the gloom surrounding Craven’s passing, served as the inspiration for this piece, which could very well become a regular column (yes, that means a lot of passionate but often aimless babbling from me) if you guys are up for frequent debate and enjoy discussing pics that maybe you love despite their sketchy reputations or hate because of those ugly reps.

As for Doom in particular, well, to be completely honest and entirely fair, I understand where you all come from. Doom was a good ways off from “Oscar-worthy.” But that always kind of felt like part of the package. It never once felt like a pretentious picture trying to be something it wasn’t; it felt like a silly B-movie with an inflated budget and a big action star in the driver’s seat.

Isn’t that what we paid to see?

Did we expect a masterpiece from a Doom adaptation?

Honesty, understanding and rationality are key here. Doom was always supposed to be an outrageous video game adaptation with high octane fight scenes, cool monsters, and a handful of silly one-liners our offspring love to run around repeating, whether appropriate or not. And that’s pretty much what the film manages to be.

For the sake of argument, let’s just toss a few of the pic’s problems under the microscope and examine why they do and or don’t pay off for viewers.

We can start with a look at the transportation device known as the ARK, an aspect of the tale that comes off as a bit murky and unclear. How does this device work? Why does it leave those who enter it in an unstable state for a brief time? How the hell was it created? The truth is it’s one of those elements that ride the wave of ambiguity introduced in the video game itself. It’s a ludicrous idea, but for those who’ve taken up issue with it (I’ve read a lot of complaints about the absurdity of the ARK), I ask this: What does it matter? It’s not a pronounced aspect of the story. It’s filler. It’s a way to get a Marine from one place to another. It doesn’t require a thorough examination on screen. It just needs to serve its purpose, which it does.

Moving on to the crux of the story, let’s peer at the idea that a Martian chromosome that transforms good men into great and bad into living monsters is entertaining. This isn’t too outlandish of an idea, and it isn’t too foreign. We’ve seen similar designs at work in the past, and it works pretty well in this case. In fact, that’s just about the shake of Doom as a whole: A lot of it works, and a lot of it doesn’t.

But many of the things that don’t work are laughable in a strangely lovable way, and furthermore, what makes the movie special is actually that in-between zone, that grey area where the terrible becomes the awesome. The sometimes lackluster (cheap, if we’re being real) looking sets, the implausible decision-making that inevitably leads to exciting confrontations. Superpowers. Good versus evil. The face of self-awareness gazing at its own cliché reflection.

Doom spills grey in our laps, and an awful lot of it feels mighty colorful.

Think about the moment in which Destroyer battles a mammoth monster in an electrified compact chamber that looks a little like Buffalo Bill’s nifty and notorious pit. Hell, think about a character being named Destroyer. That’s got intentional cheese written all over it. Richard Brake’s entire character, Portman, feels like he was birthed in a blob of mozzarella. The Kid, as Al Weaver’s character is known, is fodder for the sake of being fodder, all the while projecting a moral high stance in a film that has little place for any moral high stance whatsoever. That’s a bit divisive in the context of the film, but it’s great to know The Kid’s inclusion serves as a swing in the scope of the feature and functions as a deviation from the shoot, run, shoot, run, die, shoot, etc., formula; it’s a little extra flicker to contemplate.

All of the characters in Doom are absurd. And yet, a good number of them are quite memorable, for this reason primarily – they’re silly! In a way, the ensemble in Doom is a lot like the ensemble in John McTiernan’s Predator. Each player has a unique personality, none of which feels overly realistic, but most of which leave us interested in their actions and their fates. To take it one step further, Doom itself is a lot like Predator (I bet if Arnold Schwarzenegger had played the role of Sarge as opposed to Johnson, you wouldn’t even be reading this article). Think about it: A group of soldiers are deposited in hostile territory where they’re forced to face an unknown villain that puts human capability to shame; one by one each of the soldiers are disposed of by the menace they hunt, until only two remain: the good guy and the bad guy. If the good guy hopes to thwart the evil plans of the bad guy, he’s got to adapt in a hurry, and in each film the hero finds a way to do just that.

Doom clearly isn’t the edge-of-your-seat war for survival that Predator was, but they’re both occupying the same playing field, and Doom doesn’t mind borrowing a few tricks.

Getting back to the inanity of Doom, think about the absurd superhuman fight that unravels between Karl Urban’s character, John Grimm, and Dwayne Johnson’s character, Sarge (another point of the production that draws ire from genre fans). Those guys are flying in all directions, tossed here, leaping there. It’s comical, but it also calls back the memory of vintage superhero productions, long before the days of Marvel’s fine-tuning and DC’s stunning Dark Knight Trilogy. You know, when those pieces stunk but still managed to entertain on a funny and brainless level. That final sequence isn’t supposed to be viewed as a realistic fight scene; it’s supposed to be interpreted in the same way one might interpret an unbelievable and extremely exaggerated video game exchange.

How about the brief POV shots that mimic the original id Software game? These fleeting moments are hilarious, as there isn’t much attempt to disguise the nod to the video game itself or infuse them in smoother fashion. Yes, this angle could have been handled differently, perhaps with the POV shots trimmed down and spliced into the film at different intervals, ultimately making them feel a little bit more cohesive. But that could steal away from the fun, nostalgic element of the maneuver, and nostalgia was no doubt on the mind of Bartkowiak, who – it seems – wanted to make a movie that fans of the game, action films, and horror installments would embrace with open arms.

At the end of the day it’s obvious that the entire flick wreaks of provolone, but some of us love provolone, and if you’re willing to look at Doom with a wide-open eye and a willingness to laugh your ass off, tip your cap to goofy 80s action flicks, and admire a handful of really cool monster creations, it’s possible that you’ll be able to see Doom in an entirely different light. Having said that, if you’ve decided that there’s no room for reevaluation and you’re extremely firm in your hatred for the film, that’s okay, too. Movies like this are never going to win fans over unanimously. Whether Doom is your bag or not, and whether you agree or disagree with my adoration of the picture, we’ll probably all agree on that.

The post Doom – It’s Better than the Critics Say! appeared first on Dread Central.

With Halloween on the way, new horror releases are coming at us hot and heavy, and this weekend is unquestionably the biggest of the year for us fans. Not only are Goosebumps and Crimson Peak now in theaters everywhere, but so too is the VOD slate loaded with goodies. Read on!

First up, Alistair Legrand makes his directorial debut with The Diabolical (review), a haunted house movie that isn’t quite like the others. Ali Larter stars in the highly ambitious film, which adds sci-fi elements to the mix and in many ways defies expectations of the paranormal sub-genre.

Synopsis:
Madison is the single mother of two children who are awoken nightly in their quiet suburban home by an increasingly strange and threatening presence. She desperately seeks help from her scientist boyfriend, who begins a hunt to destroy the violent spirit that paranormal experts are too frightened to undertake.

Also out today, in limited theaters and On Demand, is the hotly-anticipated anthology film Tales of Halloween (review), a collaboration among some of the hottest names in horror right now.

The film is an anthology of 10 Halloween tales, directed by David Parker (The Hills Run Red), Darren Lynn Bousman (Saw II, III and IV), Adam Gierasch (Night of the Demons), Axelle Carolyn (Soulmate), Lucky McKee (All Cheerleaders Die), Paul Solet (Grace), John Skipp (Stay at Home Dad) and Andrew Kasch (Never Sleep Again co-directing), Mike Mendez (Big Ass Spider!), Ryan Schifrin (Abominable), and Neil Marshall (The Descent).

Synopsis:
Ten stories from horror’s top directors. Ghosts, ghouls, monsters, and the devil delight in terrorizing unsuspecting residents of a suburban neighborhood on Halloween night. This creepy anthology combines classic Halloween tales with the stuff of nightmares.

And finally, After Dark’s “8 Films to Die For” banner is resurrected courtesy of eight brand new horror films, unleashed into theaters and onto VOD outlets today. They’ll all be hitting DVD on October 27th, and you’ll find plot details for each individual film below.

Re-Kill
It’s been 5 years since the outbreak that wiped out 85% of the world’s population, but the war between Re-Animates (Re-Ans) and Humans wages on, as most of the major cities are still uninhabitable. Within the few surviving cities, the Re-Ans have been segregated into “zones” and are policed by the R-Division of the QUASI S.W.A.T. Unit who hunt to re-kill the Re-Ans in the hope of quelling a second outbreak.

Murder in the Dark
When a group of young people camping in the ruins of a medieval Turkish town play a party game called “Murder in the Dark,” they soon discover that someone is taking the game too far… Produced in an experimental shooting style, this murder-mystery features a cast of actors who were not allowed to see the script. The actors’ choices interactively changed the shape of the story. They had to use clues to solve the mystery laid out before them by the filmmakers.

The Wicked Within
When a little girl dies, her family gathers to mourn the loss. Yet, the pain is not forgotten, and a vengeful demon spirit takes possession of a vulnerable family member, tearing at the ties that bind them all together. One by one, it forces each family member to confess to his or her buried lies and face the morbid consequences of their sins.

Lumberjack Man
As the staff of Good Friends Church Camp prepares for a spring break filled with “Fun Under the Son,” a demon logger rises from his sap boiler to wreak his vengeance and feast on flapjacks soaked in the blood of his victims.

Suspension
Emily is a high school student with a penchant for drawing gruesome pictures in her sketchbook. There’s a reason for her obsession with horrific images: Her father, Tom, once went on a murder spree and is now residing in a mental hospital. On a night she’s home alone babysitting her mute little brother, Tom escapes and targets Emily and her friends during a bloody killing rampage.

Unnatural
A morally ambiguous corporation experiments with genetic modification, resulting in the advent of a bloodthirsty man-hunting creature. When the creature escapes, a group of unsuspecting Alaskan natives and their inexperienced guests, which includes a high-maintenance celebrity photographer and a pair of models, becomes prey for the abomination in a horrifying game of cat and mouse.

Bastard
Five strangers – newlywed serial killers, a suicidal cop, and two runaways – become suspect and victim when a masked murderer makes its presence known in an isolated mountain town.

Wind Walkers
A U.S. solider returns home from captivity to find that his best friend and fellow former POW has gone AWOL. While out on an annual hunting trip with his friend’s father and some extended family, the group comes under attack by an ancient Native American curse that has mysterious connections to his best friend’s heritage and the prison in which the soldiers were once held captive.

The post Today on VOD: 8 Films to Die For, The Diabolical and Tales of Halloween appeared first on Dread Central.

We got an e-mail recently pointing us to a video on YouTube for something called “The Midnight Movie,” which is said to be the pilot episode of an unaired, unnamed horror anthology series akin to “Tales From the Crypt,” etc.

We have no other details to share at the moment except for the description on the video itself from Theater 13. Theater 13? Midnight Movie? We smell viral. Read the description and synopsis, and let us know what you think below.

About “The Midnight Movie”:
The Midnight Movie ​was the 1992 pilot episode of a yet unnamed anthology series meant to capitalize on the success of “Tales From the Crypt.” It was never aired and has never been seen by the public. Until now.

Synopsis:
While waiting for the start of the midnight show at an art­house movie theater, two employees discover a haunted film print and unwittingly release a creature that’s been trapped for decades.

The post The Midnight Movie – Unaired Pilot or Elaborate Viral? appeared first on Dread Central.

Courtesy of Scream Factory, we now have an exclusive clip from the bonus features of The Larry Fessenden Collection. Check it out, and look for more on this set, including a review, soon!

The Larry Fessenden Collection Release Info:
Award-winning filmmaker Larry Fessenden has become an indie horror legend with his idiosyncratic, genre-bending films. As a writer, producer, director, and actor, Fessenden’s oeuvre has developed a passionate fan base who applaud his realistic, character-driven horror stories. Fessenden’s films often examine the disintegration of civilization and humanity, provoking terror in the viewer through psychological dread, not gratuitous gore.

Scream Factory, in conjunction with IFC Midnight, will bring together four critically-acclaimed films by this multi-talented filmmaker with the release of the four-disc The Larry Fessenden Collection on Blu-ray on October 20, 2015. Marking the first time these films have been available on Blu-ray, The Larry Fessenden Collection includes No Telling, Habit, Wendigo, and The Last Winter and features new, director-supervised HD transfers. The first three hundred fans who pre-order their copies from ShoutFactory.com will have their slipcase signed by Larry Fessenden.

The most complete retrospective of the filmmaker’s work to date, the set also boasts a bevy of bonus content, including a 24-page booklet with liner notes by Fangoria’s Michael Gingold that includes never-before-seen photos; storyboards and sketches; new audio commentaries with Larry Fessenden, Patricia Clarkson, Jake Weber, and John Speredakos; a new interview with Larry Fessenden; making-of featurettes for No Telling, Habit, and The Last Winter; Fessenden’s short films, including the rarities White Trash and Santa Claws; Fessenden’s music videos “Save You from Yourself,” “Frankenstein Cannot be Stopped,” and “Tired of Killing Myself”; the feature-length documentary The Making of The Last Winter; behind-the-scenes featuettes; archival footage; and much more.

Films in The Larry Fessenden Collection:
No Telling (1991): An organic-farming advocate meets a woman whose husband does weird limb transplant experiments with animals.
Habit (1995): A down-on-his-luck New York bohemian meets a mysterious woman at a Halloween party, believing she might be a vampire.
Wendigo (2001): A family vacationing in the country are terrorized by the ferocious spirit of the Wendigo, a Native American myth made manifest in their son’s imagination.
The Last Winter (2006): Strange events begin to plague a crew sent to evaluate the environmental impact of oil drilling in the Arctic.
Stars: Connie Britton, Ron Perlman , Larry Fessenden, Meredith Snaider, Miriam Healy-Louie, Patricia Clarkson, Jake Weber, Erik Per Sullivan, James Le Gros

The Larry Fessenden Collection Special Features

• 24-Page Booklet with liner notes by Fangoria’s Michael Gingold, featuring never-before-seen photos, storyboards and sketches.

No Telling

• NEW director-approved HD Transfer
• NEW audio commentary with writer/director/executive producer Larry Fessenden
• Making of No Telling (1991)
• Archival footage (1990)
• Short Film White Trash (1979) with new music by composer Will Bates
• Glass Eye Pix Sizzle Reel (1985-1990)

Habit

• NEW director-approved HD Transfer
• NEW audio commentary with actor/director/writer/editor Larry Fessenden
• The Making of Habit featurette (1995)
• Short film Habit (1981) (20 minutes)
• The Making of short film Habit (1981)
• “Save You from Yourself” music video
• Theatrical trailer
• Short film N Is for Nexus from Magnet Releasing’s ABCs of Death 2
• The Making of N Is for Nexus
• “Frankenstein Cannot Be Stopped” music video

Wendigo

• NEW director-approved HD Transfer
• NEW audio commentary with writer/director/editor Larry Fessenden
• NEW audio commentary with actors Patricia Clarkson, Jake Weber, and John Speredakos
• Search for the Wendigo – Behind-the-Scenes featurette (2001)
• Interview with Larry Fessenden (2001)
• WENDIGO: animated series trailer
• Short Film Santa Claws (2008)
• Theatrical trailer
• Glass Eye Pix Sizzle Reel (2010)

The Last Winter

• Audio commentary with co-writer/director/producer/editor Larry Fessenden
• The Making of The Last Winter – full-length documentary featuring deleted scenes
• Archival footage (2005)
• Short film Jebediah
• Short film Origins
• Short film Mister
• “Tired of Killing Myself” music video
• NEW 2015 interview with Larry Fessenden
• Glass Eye Pix Sizzle Reel (2014)

The post Exclusive Clip from The Larry Fessenden Collection Blu-ray Box Set! appeared first on Dread Central.

All right… so just hooooowwwww knowledgable are you on the werewolf genre? Right here, we have an exclusive quiz that’ll let you test your chops with an added bonus for those who prove worthy…

Reach a certain score, and you’ll reveal some special instructions. Follow those, and you’ll be entered into a draw to win a copy of William Brent Bell’s Wer on DVD!

Be quick, though. The closing date is Friday, October 23, when we’ll pick a winner and get in touch. Only UK residents are eligible to win the DVD, but everyone can take the quiz — so have at it!

Wer is available to order today from Amazon UK. It stars A.J. Cook (“Criminal Minds”), Brian Scott O’Connor (Epic Movie), Simon Quarterman (The Devil Inside), Vic Sahay (“Chuck”), and Sebastian Roché (“The Originals”).

The post UK Readers: Test Your Werewolf Know-How and Win Wer on DVD! appeared first on Dread Central.

Starring Frank J. Aard, Mariah Brown, Anjali Alm-Basu

Directed by Josh Hasty

With all of the promise of a top-speed sports car, director Josh Hasty’s Honeyspider apparently came off the assembly line with a VERY light gas pedal because this thing never got out of the starting gate and failed to make it around the track before sputtering to an uneventful stop.

The year is 1989, and we follow the everyday travails of Jackie Blue (Brown), and other than being a decent song from the 70’s, she’s just your ordinary moody soon-to-be-adult who’s content to celebrate her upcoming birthday, which just happens to fall on Halloween, very uneventfully. Her adjustment to college hasn’t taken off the way she’s wanted it to, and aside from holding down a sleepy concession stand job at the local movie theater, her life isn’t much more than work and school. Throw in some odd symbols that appear in rather unsuspecting spots, and the hairy, crawling presence of tarantulas (people who fear arachnids should NOT take part in this film), topped off with the skeevy, stalkish presence of an overly creepy college professor (Aard), and we’ve got the ingredients for an interesting premise… right? Maybe? Yeah, maybe not. The biggest killer here (no pun intended) is the film’s pacing – just when you think you’re gaining some form of traction, the tires continue to skid.

Even the addition of a Halloween 6-like cult can’t seem to toss this one a lifeline, and even though the opening parts of the film are a nice watch, slow and plodding, the movie never seems to escape that far-off display that it showcases so nicely right off the bat. With each separate piece that was written, and for all intents and purposes could have been mainlined into its own direction, they all split off of each other and leave you with a look on your face as if you were attempting to interpret a road map from another country.

Hasty’s direction is a refreshing look at what should be a style worth mentioning in the future, but this particular endeavor just couldn’t hit the mark for me. That’s not to say that this flick might not appeal to some of the slow-burning horror aficionados out there, but this moved a little TOO slow, and with the ramble of pathways that we’re forced to follow (and all those damned spiders), Honeyspider simply swung and missed.

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

If you want something to help you remember the good old days of Castlevania before Konami went insane and ran it into the ground along with its other franchises, then look no further than this incredible Simon Belmont statue.

At 20 inches tall and equipped with his signature mace and whip, he looks ready to extract some serious vengeance on the Konami executives who thought that it would be a good idea to greenlight a Castlevania Pachinko game. The level of detail, from the scowl on his face to the muscles in his arms, is stunning. Artist Sanjeev Singh really went all out to capture the pure badass feel of the character.

If you do want to own this beautiful piece of memorabilia, then you’d better pre-order now as there are only 299 in existence. They cost a hefty $439.99, but it’s sure as hell worth it. Did I mention that he has a mace and a whip?

I wanted to end with a joke about how Konami themselves won’t even be able to afford $439.99 if they keep carrying on with their bullshit, but as I’ve pretty much beaten that topic to death on Dread Central, I decided it would be best not to mention it again. Oh, what the hell… now that we’re on the topic, let’s end with a quote from the great Jim Sterling, shall we? “Konami is Konami, and Konami is the worst. FucKonami.”

The post You Need to Own this Incredible Limited Edition Simon Belmont Statue appeared first on Dread Central.

Back in the spring we got our hands on the first clip from Onur Tukel’s dark comedy Applesauce, and now we have a look at its poster art and release details. It’s arriving during Thanksgiving week, and if you liked Tukel’s previous film, Summer of Blood, this one looks to be up your alley as well.

From the Press Release:
In rising filmmaker Onur Tukel’s latest provocative comedy-drama, APPLESAUCE, a married man is severely tested after a string of twisted, mysterious, and frightening events. Following a world premiere at the 2015 Tribeca Film Festival, the enthusiastically reviewed film comes to digital EST and VOD from Dark Sky Films on November 24, 2015.

Every Tuesday night, radio talk show host Stevie Bricks invites his listeners to call in and share “the worst thing they’ve ever done.” Tonight Ron Welz (writer/director Tukel) is ready to share his story, but soon after he confesses on the air, someone starts sending him severed body parts. Ron becomes paranoid and terrified. His life begins to unravel. His marriage begins to fall apart. He has no idea who’s tormenting him. Is it his insolent high school student? Is it his best friend? His own wife? In a city like New York, there are eight million suspects, and each one could have a bone to pick with someone like Ron.

Take dark comedy, mix it with noir, and you have one of the most original and unusual movies of the year.

APPLESAUCE co-stars Max Casella (“Doogie Howser, M.D.,” Inside Llewyn Davis, Blue Jasmine), Trieste Kelly Dunn (“Banshee,” United 93), Dylan Baker (Trick ‘r Treat, Secretariat, Happiness), Jennifer Prediger (Apartment Troubles, A Teacher), and Karl Jacob (Pollywogs, The Dictator).

The post Dark Sky Serving Up Applesauce for Thanksgiving Dinner appeared first on Dread Central.

A few days ago we showed you what Lionsgate called a “sizzle” reel from the upcoming The Last Witch Hunter, and now we have another preview of the film that features Ciara’s version of “Paint It Black.”  Will it paint the box office green with cash?  We’ll find out next weekend when The Last Witch Hunter goes head-to-head with Paranormal Activity: The Ghost Dimension!

Starring Vin Diesel along with Elijah Wood, Rose Leslie, Ólafur Darri Ólafsson, Julie Engelbrecht, and Michael Caine, this adrenaline pumping fantasy film follows Kaulder (Diesel) as his secret order – The Axe and Cross – leads the intense battle against the most horrifying witches in history.

Synopsis:
Live Forever… Hunt Forever…

The modern world holds many secrets, but the most astounding secret of all is that witches still live amongst us… vicious supernatural creatures intent on unleashing the Black Death upon the world. Armies of witch hunters battled the unnatural enemy across the globe for centuries, including KAULDER, a valiant warrior who managed to slay the all-powerful QUEEN WITCH, decimating her followers in the process. In the moments right before her death, the QUEEN curses KAULDER with her own immortality, forever separating him from his beloved wife and daughter in the afterlife.

Today KAULDER is the only one of his kind remaining, and he has spent centuries hunting down rogue witches, all the while yearning for his long-lost loved ones. However, unbeknownst to KAULDER, the QUEEN WITCH is resurrected and seeks revenge on her killer, causing an epic battle that will determine the survival of the human race.

The post Another Preview of The Last Witch Hunter Paints It Black! appeared first on Dread Central.

The CW is playing it coy with regard to what’s ahead in “The Vampire Diaries” on November 5th in Episode 7.05, “Live Through This,” but we do have synopses for their other horror-themed shows that week so read on for what they have in store for us in “iZombie” Episode 2.05, “Love & Basketball”; “Supernatural” Episode 11.05, “Thin Lizzie”; and “The Originals” Episode 3.05, “The Axeman’s Letter.”  We’ll be back with the details for “TVD” as soon as the network sends them our way.

“iZombie” Episode 2.05 – “Love & Basketball” (11/3/15; 9:00-10:00 pm)
THINGS ARE STARTING TO GET REAL — Liv (Rose McIver), Detective Babineaux (Malcolm Goodwin), and Ravi (Rahul Kohli) investigate the mysterious death of a peewee basketball coach. Liv, consumed with overzealous coach brains, gives Major (Robert Buckley) a much needed pep talk. Meanwhile, things get a little crazy when Blaine (David Anders) and Ravi are forced to work together to recreate the cure. Lastly, Detective Babineaux receives a surprise visit from Suzuki’s widow, Helen. Michael Fields directed the episode written by Bob Dearden.

“Supernatural” Episode 11.05 – “Thin Lizzie” (11/4/15; 9:00-10:00 pm)
JARED GERTNER GUEST STARS — Sam (Jared Padalecki) and Dean (Jensen Ackles) investigate a series of murders at a local B&B that also happens to be Lizzie Borden’s old home. When a local man, Len (guest star Jared Gertner), tells them he saw a little girl near the B&B around the time of the murders, the brothers realize Amara (guest star Yasmeene Ball) may be responsible. Rashaad Ernesto Green directed the episode written by Nancy Won.

“The Originals” Episode 3.05 – “The Axeman’s Letter” (11/5/15; 9:00-10:00 pm)
KLAUS’ PAST COMES BACK TO HAUNT HIM — As the war among the sire lines continues to grow, Klaus (Joseph Morgan) receives an unexpected visit by a figure from his past.  When Elijah (Daniel Gillies) suspects that Tristan (guest star Oliver Auckland) is hiding something, he enlists Marcel’s (Charles Michael Davis) help to find out what he’s up to.  Elsewhere, Davina (Danielle Campbell) struggles with her role as Regent and seeks advice from Hayley (Phoebe Tonkin). Finally, an ancient secret that is uncovered threatens to tear the Mikaelson brothers apart for good.  Leah Pipes and Yusuf Gatewood also star. Michael Allowitz directed the episode written by Michael Russo and Diane Ademu-John.

The post Spoiler Alert: Synopses of iZombie, Supernatural, and The Originals for the Week of November 2nd appeared first on Dread Central.

A Halloween-centered sister short film to Jason Eisener’s Christmas classic “Treevenge,” “Bad Seed” comes from the mind of Neil Marshall (Dog Soldiers, The Descent) and shows what can happen when good pumpkins go bad. What was once an innocent October tradition of pumpkin carving is told from the perspective of the horribly victimized pumpkin, who has no choice but to retaliate in the most violent of ways.

Neil Marshall, himself a huge fan of Halloween, spoke with us about his short film and how it fits inside the larger anthology of Tales of Halloween (review), which is out today in theaters and on VOD.

DC: I’m not sure if you’re much of a drinker, but are you a fan of the pumpkin beers that come out this time of year, and are you still excited when Halloween season rolls around? I know your anniversary is in October, correct?

NM: Our anniversary is on Halloween, yeah; we got married on Halloween night. Am I big drinker? Definitely. And I love most things to do with pumpkin, but I haven’t quite gotten into pumpkin ale yet; that’s one thing that hasn’t quite clicked with me.

DC: They’re definitely an acquired taste. The beginning carving sequence in “Bad Seed” has some fantastic sound design that reminded me of Hitchcock stabbing watermelons until he found just the right one for Psycho. Did you go through a lot of sound choices before settling on the worst possible sound for the pumpkins being carved?

NM: Well, I wanted to ram home the analogy of pumpkins being slaughtered and brutalized on Halloween night, so I just picked the most fleshy sound effects I could get together for that. It was very deliberate, and we worked on a few things to make it just sound really punchy.

DC: How long did “Bad Seed” take to shoot, and did it feel more like shooting an episode of television or more like a feature?

NM: It was unlike anything I’ve ever shot before. We had two to two and a half days or nights to shoot each short. I had like two and a half nights or close to three nights for mine purely because there were more locations than anybody else. I think we had nine hours a night or something to do this stuff and it’s mostly outdoors, which is problematic. I had to stage this kind of mini riot, I had to stage physical effects sequences with the pumpkin ripping the guy’s head off, and they were all very time-consuming. We got there, but the speed we had to move at was just unbelievable. It was easily the most stressful shoot I’ve done.

DC: I know quite a few filmmakers came to the set to support the entire shoot including Joe Dante. Can you talk about some of the cameos in “Bad Seed?”

NM: Pretty much all the other directors of the anthology showed up at one point, and I drafted them all into my police station sequence where everybody in that scene, except for the main characters, is either one of the other directors or producers, my agent is in there, everybody just wanted to muck in and help out. If anybody was on set that wasn’t in front of the camera, then that was kind of a wasted time on the set. We were like, ‘Quick! Get them in front of the camera so they can do something.’ Greg McLean was in mine, Drew Struzan did a cameo in mine, Adam Green, Joe Dante, and people like that so it was just awesome.

DC: It was great seeing Drew Struzan so people could put a face with the artwork.

NM: It was obviously a good joke having him as the police sketch artist.

DC: Did you have a preference where your segment fit into Tales, and is there a benefit in being the last story?

NM: I didn’t write it to be specifically the last story. It just sort of naturally fell into place there, I think, maybe because of the ending. There’s a big cliffhanger ending of sorts. It felt like a natural fit there, and in some ways, it culminates with some other stories or tied in to some of those stories. So that made a lot of sense once I got the script together; it seemed like a natural fit for the last one. I was happy with that. I actually shot it first just because I wanted to get all of it and crack on. The two police characters I had with Adam Green and Graham Skipper playing those… they then got drafted into playing the same roles in a couple of the other films.

DC: All the Halloween references are great, and I’m guessing that Kristina Klebe, indirectly, is one as well. Is the Clover Company an homage to the Silver Shamrock company in Halloween III?

NM: Absolutely! Yeah, I think at some point I was going to call it Shamrock or something like that but decided not to copy it directly. I thought everybody will get the joke, and everybody does.

DC: In the world of horror, is there a dream project with a story you’re dying to tell that you’d like to eventually do?

NM: I’ve written my first horror script since The Descent, which, fingers crossed, I’m going to get to shoot next year; that’s the plan. I’ve been attached to this project, The Last Voyage of Demeter, for some time now, which I think is a great idea; and I’d still love to do that. I’ve got another couple of horror projects in the works and a lot of stories I want to tell.

DC: We would definitely love to see your spin on Dracula, for sure.

NM: Yeah, we have a pretty good draft of the script, but it’s a difficult thing because you can’t do something like that low-budget so that’s the problem there.

Tales of Halloween is in theaters and on VOD as of today, October 16th. Support it if you love anthology horror!

Related Story: A Jack-O-Lantern Full of New Tales of Halloween Images Come Haunting

The film is an anthology of 10 Halloween tales, directed by David Parker (The Hills Run Red), Darren Lynn Bousman (Saw II, III and IV), Adam Gierasch (Night of the Demons), Axelle Carolyn (Soulmate), Lucky McKee (All Cheerleaders Die), Paul Solet (Grace), John Skipp (Stay at Home Dad) and Andrew Kasch (Never Sleep Again co-directing), Mike Mendez (Big Ass Spider!), Ryan Schifrin (Abominable), and Neil Marshall (The Descent).

Pat Healy, Barry Bostwick, Noah Segan, Booboo Stewart, Greg Grunberg, Clare Kramer, Alex Essoe, Lin Shaye, Dana Gould, James Duval, Elissa Dowling, Grace Phipps, Pollyanna McIntosh, Marc Senter, Tiffany Shepis, John F. Beach, Trent Haaga, Casey Ruggieri, Kristina Klebe, Cerina Vincent, John Savage, Keir Gilchrist, Nick Principe, Amanda Moyer, Jennifer Wenger, Sam Witwer, Jose Pablo Cantillo, Ben Woolf, Caroline Williams, Robert Rusler, Cameron Easton, Austin Falk, Madison Iseman, Daniel Dimaggio, Natalie Castillo, Ben Stillwell, and Hunter Smit star.

Synopsis:
Ten stories from horror’s top directors. Ghosts, ghouls, monsters, and the devil delight in terrorizing unsuspecting residents of a suburban neighborhood on Halloween night. This creepy anthology combines classic Halloween tales with the stuff of nightmares.

The post Neil Marshall Talks Tales of Halloween appeared first on Dread Central.

A new featurette has arrived for “American Horror Story: Hotel,” in which the cast members share their thoughts on who – or what – is the biggest threat this season.  Danger lurks in every corner, that’s for sure!

Don’t forget that next week’s Episode 5.03, “Mommy,” will be another expanded, 90-minute ep. Set your DVRs accordingly!

“American Horror Story: Hotel” – Episode 5.03 – “Mommy” (10/21/15)
Alex (Chloë Sevigny) is pushed to her breaking point after Scarlett (Shree Crooks) stirs up memories of Holden (Lennon Henry). Donovan (Matt Bomer) is targeted by a dangerous rival of The Countess (Lady Gaga).

For more info visit the “American Horror Story” Facebook page, and follow @AHSFX on Twitter along with “American Horror Story” on FX.

The post Who’s the Biggest Threat in American Horror Story: Hotel? appeared first on Dread Central.

One of the best flicks of the year, The Gift, is getting set to make its premiere on DVD and Blu-ray; and right now we have an exclusive scene which was deemed too violent for the original cut. Dig it!

The Gift Release Details:
Revenge comes in an artfully wrapped package in The Gift, a chilling psychological thriller available on Blu-ray, DVD, Digital HD, and on Demand October 27, 2015, from Universal Pictures Home Entertainment. From STX Entertainment and Blumhouse Productions (Whiplash, The Purge), The Gift is a suspenseful and thrilling morality tale that earned a “Certified Fresh” seal on Rotten Tomatoes with a remarkable score of 93%. The Blu-ray and DVD are packed with chilling bonus features including a riveting alternate ending, deleted scenes, feature commentary with writer and director Joel Edgerton, and more.

The Gift asks the question: “Can you really go through life having never wronged anyone?” Simon (Jason Bateman) and Robyn (Rebecca Hall) are a young married couple whose life is going as planned until a chance run-in with Simon’s high-school acquaintance sends their world into a narrowing tailspin. At first Simon doesn’t recognize Gordo (Joel Edgerton), but after a series of uninvited encounters and mysterious gifts prove troubling, a horrifying secret from the past is uncovered after more than 20 years. As Robyn learns the unsettling truth about what happened between Simon and Gordo, she is forced to contemplate: How well do we really know those closest to us, and are bygones ever really bygones?

The film will be available on Blu-ray with DIGITAL HD and UltraViolet and DVD. Blu-ray unleashes the power of your HDTV and is the best way to watch movies at home, featuring 6X the picture resolution of DVD, exclusive extras, and theater-quality surround sound. DVD offers the flexibility and convenience of playing movies in more places, both at home and away. DIGITAL HD with UltraViolet lets fans watch movies anywhere on their favorite devices. Users can instantly stream or download.

Special Features

• Alternate Ending
• Deleted Scenes
• Karma for Bullies
• The Darker Side of Jason Bateman
• Feature Commentary with Writer/Director Joel Edgerton

The post We Give The Gift of Exclusive and Excessive Violence appeared first on Dread Central.

So yeah, Annabelle (review) was a prequel of sorts to The Conjuring, and now it’s getting a sequel of its own that’s not The Conjuring. Confused? Does it really matter? It’s coming anyway.

According to The Tracking Board, Annabelle 2 is indeed in the works with Annabelle scribe Gary Dauberman returning for another sinister outing.

The site goes on to report that Annabelle‘s director, John Leonetti, may not be back and that the search is on for a new director. James Wan is once again producing, while Dave Neustadter and Walter Hamada oversee for New Line.

Following the superb financial and critical reception to The Conjuring, a spinoff/prequel featuring the film’s creepy mascot – the possessed doll named Annabelle – was quickly rushed into production. Loosely based on a true story, the film follows a couple who find that their vintage doll becomes the host for a malevolent entity after their house is broken into by a satanic cult.

The post Annabelle 2 Gearing Up to Haunt Your House appeared first on Dread Central.

With the supposed “final” Paranormal Activity installment, The Ghost Dimension, heading to theaters next weekend, you’d think the folks at Paramount would be pulling out all the stops and excitedly getting ready to start raking in the cash, especially considering it’s the first to be released in 3D.  However, due to the studio’s implementation of a risky release strategy for the film – shortening the “window” between its theatrical and VOD availability – several major chains are refusing to show it, thereby cutting the number of locations where you can see it by over 50%.

Here’s how The Wrap breaks it down: “Regal Cinemas and Cinemark, the nation’s largest and third-largest chains, are among several exhibitors refusing to play The Ghost Dimension since Paramount struck a deal with rivals AMC Theatres and Cineplex Entertainment in July to allow consumers to watch the movie at home just 17 days after it leaves most theaters, rather than the standard 90 days. Carmike Cinemas, Marcus Theatres, and Harkins Theatres have said they will not book the film, while the Landmark Theatres, Alamo Drafthouse, and National Amusement chains will. Exhibitors will receive an unspecified percentage of the studio’s digital revenue.”

As a result, The Ghost Dimension will appear on only 1,350 screens, less than half the 2,867 locations of its predecessor, The Marked Ones. Its earning projection is just $11 million (PA3‘s opening weekend take was a franchise high $53.5 million in over 3,300 theaters while The Marked Ones‘ haul was a respectable $18 million).

Related Story:  Paranormal Activity: The Ghost Dimension – New Videos Promise Answers, Show Reactions, and More!

Why is this a big deal? It could “disrupt a business model that has since the onset of the VCR been the standard for Hollywood studios, theater owners, and moviegoers.” Sure, right now Paramount is just testing the waters with lowly horror films (they’ll be using the same program for Scout’s Guide to the Zombie Apocalypse a week after The Ghost Dimension‘s release), but “Viacom-owned Paramount is considering expanding the strategy and will assess the per-theater returns on the film as well as the VOD numbers in making the call.”

It seems an odd choice for a film series that was built on word-of-mouth and is best enjoyed as a shared experience with other fans.  And that doesn’t even take into account all the 3D-boosted money Paramount seems to leaving on the table.  This will be an interesting situation to watch… TV viewing has certainly changed over the past few years.  Are movies far behind?

Gregory Plotkin’s Paranormal Activity: The Ghost Dimension will open in 3D on October 23, 2015. Olivia Taylor Dudley, Chloe Csengery, Maria Olsen, Brit Shaw, Aiden Lovekamp, Jessica Tyler Brown, Ivy George, Chris J. Murray, Nathan Brewer, and Michael Krawic star.

For more info “like” Paranormal Activity on Facebook, follow @TweetYourScream on Twitter, subscribe to Paranormal Activity on YouTube, and check out Paranormal Activity on Instagram.

Synopsis:
The Ghost Dimension follows a new family, The Fleeges – father Ryan (Chris J. Murray), mother Emily (Brit Shaw), and their young daughter, Leila (Ivy George) – who move into a house and discover a video camera and a box of tapes in the garage. When they look through the camera’s lens, they begin to see the paranormal activity happening around them – including the re-emergence of young Kristi and Katie.

The post Why Paranormal Activity: The Ghost Dimension Might Not Be at a Theater Near You appeared first on Dread Central.

Since 1925 The Phantom of the Opera has terrified men, women, and children. When the film was first released, it caused moviegoers to faint in the cinema due to the delicate sensibilities of 20th century cinema patrons.

When silent films were first released, people were looking for the latest thrill and the latest shock. Certain film genres were met with critical acclaim by the general public and critics upon their release; however, one genre has always been craved since the early 19th century, and that is, of course, horror. Horror films have been a guilty pleasure of ours for decades.

Lon Chaney, Sr., and Mary Philbin in 1925’s The Phantom of the Opera

Even before films were made, horror literature was being read by the brave few that dared to use the human imagination to conjure up monsters and unthinkable violence. When the silent film industry was in its early days, it focused primarily on comedies and westerns. The horror genre made its debut in the early 1900’s with titles such as Frankenstein (1910) and Dr. Jekyll and Mr. Hyde (1908), but these were extremely short films with not much story or depth to them.

Frankenstein’s Monster from Thomas Edison’s Frankenstein (1910)

In the 1920s horror films were becoming increasingly longer and bolder as a means to quench the hunger from audiences who wanted to be shocked and appalled by fresh new ideas. It was due to this demand that some of the greatest and most disturbing horror films of our time were made, and to this very day, despite being decades later, titles like The Cabinet of Dr. Caligari (1920) and The Hunchback of Notre Dame (1923) still very much hold their own.

With the horror genre constantly evolving and becoming increasingly daring, Universal Pictures began coming to grips with creating a new horror feature that was based on Gaston Leroux’s 1910 novel Le Fantôme de l’Opéra, which translates to, of course, The Phantom of the Opera. Actor, director, screenwriter, and makeup artist Lon Chaney, Sr., had full run of Erik the Phantom’s look. He painted his eye sockets black, giving a skull-like impression to them with a deep hollowness that is often quite grotesque to look at. He also pulled the tip of his nose up with wire, pinning it in place, and then enlarged his nostrils with black paint, making it appear as though he had no nose. Lon then put a set of jagged false teeth into his mouth to complete the ghastly withering skull look of Erik the Phantom.

Lon Chaney, Sr., as Erik the Phantom, a classic Universal Pictures monster

Chaney was ahead of his time and a master craftsman. He became both notorious and famous for doing his own monster makeup and enjoyed his craft immensely. When audiences first saw Erik’s mask get pulled off by Christine, they fainted and screamed. Chaney’s makeup for this character remains one of the greatest ever to grace the horror genre. It’s absolutely second to none, and Chaney cranks up the terror to 11 with sinister bravado and ease.

Moments after Christine tears off Erik’s mask

In this stunning and stirring silent film, Erik the Phantom is less sympathetic than the other versions of this character brought to the screen and is played as a monster longing for love that gradually ends up killing him in one of the most grotesque and brutal ways any monster has died on the silver screen.

Director Rupert Julian, as well as some uncredited others, help bring the book to life in all its grotesque form. Chaney, Sr., truly shines as The Phantom of the Opera, and his co-star, Mary Philbin, who plays Christine Daae, balance each other out on-screen with some of the best and most terrifying Beauty and the Beast tropes the genre has ever seen. The grand scale of The Phantom of the Opera is nothing short of epic; they built big sets for the Phantom’s lair as well as the Paris Opera House, in which most of the movie is set.

If it’s been awhile or if you’re new to the genre, give it a watch… if you dare…

Christine cowers from Erik in fear and awe

The post Music and Murder: A Celebration of The Phantom of the Opera appeared first on Dread Central.

With the excitement surrounding Godzilla vs. King Kong, it’s easy to forget that Kong: Skull Island will hit the big screen before these titans battle it out in cinemas. With production underway in Hawaii, a handful of pics from the set of the upcoming adventure flick recently popped up online.

Starring Tom Hiddleston, Samuel L. Jackson, Brie Larson, John Goodman, Jing Tian, Corey Hawkins, Jason Mitchell, John Ortiz, Shea Whigham, and Toby Kebbell, Kong: Skull Island follows a group of explorers who venture to the island 25 years following the demise of King Kong in New York City. Not surprisingly, the adventurers will encounter and array of monsters during their journey.

Kong: Skull Island hit theaters on March 10, 2017.

They're not calling it Skull Island for nothing. pic.twitter.com/1Zmd0K82Te

— Reel Tours Hawaii (@reeltourshawaii) October 11, 2015

Dug up another "Kong: Skull Island" set pic. Filming starts Monday! pic.twitter.com/Lcmc2xMA2e

— Reel Tours Hawaii (@reeltourshawaii) October 16, 2015

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