Earlier this month, Dread Central was invited to the set of Yummy Meat: A Halloween Carol, directed by John Fitzpatrick (Skypemare) and written by our own Sean Decker (L.A. Slasher), to check out shooting on an especially gore effects-heavy day – that’s our favorite kind!

We headed out to Northridge in the San Fernando Valley area of Southern California, where the scary short was being shot in a private residence – which makes sense since the action takes place on Halloween night, when the kids are out trick-or-treating in a suburban neighborhood.

We caught up with John and Sean, plus got to take two of the actors aside between gruesome scenes – check out our exclusive interviews here. We also saw some of the amazing costuming (full-on werewolf!) and various gooey body parts cast from one of the more unfortunate actors (whose character doesn’t quite make it intact till the end). Below are some cool pics plus a couple of exclusives you’ll only see here.

Yummy Meat: A Halloween Carol stars Miracle Laurie (“Dollhouse”), Lou Ferrigno, Jr., Luke Albright (Devil’s Pass), and Lucas Jaye (“Fuller House”); producers are Adam J. Yeend, Ryan Dillon, Sarah Fitzpatrick, John Fitzpatrick, Brian Chandler, and Jessica Chandler with Sean Decker as a co-producer.  Its synopsis reads: On Halloween night, snarky dentist Amber (Laurie) passes out toothbrushes to the neighborhood kids, only to discover that one of them may soon be brushing bits of her from his teeth.

You can find the film online TODAY via the “Scary Endings” platform. Be sure to subscribe to their YouTube channel too so you don’t miss any episodes! In addition, if you’re in or near Los Angeles, Yummy Meat has been selected to premiere out of competition at Screamfest on Sunday, October 18, at 7:30 PM. Cast and crew will be on the red carpet at 7PM.

Exclusive photo from Yummy Meat

Up first was director Fitzpatrick:

Dread Central: I’ve been watching the shoot, and you’re really taking your time to get just the right shots. You’re packing a lot into a five-minute, or close to five-minute, short film. Still, you have to be able to say a lot in a very short amount of time.

John Fitzpatrick: Yes, you can’t take as much time in the story. The other thing about it, especially for online shorts, is you have to keep it moving. So while this particular scene is just a conversation on the phone and someone at a doorway, there’s many ways to just have somebody on the phone. It could become boring and just be somebody sitting on the phone so we incorporate a lot of movement and moving around the house, which spans as a lot more time and more shots, so you don’t feel as if you’re sitting in one spot because it’s packing a lot of visuals — not just visual effects and wolves and crazy things, but also visual landscape.

DC: How would describe your visual style as a director?

JF: That is actually a really good question because lately I’ve been evolving, and my most direct reference always has been, even when I was younger and just dabbling in it and messing around, Hitchcock. I enjoy longer play, very well blocked scenes. But this is different from that; we’re doing it a little bit, but we’re also moving a lot so I’d say it’s kind of an evolution. It definitely has some 70’s feel [where] we are letting the scenes play without moving the camera so it’s definitely steady cam versus dolly where we move around. But lately I have been like, “Whatever the script says, I adopt it.” I’m trying to develop myself in multiple ways to shoot something.

DC: You have to be very versatile these days, don’t you?

JF: I would love to do features as a living. I also think doing an episode of television would be fantastic. There’s some groundbreaking, amazing things with stories because of technology with camera[s] and people are able to break through what used to be just boring or simple or basic just to fit the schedule. They can do some pretty amazing things now so yeah, just the tools to try and develop that, because you have to move faster in that space. You have to know it quicker, and know the tools, so it’s just practicing with the tools.

DC: Out of all the elements of Sean Decker’s script, which I thought was pretty amazing due to the fact that it’s only five pages long; yet. there’s humor, there’s horror, there’s suspense… what specific aspect of that made you most excited about directing Yummy Meat?

JF: The lighthearted nature, the lighthearted fun, comedic side of the horror genre. We’re not afraid to have fun; the character is fun, even the end is fun. It’s not disgusting and gross; it’s fun. The series that’s part of “Scary Endings” is meant to be fun; some people call it cliché, but it’s not. It’s using the tropes, and it’s getting back to the fun of it. Best reference would be when [Steven] Spielberg and [George] Lucas chose to make Raiders of the Last Ark — it was fun, and you [can’t] take any of that too seriously… Same idea [here]; just have some fun with the format, the genre, and the tools of the genre; and see what you can do to change it a little bit your way, shade it your way, and make it fun. That’s what we’ve been doing with the whole series. We’ve done one with a boogeyman, we’ve done one with a haunted ghost, now the werewolf, and [it’s not] like, “Whoa, this is so brand new; we’ve never seen any other before,” but we have fun with it. It’s just taking the same thing that we’ve seen before and having some fun with it. The best analogy would be, if you’re talking about entertainers, you’ve got David Copperfield and some of the big crazy effects magic tricks he’s done, but it’s the same tricks we’ve already seen. His does set up a little bit different: He cuts the lady in half way cooler.

DC: How did you get Lou Ferrigno, Jr., to get into this all-engulfing werewolf costume and makeup? He said he’s never done anything like this before.

JF: But that’s exactly how: We reached out to him through one of the co-producers, Adam [Yeend], that knows him and basically said, “Hey, you’ve never done anything like that before.” He’s been boyfriends, he’s been business associates on TV, he’s been every other normal thing, but he’s never done anything like this. So he’s said, “Man, I’d love to do something like that for fun; it sounds like a good time.” So he came on board, we met him, we hit it off, he seemed to understand, he was on the same page; we were having fun.

DC: He’s not the method actor of werewolves.

JF: Exactly!

Miracle Laurie faces off with a wolf snout in Yummy Meat

Speaking of Ferrigno, here’s what he had to say about the project:

Dread Central: I was watching the insert shots, and you were doing take after take, just swiping the werewolf claw by the camera. They want you to be so precise with those hand movements!

Lou Ferrigno, Jr.: I know, it takes a lot, but it’s worth it.

DC: Definitely. So, what did you think when you first read the script? Did you realize that you’d be in such a full-on body costume?

LFJ: It’s silicone and it doesn’t breathe, but it’s nice. The first feeling is nice; then you get into it, and then you’re sweating, and you get more into it, and you’re all fur. But it’s good; it’s actually less than I thought I would be in it [I only wear portions of the costume for close-ups], which is great. I thought it would be a full-body latex kind of silicone. Everyone’s really cool about keeping me in the costume as minimal as possible, and that’s cool.

DC: Have you done costume work before or stunts?

LFJ: I’ve done a lot stunt work, a lot of stage combat stuff, but never as a werewolf so it’s a first!

DC: Well, your co-star Miracle [Laurie] was saying this is her first horror film and she was excited about getting into the attack aspect of it; do you feel the same?

LFJ: I’ve always believed that my spirit animal is a wolf and people told me it is a wolf so I think I’m halfway there. And I was raised as a kid with a dad who is a transformational type of character [“The Incredible Hulk”] so any opportunity to play something where you lose yourself and transform is just appealing. So it’s cool; this is exciting.

DC: How did you come on board with this? Are you friends with the director, the producers?

LFJ: I knew Adam; we met at a couple of auditions and basically forged a relationship from that. We kept in contact, and then he needed someone who could fit the bill physically for this, and he asked me to jump on board. I didn’t hesitate, and now I’m just really excited about it.

DC: Did you read the script first?

LFJ: Yeah, and I didn’t hesitate.

DC: Such a killer role, right?

LFJ: Yeah, so it’s nice. I’ve played a lot of roles where I died, and I’m kind of over the dying thing. I wanted to do the killing.

DC: Are you a fan of the season Halloween? It’s not only a theme of this film, but the holiday is coming up.

LFJ: Absolutely. I love candy, I love scary, I love creepy, I love all that stuff. It’s just the blood and the gore that gets to me sometimes. It gets a little too close to home; it gets a little too real.

DC: The fangs look so real, and so does the replica of the person’s face.

LFJ: It really does because it’s the mold of her face, so it’s actually really close. But when it comes to the blood and the guts, then I’m like, “Okay…” but everything beyond that, the suspense, the other stuff, it’s just really great and excites me to a point where it’s like, “Wow!”

DC: There’s a lot of suspense in this, for being a five-page script. I don’t know how long it’s going to actually be edited to, but still it’s amazing how there are three distinct acts and there’s suspense.

LFJ: Totally. When I saw John’s work, whether it be Skypemares or a couple other ones he did, I was floored with how little they’re working with and how great professionally it came out to feel. And just the way it was written, the way the camera was set up, the lighting was such a great combination of factors that led to a really refined product, so when I saw this, I was like, “You’re going to do a werewolf short now?”

DC: Is there anything else that you’re working on that’s coming up soon we could check out?

LFJ: I’m doing an action hero character in a Nickelodeon show. My range recently has been kind of broad so I go from a werewolf to action superstar within a month. It’s a lot of work, impressive stuff. I try to keep it as busy as possible, and every minute of it is fun.

Miracle Laurie in Yummy Meat

We next chatted with the aforementioned Miracle Laurie:

Dread Central: I read the script, and I just love your character. How did you get to play this awesome role?

Miracle Laurie: I‘m good friends with Adam and Ryan [Dillon], who are some of the producers on the show [“Scary Endings”], and they have been trying to get me to do a couple of episodes, so this is the one that worked out. When I read Sean’s script, I just thought it was fantastic, and I was laughing out loud at parts and thought that Amber was great and hysterical. Then I was terrified at moments even reading the script, and I was nervous to shoot; I’ve never done anything in this genre before. I’m kind of a wuss actually.

DC: You’re getting quite an education, aren’t you?

ML: I love every second of it, so it was an easy “Yes.” The last couple of days have been amazing… so it’s been a dream really. It’s a lot of fun.

DC: What was it like getting your face cast and now seeing this disembodied face just lying around on the set?

ML: It’s amazing! It’s something I got to be excited about; I loved every second of it. Juli Hapney, the makeup artist, did the life cast for me; she was so gentle and just kind of walked me through everything and said, “It’s all going to be okay.” I think she said “2 hours” and I thought I would freak out really hard, but it ended up being like 45 minutes. She’s a pro.

DC: She cast your whole face?

ML: We did the whole face so I had little breath holes. It was from the top of my forehead down to underneath my chin. I could still hear what she was doing. My husband, he’s an actor too, and he did a full head, front, and back and hair down to the shoulder, for another job… that might freak me out a little.

DC: Some people say they get very “zen” about it, while other people are like, “Get me out of here!”

ML: Yeah, that can happen. The first part, which is putting the goo on – I don’t know if that’s the technical term – it just felt so heavy on my face and going over my eyes and mouth, and I was like, “I can’t see and I can’t breathe.” It’s when I imagined being scared a lot so that five minutes was terrifying, and then it was really fine. It was really fast. I brought my face to set yesterday just without any beauty make-up and effects make-up on it, and I just couldn’t believe that it really works, but I’ve never done this before. To see it happen and to see my face, it was like, “Oh my god, these are my lips, my eyeballs!” And then when they painted her up and did the whole face, it was amazing. It’s really fun; it’s terrifying. Everyone was taking pictures of me all excited, and then they get a little bit sad and go, “Is she okay?” So it’s good; she did a great job.

DC: When you read the script, which is only five pages but there’s so much in it, which part were you most looking forward to?

ML: I was excited to see my face in the bucket. I went like, “Ooh, how are they going to do that?” So that’s been a treat. And I love werewolves actually, and I love Halloween. I loved every inch of it; it was just perfect for me. I love Halloween; I love getting dressed up for the holiday. I just think that it’s the sweet side of it, the funky side of it, I love every side of it. The werewolf story, she was funny, I thought the character was great.

DC: The exchange that she had with the kid at the door… kind of mature content…

ML: I had to shoot some parts of it before he got here because he’s a minor. It’s a very touchy situation, but he was a total pro. I think he was a little nervous about having to be angry actually, and it was interesting because he’s such a sweetheart. I think I was just like, “Oh no,” but then we locked eyes, and he was just in it; it was amazing, and then we were two professionals working together. I’ve never worked together with kids before either. There are so many firsts.

DC: Your character, Amber, is kind of fussy. Did you know anybody like that when you were growing up who would have actually given kids toothbrushes as a Halloween treat?

ML: I definitely knew some neighbors that would do stuff like that. Think it’s just hilarious. I think it’s a good character choice and really fun to put in the script, but yeah, we definitely had people like that. Or they just shut their lights off and didn’t participate in Halloween at all.

DC: When you were a kid, what was one of your favorite costumes?

ML: I’m pretty tall; I’m 5’9-1/2″, and I was a foot ahead of everybody my whole childhood growing up. So I was freakishly tall compared to everybody else. One year my parents… and this is like back when you would get a costume from CVS… it was kind of a suit down here and then plastic with a little thing on it with shitty strings… so it was one of those. They had me as Tweety Bird and my sister as Sylvester the Cat, and she was two feet shorter than me so it was so funny, and I was like, “The bird could get the cat.” But I thought it was really funny so as a kid that was my favorite.

DC: What do you like best about Halloween now as an adult?

ML: My husband and I both love Halloween so we throw a party every year that we can. We just think it’s great, and we love making goody bags for everybody, all the guests. We always do a costume contest. I demand people to dress up; there’s no point coming to a Halloween party if you’re not dressed up.

DC: That’s cool because a lot of actors say, “Well, I play dress up for a living so I don’t like Halloween.”

ML: Oh, I love it! That’s the reason to love it because if you look at it the other way, you could dress up as things you could never be cast as, right? It could be an opportunity. It’s so playful, I just love it, and I think you get that sense of being a kid. And honestly, I’m finding working in the genre for the first time that I think there’s a sense of that going around. There’s a joy and a playfulness in everybody. Like meeting Sean, I was so pleasantly surprised at how sweet he is; he’s so smart, I love the script, and I’m so happy to know him. I’m so happy to know these people; it has been a total dream for me.

Exclusive: Lucas Jaye in Yummy Meat

Wrapping things up, we talked with sweetheart Sean:

Dread Central: I know you love Halloween, but how did this particular idea come to you, and was it in answer to, or inspired by, the new Tales of Halloween anthology?

Sean Decker: No, although Mike Mendez [producer of Tales of Halloween] read it recently and said that it would have been a perfect fit, which was quite nice of him to say. The inspiration partially came from a real-life experience as a young trick or treater in northern California. There was a woman who, instead of candy, handed out toothbrushes to the neighborhood kids. Needless to say, we all tried to avoid that house. The other influence I suppose is the “Buffy” episode “Halloween” from Season 2. I’ve always loved that one. But primarily it came from my appreciation of Fitzpatrick’s film Skypemare and its aesthetic and tone. John had suggested we work together following our initial meeting when that film played Screamfest in 2013, and though it took a while, when the light bulb went off, I wrote the script in about two hours. Fortunately, John and his “Scary Endings” people gushed over it.

DC: Is everything being done as you envisioned?

SD: Honestly, I feel as if this project couldn’t be in better hands. John and I have a very similar taste in horror and speak in total shorthand. From early on in pre-production, we’ve pretty much completed each other’s sentences. He really just “gets” it.

DC: How quickly did your cast come together, who plays whom, and which is your favorite character?

SD: It came together fairly quickly. John, Adam and I discussed the casting at length, and I’m thrilled with who we got. Lou’s physicality and body performance as the wolf were just great, and there aren’t enough compliments in the world to bestow on Miracle, who plays my absolute favorite character of “Amber.” I really had a great time writing her. She’s sassy, strong, fun, and I think a complete dichotomy; and Miracle fell in love with the character. I had to stifle laughter during her takes while we were shooting. She was that funny, and we really bonded during the shoot.

DC: What were Halloweens like for you as kid? What did you like best — the candy or the costumes?

SD: Growing up just outside San Francisco in suburbia, Halloween was a big deal. My mom made me hand-made costumes every year, and the entire neighborhood would open their homes to us kids. One homeowner for a couple of years running, who had an FX background, even turned his garage into a haunted house. At the front of the haunt’s queue (which was free) and I remember this vividly, was a severed, suspended animatronic head that would speak directly to those in line. The queue was mic’ed up, and a hidden operator would eavesdrop on our conversations and pick up our names. By the time I’d get to the front of the line, the head would look at me and say, “Hello, Sean.” Scared the hell out of me and made me grin ear to ear at the same time.

DC: Tell us a little more about this web series, when we can expect to see Yummy Meat online, and whether you’ll have a hand in the editing.

SD: John and his team started “Scary Endings” in an effort to create fresh fright content monthly via that platform, content that’s consistent in its quality (that’s the goal), and also just to “create.” It’s so important to do that. To simply make things, and to do so with people you respect and truly enjoy to be around, and that’s been my experience with John and his crew. It’s absolutely a family environment, and they are the nicest, most talented group of people I know. There isn’t an ego in the bunch. As far as editing, I’ll be in the mix, certainly with notes once we have a first pass. I’m really excited to see it. I feel more like a fan than I do the person who wrote it!

The post Yummy Meat: A Halloween Carol Set Visit Report and Exclusive Images; Screamfest Screening Tonight! appeared first on Dread Central.

If a supernatural crime thriller comic series sounds intriguing to you, then you’ll want to keep reading for the first details and some promotional artwork for Corktown, heading our way in the spring of next year from Alterna.

From the Press Release:
Alterna is proud to announce the upcoming release of CORKTOWN, a brand new three-issue horror series coming in the spring of 2016 from Mario Candelaria (Ashes, Épilogue), Scott Ewen (The Sundays, Lightshade, Flight of the Living Dead), and David Ganjamie (Épilogue).

Set in the Corktown area of Detroit, Michigan, CORKTOWN follows the disembodied spirit of a fallen Detroit P.D. detective as she fights to stop her bloodthirsty reanimated corpse’s killing spree so she can finally rest in peace.

“I’ve always wondered what happened when vampires died,” says writer Candelaria. “Their bodies are still animated, but they are always referred to as ‘being dead,’ and that inspired Scott and I to tell this story. I am glad that Alterna gave Scott, Dave, and I an outlet that allows us to tell it our way.”

Bringing a local perspective to the book is artist Scott Ewen, a lifelong Detroit resident. “In the Corktown neighborhood of Detroit is a huge, spooky abandoned train station; and every time I drove past it with my wife, she would talk about how she it looked like a setting for a horror movie. I told Mario about it, and we had a perfect setting for the story.”

A fresh take on ghosts and vampires, CORKTOWN is a part of Alterna’s 10th Anniversary celebration kicking off in 2016. Look out for more announcements in the coming months. In the meantime keep your eyes on the Alterna Comics Facebook page for updates.

Promotional image by Scott Ewen

The post Supernatural Crime Thriller Corktown Coming from Alterna Comics in Spring 2016 appeared first on Dread Central.

Sion Sono’s incredible hip-hop action musical Tokyo Tribe is hitting VOD and theatres on October 23 via Xlrator, and right now we have an exclusive clip for you to dig on!

Ryohei Suzuki and Young Dais star.

Synopsis:
In a futuristic Japan, territorial street gangs form opposing factions collectively known as the Tokyo Tribes. When one of the gang leaders breaks the fragile peace, it triggers a brutal street war for supremacy. Based on a popular manga series and told almost entirely in rap verse, TOKYO TRIBE is an ingenious mash-up of Yakuza gang violence, martial arts action, and hip-hop musical.

The post Exclusive Tokyo Tribe Clip Is True Gangsta appeared first on Dread Central.

The Buffalo Dreams Fantastic Film Festival 2015 was already packed to the gills with 23 features and over 100 films in total scheduled over its eight-day run, but the powers-that-be have squeezed in one more film: the New York State premiere of Isaac Ezban’s new science fiction thriller Los Parecidos (The Similars).

The new addition will screen on Saturday, November 7th, as part of the fest’s salute to the renowned filmmaker, which also includes encores of his short film Cosas Feas (Nasty Stuff) and the critically acclaimed feature El Incidente (The Incident). Ezban, who lives in Mexico, will attend all three screenings.

“Isaac is one of the most talented filmmakers working in cinema today,” says festival co-chair Gregory Lamberson, “and we’re lucky to have him at our festival again. People who missed El Incidente last year told us they wanted another shot at it, and we’re happy to oblige. They can watch all three of Isaac’s films back to back, and he’ll do a Q&A for each one. These are great films, which anyone with an appreciation for fantastic cinema should love.”

All three films are in Spanish with English subtitles. El Incidente screens at 3:30, Cosas Feas at 5:45, and Los Parecidos at 7:00 pm. Patrons who see El Incidente may see Cosas Feas for free, but Lamberson warns that while El Incidente has the equivalent of PG-13 content, Cosas Feas is closer to an NC-17 and may be unsuitable for anyone under 17. Los Parecidos is the equivalent of an R.

“People who are unfamiliar with Isaac’s work are in for a real treat. El Incidente was influenced by ‘Lost and Los Parecidos by ‘The Twilight Zone,’ but all three films are the work of an artist with a singular vision and should not be missed. It’s rare for an artist of Isaac’s caliber to come to Buffalo, and people who attend the screenings will find him highly personable.”

• El Incidente tells two parallel stories: In one, a family finds itself lost on an endless highway; in the other, fugitives are trapped in a stairway which repeats its floors. The connection between the stories serves as its core mystery.
• In Cosas Feas, a boy’s awakening sexuality leads to a shocking revelation about himself and his family.
• Los Parecidos finds a group of strangers trapped in a bus station during a rainstorm coping with fantastic events.

Buffalo Dreams runs November 5th at Flix Stadium 10 and November 6th-12th at the Eastern Hills Cinema. The festival will show 104 films from around the world this year. For more info visit the Buffalo Dreams Fantastic Film Festival website. Advance tickets are available at DipsonTheatres.com.

The post Buffalo Dreams 2015 Adds the NY Premiere of The Similars (Los Parecidos) appeared first on Dread Central.

When Night of the Living Dead was released way back in 1968, the original distributor cut nearly ten minutes of footage from the classic zombie film. Despite how many times it’s been re-released over the years, that missing footage has never been included, nor has it ever been seen by us fans.

Soon, according to a hugely exciting bit of news, that will change.

As reported by user ‘spawningblue’ over on the Blu-ray.com forums, George A. Romero was on hand at the Monster Mania horror convention a couple weekends ago, and during a Q&A panel about his work and enduring legacy, the godfather of zombie cinema dropped a bombshell announcement.

Per the forum post…

“Apparently [Romero] has found a 16mm work print which includes the roughly 9 min. scene never before released on home media. This was a scene that takes place at the jump cut in the basement, including the largest zombie scene in the film!”

Several users on the Monster Kid Classic Horror Forum confirmed that Romero did indeed make that announcement at Monster Mania, and one of them also noted that Martin Scorsese is working on a restoration of the film, from the original negatives. The work print, apparently, turned up when elements were being gathered.

Nearly 50 years later, Night of the Living Dead will soon be complete. Shall we start celebrating?!

The post Nine Minutes of Lost Night of the Living Dead Footage Found appeared first on Dread Central.

We typically watch horror movies for that adrenaline rush, that feeling of vulnerability that makes us hide behind a blanket or for that feeling we get when we have to walk down the hall to our bedrooms, only to switch on every light in the house before we do.

Horror movies are usually not known for making you sad, but there are some that have certain scenes in them that make us tear up, make our heart strings pull a little, and sometimes make those sad feelings come out of nowhere.  Yes, it’s a rarity, but it has happened within the realm of horror; and if done well, it will release an entirety of solid emotions.

So let’s let our emotions flow for a bit with some of those horror movies that give us not only what we crave in horror, but a bit more in the form of a tear or two.

Cujo (1983)

I’m just a sucker for any animal. I love them all, especially dogs. I’m sure Cujo was once a sweet dog, but with rabies comes a bad attitude. And the sad thing is the dog can’t help it and can’t be helped, which makes for an upsetting ending to a dog’s life. Then you have Dee Wallace’s character as the mother of this little child who is dehydrated and sick and are both stuck in this car that they can’t get out of because of the dog, and that just brings a bunch of feelings of frustration. The thing that got to me, though, isn’t the death of Cujo at the end, but the moment her son comes to again and the look on Dee Wallace’s face when she walks outside of the house carrying her son in her arms and sees her husband. That sheer moment of relief, knowing it’s over, and seeing her knees start to buckle is what really gives me the feels for this movie.

King Kong (1976)

Once again it’s a furry creature we’re sad for. The love that King Kong and Jessica Lange’s character had for each other was so obvious, and by now in the movie you yourself are in love with King Kong. That moment he puts her down you knew the end was coming and it was going to be a sad one. As the bullets start to fly, you too want to scream out “NO!” But it’s too late; he’s been hit too many times, and now as he falls and as his heart beats one last time and he breathes in his last breath, you can’t help but shed a tear.

Pet Sematary (1989)

The death of Gage was the most horrible thing I’ve seen in a horror movie. The death of a child is in itself something that is horrible, but the death of a child in such a violent manner and in front of his parents is something that just pulled at my heart strings. The mourning that the mother and especially the father went through in this movie was one of nightmares, so bad the father brings back his son again, to only have to kill him and witness his death once again. That right there is some really sad stuff of horror.

The Good Son (1993)

Yes, Macaulay Culkin’s character was a little shit, but he was still a kid. Can you imagine having to choose between your own son and someone else’s? It would be horrible, and no one should have to choose that ever, but in this case it was probably better that the mother chose the way she did.

I Am Legend (2007)

There are a few sad scenes in this movie, and it starts with his wife and child dying at the beginning. Then, just the mere fact that Will Smith’s character is now alone with his dog, Sam, in a world full of vampires is even sadder, but when Will has to kill his one and only friend in the world, I lost it.

Carrie (1976)

This girl’s entire life is sad. Not only is her mother a kook, but she is horribly made fun of by bullies at school. The scene where Sissy Spacek gets pig blood poured on her in front of the entire school after having her one moment of happiness in her life is one of the saddest scenes is a horror movie ever. The look on her face says it all. Thank God for her telekinetic powers, though; that right there gives us happiness where a sad feeling once was.

The Mist (2007)

To think you are out of options and instead of having a giant creature rip your family apart, you choose to take them out yourself, only to run out of bullets and be saved in the end. Yep, that’s some fucked up feeling right there, and it’s sad. I can’t imagine what was going on in Thomas Jane’s character’s mind at that point, but I’m pretty sure his face says it all in the end.

So there you have it, and if you’ve watched all of the above clips, I’m sure by now you’re feeling a bit sad, but don’t fret. Just go put in your favorite revenge movie, and you’ll feel better in no time!  Let us know your favorite horror movies that have given you the “feels” in the comments section below.

The post Top 7 Horror Movies with Feeling appeared first on Dread Central.

Written by Mark Salisbury

Published by Insight Editions

It’s not mandatory that you’ve first seen Crimson Peak before thumbing through Mark Salisbury’s “making of” book about it, Crimson Peak: The Art of Darkness; but I’d certainly recommend it if you don’t want some of the delight of both of them diminished a bit. The film is a true masterpiece that should be experienced with as little foreknowledge as possible so that it unfolds naturally with all of its magic intact.

And then, afterwards, you’re free to explore The Art of Darkness in depth without fear of spoilers and take a journey through the mind of Guillermo del Toro and learn more about – and from – his cast and crew as they describe every detail of the film and what went into its creation.

As you’d expect, Crimson Peak: The Art of Darkness is an incredibly beautiful book – more than coffee table worthy. Its pages are full of one drop-dead gorgeous image from the production after another. Sets, special effects, costumes, character descriptions, concept art, interviews… it’s all here and more. It begins with a foreword by del Toro, who says something I think a lot of today’s filmmakers might want to keep in mind: “…the difference between eye candy and eye protein is that the latter actually nourishes the storytelling values of a film: color-coding, shape-coding, textures, and light can become tools of narrative, and dramatic weight.”

And that theme carries over into Salisbury’s work. After del Toro’s introduction, we meet the characters: Edith, played by Mia Wasikowska, is tinged orange/gold, and right away we get our first textural element, an overlay of a butterfly, a recurring symbol in the world of Crimson Peak. Items are pasted on the pages to be examined, opened, and/or lifted with other treats to be found inside or underneath them, and this continues in the other sections. This chapter also explains how Edith’s Buffalo home was painstakingly created using existing buildings since most of the budget went to constructing Allerdale Hall (aka the “crimson peak” of the title).

She’s followed by the beige Dr. McMichael, portrayed by Charlie Hunnam, a modern, but rather bland man of science who is there mostly as contrast to the more fiery, blood-red man of mystery who lives in the past, Thomas Sharpe. In the section on Thomas, we hear from Guillermo why Tom Hiddleston was such a perfect choice to play someone with “a very dark, brooding nature.” Thomas’ villainous sister, Lucille, is of course a cool, calculating blue; and she, too, gets an overlay – this time of a moth. Jessica Chastain (whom we could very well see at Oscar time, along with several others who worked on the film both in front of the camera and behind the scenes) considers her “the dark center of the movie” and describes her process of working with del Toro to find the character.

Next we go inside Allerdale Hall, where all those aforementioned “behind the scenes” individuals are given their due. Here we have fold-out pages, floor plans, every facet of the painstaking work that went into bringing del Toro’s vision to life. It truly rivals Titanic in its scope and dedication to authenticity. No stone is left unturned in The Art of Darkness when it comes to the Hall, from the moth pattern on the parquet floor in the foyer that was only visible when standing above it to the incredible mural atop the main staircase and other artwork scattered throughout to the fully functional elevator to those oozing clay mines, ending with the film’s haunting sound design.

Things wrap up with my favorite chapter: “Haunted Beauty – The Ghosts of Crimson Peak.” This is where the horror fan will spend the most time, poring over sketches, models, and more materials to learn from the masters who brought the tortured souls who haunt Allerdale’s hallways to life… so to speak.

There’s really not much else I can say about Crimson Peak: The Art of Darkness other than just “buy it.” It will add to your enjoyment and appreciation of the film in so many ways. Even if you haven’t seen the movie yet, grab it now, flip through a few pages, and then put it away until you’re ready to really savor it. Because if ever a book deserved to be savored, it’s this one.

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Location: 460 Green Grove Road, Olyphant, PA 18447 (outside Scranton, PA)

Web Page: Reaper’s Revenge

Introduction:  Reaper’s Revenge holds a special place in our hearts as we have spent quite a bit of time visiting this attraction and have developed friendships with the dedicated ownership and staff of this ever-expanding haunted attraction. Reaper’s Revenge has opened its doors to us by inviting us behind the scenes on more than one occasion, and we have witnessed first-hand the level of work and creativity placed into this attraction every year. Reaper’s Revenge uses feedback from actors and the public to continuously improve and change its show throughout the season. Every night actors and staff members discuss what improvements need to be made, encourage each other to perform at the highest of levels and address any pressing issues with the attractions operation.

Reviews and fan feedback have made Reaper’s Revenge into one of the best overall haunted attractions in the area, which caters to haunt fans of diverse interests. We look forward to visiting them again this season as the show is guaranteed to only get better as the season progresses. A commitment to constant improvement in a creative and supportive atmosphere makes this attraction work so well and helps it stand out amongst the increasingly competitive haunted attraction industry.  The actors and designers of this attraction continuously strive to implement strategies that scare, incorporate paranoia and at times make guests laugh along during their visit. The diversity in attractions and unique interactions with talent actors add excitement to the experience as all of the staff members are focused on providing guests with a quality show. Reaper’s Revenge continues to be our favorite overall attraction, and we look forward to seeing them again this season.

Attractions:  Reaper’s Revenge consists of four connected haunted attractions at the price of $35.00 (VIP Upgrade options are available). The attraction has incorporated multiple upgrades this year, adding several new scenes to its “Haunted Hayride,” expanding the “Lost Carnival” attraction and augmenting the intensity level of “Sector 13.”  The attraction is bound to become extremely crowded, and we suggest you visit early in the season to avoid long wait times. We attended on their opening night and still had considerable wait times to get onto the wagon and to be picked up after the Lost Carnival.  The popularity of this attraction continues to grow and is a must visit this Halloween season.

Haunted Hayride

The “Haunted Hayride” has undergone several upgrades and changes for the 2015 haunt season. Reaper’s Revenge has entirely revamped the opening scene, adding an impressive custom built castle which incorporates fantastic pyrotechnics to set the mood for an exciting hayride experience. The “Haunted Hayride” has also added several additional new scenes this year, including an impressive pumpkin forest scene in which large scale evil pumpkins glare at guests. The traditional scenes have also been tweaked to add to the attraction including an entertaining interaction between the mountains familiar “hillbilly” family.  While the attraction is not particularly scary, it does have impressive set designs and themes which cater to more casual haunted attraction fans. Famous movie monsters and scenes from such movies as The Ring still are a part of this attraction along with a familiar and entertaining visit to “Stanley’s Farm.” The attraction’s tweaks, massive new set designs and existing quality set pieces make the “Haunted Hayride” an entertaining, and at times creepy, experience.

The “Haunted Hayride” has the potential to enhance its scare level for more mature haunt fans if it were to add some key actors in some of the less populated areas along the trail. Perhaps a few actors at the abandoned “Camp Crystal Lake” site or along the pumpkin trail can disorientate unsuspecting guests. Also, the hayride has added a creepy and strange tribal/sacrifice scene which starts out with a bang and ends rather flat. Without spoiling the scene, actors yielding tribal masks appear to be ready to sacrifice a helpless “victim,” who interacts with guests on the wagon. The scene plays itself out as one which would be of horror movie quality, then ends rather abruptly. A more fitting end to such a fantastic new scene will boost its effectiveness. Finally, each year we mention the actual ending of the hayride as one set we wish would see some changes. We have found out that many guests enjoy the visit with the “Reaper” at the end of the attraction and were pleased to see the intensity of this scene increased last year. Last year the “Reaper” was insane, the monster shook the cart, it chased after the cart and did a great job at ending the hayride. This year, much to our joy, the “Reaper” once again displayed aggressive behavior and intensity chasing after the wagon as it departed the forest.

Lost Carnival

The “Lost Carnival” attraction at Reaper’s Revenge is one of the most unique, if not the most unique outdoor walk-through trail you can visit for the 2015 haunt season. The reason for its uniqueness, and possibly one of a kind setting, is the props and sets were at one time functional rides. From dilapidated merry-go rounds, to a sky-ride, the authenticity of the set designs adds to the surreal experience. The “Lost Carnival” has also added additional walk-through segments to the funhouse set and the actors of this attraction continue to be some of the best at using improvisation to interact with each guest. The “Lost Carnival” also boasts one of the most intense, claustrophobic sets in any haunted attraction. As guests pass through the Tunnel of Love, the use of slow strobe lights, loud techno music and tight spaces builds a level of tension that is hard to replicate in most outdoor attractions. A stronger ending to the “Lost Carnival” would make this portion one of the tensest experience in any haunted attraction.

The interactive aspect of the “Lost Carnival” allows guests to play various carnival “games” and allows the actors to set a tone for each scare. The carnival barker before the Tunnel of Love promotes a ride on the abandoned “roller coaster,” encourages guests to explore a clown-filled funhouse and enter into the Tunnel of Love. Furthermore, the soundtracks utilized during this attraction add to the experience as guests hear the sounds of rides, and creepy carnival music as they move along the trail. Actors are well hidden within the darkness, and lifelike props make it difficult to differentiate between what is “real” and not real. We wish this trail was even longer, and hope to see an ending that fits the level of tension which is built up throughout the attraction.

Pitch Black

After visiting so many haunted attractions and experiencing more “extreme” or mature haunts, we must admit that we have become slightly desensitized to being scared during our visits. However, the “Pitch Black” maze continues to do the trick as the use of darkness, loud noises, and extremely tight spaces is still panic inducing. Guests once again were crying and screaming to get out, could not fathom whether or not what they touched was alive, and were freaked out by the hidden actors. “Pitch Black” has not let up its level of intensity; it does not babysit guests who become trapped within its confines. Other dark mazes we have visited incorporate arrows or limited light to help guests escape. “Pitch Black” does not afford this option. The attraction overloads guest’s senses incorporating loud noises, buzzing, strobe lights, and interactive sets to promote fear. We have witnessed guests cry and beg to get out, have been run into plenty of times and never are let down by this attraction. What most people do not know is how detailed this attraction actually is. When viewed with the “lights on” there are scenes and designs including spiders and other interactive props that are only felt by guests and never viewed. Most would likely think this attraction is a simple dark maze, yet the level of detail in development of the attraction is on par with the other haunts found at Reaper’s Revenge. We hope to see continued growth of “Pitch Black” and despite multiple visits we still get lost in the darkness.

Sector 13

“Sector 13,” a custom post-apocalyptic metallic structure, was added to Reaper’s Revenge in 2014. The attraction proved popular with guests, as it is the most interactive and aggressive attraction found at Reaper’s Revenge. This year, the actors turned up the intensity level in this attraction to make it even more exhausting. Guests were thrown on hospital tables, locked in cages and screamed at by barking guards, all while being disorientated by strobe lights, fog, and effective use of lighting. At some points it is almost impossible to see what monsters lurk throughout this compound, and the sensory overload of loud sound, sirens and helicopters are perfect non-stop distractions. “Sector 13” forces guests to play an interactive role in the attraction, and the actors, from mutated victims, to demented doctors do a phenomenal job at generating fear.

Final Word

Reaper’s Revenge should be an annual visit for any haunted attraction fan this season. The attraction grows and improves throughout the year and uses feedback in ways that most attractions don’t. Customer and actor viewpoints facilitate the changes which drive continuous improvement of this attraction and we look forward to visiting again this season.  The dedication of all staff members, quality of attractions and custom built set designs make this a unique haunted attraction experience that caters to diverse interests and maturity levels. From fans of more mature, extreme haunts to the general public, Reaper’s Revenge offers a wide array of entertainment options.  What also must be commended is the quality of acting and makeup/costume design featured at Reaper’s Revenge. The level of training and dedication to their craft makes the entire experience far more enjoyable, personal and unique than most haunted attractions. Reaper’s Revenge‘s theatrical presentation, detailed set designs and special effects make this haunt continued to stand out each year.

While visiting Reaper’s Revenge, you will encounter the following; zombies, dancing zombies (think “Thriller” for those who never have attended), movie monsters, undead carnival workers, claustrophobic fear, a toxic waste dump, humor and a post-apocalyptic war zone. The diversity alone makes this a must visit attraction for the 2015 season!

Pros- Haunted attraction incorporates diverse themes, sets which cater to wide array of haunt fans. Improved “Haunted Hayride” with additional scenes and set for the 2015 season. “Sector 13” actors are more aggressive and intense than ever! “Lost Carnival” is a surreal experience, and “Pitch Black” continues to use darkness as a chief architect of fear.

Cons- Wait time may be long for those who do not attend early in the season or upgrade to a VIP pass. “Haunted Hayride” could use a few more actors to add surprises to the impressive new scenes.

Should you visit in 2015? Yes! Please be advised that his attraction continues to grow in popularity.

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Penny for your dreadful thoughts? That’s right! It’s showtime, and that means Contest #4 in our The 5 Weeks of Fear promotion is ready and waiting!

Each week – from NOW until HALLOWEEN – we will be giving away a bunch of horror-themed collectibles in conjunction with Entertainment Earth! The only thing you have to do is pay attention and enter! But how do you enter? That’s even simpler!

To enter for your chance to win, just send an email to contests@dreadcentral.com including your FULL NAME AND MAILING ADDRESS. We’ll take care of the rest.

This contest will end at 12:01 AM PT on October 25th! That means you have a full six days to enter… on the seventh day we pick the winner and immediately mail out his/her goodies! Click each image for additional details, including ordering info if you don’t want to take your chances on winning.

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Horror-themed game show “Hellevator” premieres on GSN this coming Wednesday night, and to give you a taste of the scary fun – and funny scares – that await, we have an exclusive promo clip to share.

The terrifying eight-episode genre-bending series from Blumhouse, the team that brought the world the Paranormal Activity, Insidious, Ouija, and The Purge franchises, dares contestants to survive a series of challenges from the depths of an abandoned slaughterhouse. Horror film icons Jen and Sylvia Soska, aka the “Twisted Twins,” serve as masterminds behind the scenes, pulling the strings throughout the game, taking delight in the horror and leaving contestants struggling to remember: “It’s just a game.”

You can watch “Hellevator” Episode 1 (review) on October 21, 2015, at 8 PM ET/PT. Be sure to follow along on Twitter (@HellevatorShow) with the hashtags #Hellevator and #TakeTheStairs.

Related Story:  Hellevator – Dread Central Visits the Set of Horror’s New Game Show

Synopsis:
In “Hellevator” a team of three friends rides a haunted elevator into various levels of an abandoned slaughterhouse. One player must get out on each floor and conquer a frightening challenge in order to earn money for the team. If they don’t make it back in time, the elevator moves on without them. Participants can earn up to $50,000 by properly completing their challenges, including the final challenge – The Labyrinth – where the surviving contestants work together to face their most difficult and terrifying challenge in a mad-dash race to accumulate more money.

The post Exclusive Hellevator Promo Clip Is Scary Fun! appeared first on Dread Central.

In celebration of the release of Tremors 5: Bloodlines (review) and of course the Halloween season, we now have your chance to score the flick on Blu-ray along with the Tremors Attack Pack that’s home to the previous four flicks!

To enter for your chance to win, just send an email to contests@dreadcentral.com including your FULL NAME AND MAILING ADDRESS along with “Tremors Pack” in your subject line. We’ll take care of the rest.

This contest will end at 12:01 AM PT on October 26, 2015.

About Tremors 5: Bloodlines:
Michael Gross (“Family Ties,” “Suits,”) returns as Graboid hunter extraordinaire Burt Gummer, with Jamie Kennedy (“The Cleveland Show,” Scream franchise) as his new tech-savvy second-in-command, in this all-new adventure. The latest chapter of the franchise known for its campy humor and voracious monsters features thrilling new special effects, 25 minutes of bonus features, extended scenes, and outtakes, as well as a behind-the-scenes look at the making of the film.

The stakes are raised for survivalist Burt Gummer (Michael Gross) in his most dangerous monster hunt yet. When Gummer’s hired to capture a deadly Assblaster terrorizing South Africa, he and his new sidekick, Travis Welker (Jamie Kennedy), find themselves in a battle to the death against the fiercely aggressive Ass Blasters and Graboids. Discovering that the monsters have evolved into even more lethal creatures, their mission takes on a whole new level of unseen terror — far more than they bargained for.

Special Features:

• Deleted and Extended Scenes
• Outtakes
• Tremors 5: Behind the Bloodlines featurette

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Starring Brooke Butler, Jamie Kennedy, Cleo Berry

Directed by Isaac Gabaeff

Put a bunch of drunken boobs on a beach, throw in a little creature lurking under the sand, and overload the runtime with moronic action and senseless dialogue, and VIOLA!  You’ve got a film worthy of B-movie mentioning… funny thing is, aside from all of the above ingredients, Isaac Gabaeff’s The Sand wasn’t all that (ahem) bad. Get ready to apply your sunscreen liberally, as the rays from this mess could prove damaging to fair skin.

We set the scene on a picturesque beach where a small assembly of drunk college kids have convened for a post-graduation bash, and after the dawn has come, it’s clear to see that the hangover fairy has paid the kids a visit, but she’s not the only unexplained anomaly on these shores. It turns out that as the sun comes up, something also rises from the powdery waterfront, and it’s devouring these intoxicated dimwits in large bites (there IS an explanation for this lunacy, but I’m not spilling the deets).

So we have bro-tastic douches, voluptuous bimbos, and Jamie Kennedy as a wise-cracking cop – they’re all in the mix, and they’re all in serious trouble, and don’t even get me started on the fat guy trapped in a trashcan for the majority of the film with a dick painted on his face… WOW. You’d be under the assumption that the party had many more attendees by all of the clothes strewn around the beach, but now that it’s the next day, it’s as if they were never there in the first place. Simple situations are left to chance here as well – the night before, everyone’s cell phones are pitched into a locked car trunk so the party’s goings-on won’t hit the internet… REALLY? In this day and age where someone can’t go to the bathroom in peace without a full-scale assault posted for all to see on social media, and NOBODY had a phone on them? SUUURE.

The fact that nobody can find a way off of this small stretch of beach, or that the local law enforcement officer (Kennedy) that’s on-scene to “assist” is merely there to antagonize the kids is another hopeless attempt to toss some much-needed humor into this debacle – no dice, however. Performance-wise, every stereotypical foothold is represented with the slut, the good-girl, the nerd, and your comic-relief… in a trash can… with a phallus scribed on his face. Gabaeff should be patted on the back for the attempt at B-movie notoriety, but the overladen CGI dooms this presentation the minute someone is sucked down through the terra firma – a little bit is passable visually, but there are scenes here where too much is WAY too much.

Overall, The Sand could be good for a midnight watch where goofiness is happily embraced and the need for creature fun is welcome; however, once the sun comes up, it’s best to find a lot of shade from this solar disaster.

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Pennhurst Asylum (website)

Location: Church Street and Bridge Road, Spring City, PA, 19475

Introduction

The Pennhurst Asylum is one of the most impressive major mainstream haunted attractions that places guests into what can be best described as an insane, horror movie come to life. Every year the actors and designers of the Pennhurst Asylum create an interactive, disturbing show that makes it a must visit attraction. Over the past several years the attraction has undergone several changes and additions to its three core attractions, has taken on a more interactive, aggressive approach to scares and is for mature audiences. Pennhurst Asylum continues to push limits regarding mature themes, disturbing scenes, and twisted humor which makes this one of the most memorable haunted attractions.

Pennhurst Asylum is located on the grounds of the infamous Pennhurst State School and Hospital which closed in 1986, due to mistreatment of disabled patients, and inhumane living conditions. The massive hospital campus, functioned as a self-contained community, and was left abandoned until opened as a haunted attraction several years ago. There is no haunted attraction that utilizes its environment to generate fear more than Pennhurst. Pennhurst’s decrepit architecture is hauntingly beautiful, and the urban decay sets the tone for a gritty, realistic experience featuring surreal set designs, twisted imagery and some of the most hands-on disturbing actors found in any haunted attraction.  The graffiti which adorns each room, the putrid smells of the property and the abandoned buildings which adorn the campus set the perfect tone for a haunted attraction experience second to none.

Pennhurst Asylum continues to evolve each year and add new scenes to its three core attractions. The attraction is somewhat expensive compared to other events, and if you are traveling from a long distance a VIP pass may be necessary. A VIP ticket will cost $75.00 (plus tax and service fees), and it is worth the purchase because the lines at the attraction can get extremely long. We purchased the VIP tickets on a Sunday night, due to the length of the lines and did not regret this decision. Not only did we skip the endless lines, but had the best line position when entering the attraction. While the scare actors do a fantastic job at working the long lines and crowds, the best, most interactive scares seem to be reserved for those in the front of the line. We were given “shots” by doctors, grabbed by mental patients, tickled, pushed into walls and treated to various disturbingly entertaining interactions with the insane actors of the Pennhurst Asylum. The creative designs of each room and quality of the attraction is second to none. The entire attraction utilizes high-tech animatronics, movie quality designs and blatantly violent imagery creates an unsettling, psychologically disturbing experience that is a must visit this year! Please remember that this attraction is extremely popular and lines do get long. VIP is a must if you do not want to wait in lines as the attractions try to limit the number of guests that enter.

We love the Pennhurst Asylum, every year it gets more mature, continues to add some of the highest quality set pieces and utilizes designs that are not possible in other haunted attractions. We hope that next year the attraction fixes some minor issues regarding backup in the “Administrative Building” and perhaps opens a new building for an attraction.  Please also note that your experience may vary depending on the number of individuals in your group. The attraction continues to grow in popularity and often reaches capacity on the weekends.

Attractions

Pennhurst Asylum is split into four unique attractions, three core attractions which are a part of the haunt and the fourth, a self-guided tour through what is reported to be one of the most “haunted” buildings on the campus. The attractions are completed in succession, and while waiting, various actors roam the campus and interact with guests. These interactions while waiting are not simple startle scares, they may include unique personal interactions. We witnessed a disturbed, creepy clown chase after guests, several actors in straitjackets and other bizarre characters who did a great job at entertaining guests in between attractions.

While visiting the attractions of the Pennhurst Asylum you will have to navigate through a swamp, visit various rooms of medical experiments, transverse catacombs, and make your way through the dark tunnel system which underlies the expansive Pennhurst campus. Each attraction builds to the next, heightens fear and does a great job of building psychological horror. The actors themselves are very intrusive, aggressive, crazy and at times off-color. The experience is unique, disturbing, interactive, and exhausting that we give the attraction our highest recommendation.

The Pennhurst Asylum (Administration Building)

“The Pennhurst Asylum Administration Building” is the first attraction which features detailed rooms, interactive actors and some of the oddest/disturbing scenes we have ever witnessed in a haunted attraction. Bloody, violent imagery is highlighted throughout the surgical rooms found throughout this attraction, and mature themes permeate each hallway. We witnessed the “birth” of what appeared to be a demonic child (think baby being ejected from a patient), were chased by various actors giggling in straitjackets, were “zapped” and “tickled” by the inmates, were grabbed at, and asked to become participants in several of the doctor’s various experiments. The actors in this attraction are intense. From the creepy priest conducting an exorcist on a patient, to a demented dentist ripping teeth from a patient, the actors and their theatrical scenes are downright unsettling.  The set designs are gruesome, they depict scenes of medical and psychological torture and the talented actors use guest responses to modify the show. These actors do not relent in their efforts to generate a response, from taunting guests to take their “medicine” to giving guests “needles” the interactive nature of this attraction is fantastic.  As we made our way through the attraction we walked through twisted fun house like rooms, walked on the edge of a cliff, and once again encountered a large man-baby who rubbed fake “feces” over the guests. One actor again introduced us to her good friend (a live mouse), and others constantly screamed at us to take our medication.

The creative and interactive set designs make exploring each horrific room an entertaining, surprise filled experience. The relentless actors will make you believe you are in a nightmare.  The quality of acting coupled with unparalleled set design makes this attraction stand out amongst other mainstream haunted attractions. Sensory confusion, animatronics and elaborate set designs distract guests and keep each room exciting. The attraction has also changed its “finale” adding an intense final scene in which multiple insane inmates try to escape the confines of the asylum. While the attraction is extremely well designed, we did run into multiple groups during our visit. This did prevent us from seeing several scenes play out in their entirety and at times we were in the rooms with large groups. Luckily we were close to the front of our line and were able to experience most of the scenes, however, the attraction could improve its spacing of guests and reduce the number of people entering into the first attraction.

Dungeon of Lost Souls

“Dungeon of Lost Souls” is a unique attraction which took us through the laboratory of a demented, mad scientist who encouraged us to drink what he called “urine”, and made some hilarious off-color jokes. The “Dungeon of Lost Souls” was our favorite attraction at Pennhurst as we were able to go through the attraction alone. Several props and animatronics hid scare actors in darkly lit rooms, featuring blinding lights and fog which attacked our senses. The insane actors aggressively attacked us around each corner, relentlessly trying to scare and pop out of the most unexpected locations. The “Dungeon of Lost Souls” is legitimately scary and disturbing. From a visit to a gritty boiler room, to the hanging bodies mixed in with well-hidden scare actors each scene is designed to disoriented, confuse and scare guests. We specifically found the actors to be personally interactive and entertaining during this attraction. The orderly in the laundry room made some entertaining jokes, and we ran into various scare actors who tried to prevent our escape.

“Dungeon of Lost Souls” is an all-out assault on one’s senses, featuring talented scare actors, disturbing imagery, blinding lights, high-tech set designs and disgusting smells which constantly augment fear. We were able to go through the entire attraction by ourselves which made the entire experience far scarier since we felt at the mercy of the asylum’s vicious inmates and diabolical, nightmarish design.

The Tunnel Terror

“Tunnel Terror” is a terrifying, claustrophobic experience that uses set designs to create psychological and sensory based fear. “Tunnel of Terror” is a journey through the abandoned tunnel system underlying the Pennhurst campus. The attraction incorporates blinding slow and fast white strobe lights, fog and darkness to maximize a sense of being lost, at times trapped and once again at the mercy of the actors. Effective use of light, disorienting sound and darkness hides the insane clowns, inmates and a strange bat-like creature who resides amongst the horrific tunnel system. Actors chased after us, smashed walkers against walls, grabbed at our sides and laughed as we made our way through the attraction.

“Tunnel Terror” incorporates a seemingly endless maze of dimly light catacombs and actors grab from every direction. Lighting effects and the already creepy atmosphere of the tunnel system creates a panic inducing environment.  We did run into a backup issue as we were reaching the end of the attraction and bumped into another group. For about 80% of the attraction we were able to go through the tunnels in our small group. Line backup at the backend of the attraction prevented us from seeing its final scenes. Overall the quality of the “Tunnel of Terror” attraction is fantastic. The psychological fear generated by the ominous tunnel system is a unique horror attraction that can only be experienced at the Pennhurst Asylum.

Ghost Hunt and Pennhurst State School Museum

“Ghost Hunt” and the “Pennhurst State School Museum”

The fourth attraction is a self-guided tour through the Mayflower building found on the Pennhurst campus. The attraction also includes an informative, and interesting museum which has various items and historical images of the campus while it was in operation. The “Ghost Hunt” tour allows for guests to take pictures using cell phones, or walk through the first two floors using a flashlight. The Pennhurst environment itself plays a powerful role in the attractions ability to cultivate fear and this was a good way to see more of the area and be able to explore the closed off portions of the campus. We hope the attraction opens up additional buildings on the campus for similar exploration!

The Final Word

Pennhurst Asylum is a mature, relentless nightmare featuring non-stop action and insanity around every turn. The interactive, aggressive nature of this attraction provides for a unique experience that may change depending on your own fears. Pennhurst seems to find strategies to adapt to guests’ fear, and utilize immersive set designs to attack one’s senses. The quality of acting, professionalism displayed by staff and one of a kind design make this a must visit every year. Pennhurst continues to improve every year and hopefully 2016 will bring a new attraction or opening of an additional building.  Pennhurst Asylum continues to be one of the very best major haunted attractions we have ever visited, and you will have a memorable experience.

The post Pennhurst Asylum 2015 Review appeared first on Dread Central.

Starring Robert Quarry, Mariette Hartley, Roger Perry

Directed by Bob Kelljan

Distributed by Scream Factory

After making a suave debut in the unfortunately bland, by-the-numbers Count Yorga, Vampire (1970), actor Robert Quarry is back in The Return of Count Yorga (1971). Far more energetic and stylish than its predecessor, it would be perfectly fine for those uninitiated with Yorga to start with this film and skip the first. This entry has more memorable characters, better vampire action, a crazier plot, and a method of revival for Yorga (and his man servant) that, as a Southern California local, amuses and excites me to no end.

When the regenerative powers of the supernatural Santa Ana winds (!) revive both Count Yorga (Robert Quarry) and his devoted deformed assistant, Brudah (Edward Walsh), the two decide to buy some local property near an orphanage – not to help out unfortunate youth but to prey on them. Yorga has a stable of vampire brides in a nearby cemetery, and he needs a steady supply of blood to keep them (and himself) sated. Yorga attends a costume party at the orphanage under the guise of getting to know the locals, but while he’s there he meets Cynthia (Mariette Hartley) and instantly falls in love. He hatches a plan to claim Cynthia as his own; a plan which mostly involves killing everyone close to her and making her sister, Ellen (Karen Ericson), an undead bride.

Yorga also has the assistance of Tommy (Philip Frame), a youth at the orphanage who has fallen under the Count’s spell and does his bidding. The only people who stand in Yorga’s way are a priest and a couple of cops, all of whom have a hard time convincing anyone vampires are a real threat. Yorga, meanwhile, wipes out anyone in his way, leaving a sizeable stack of bodies in his quest to drain all of Los Angeles dry.

Despite being relatively tame and fairly unimaginative, Count Yorga, Vampire was a big hit for American International Pictures, making a sequel was inevitable. Thankfully, along with another picture came an increase in production value and a better story. There are some very strong sequences here, particularly the attack on Cynthia’s family in the first act. The horror is swift and brutal, with Yorga and his brides absolutely annihilating everyone in the room. This was only two years removed from the Manson Family murders and the allegory here is clear. Also, kids kill, too! Yorga’s diminutive servant, Tommy, knocks off a couple of curious characters when they get too close to his trail. Nothing explicit is shown, though it adds an extra unsettling touch to the film.

Robert Quarry is almost too good at playing a member of the undead. His stiff delivery and near-total lack of on-screen charisma are a real detriment to a movie that revolves around his character. Yorga is meant to be a romantic, classic vampire, full of charm and wisdom; Quarry doesn’t do a terribly convincing job of conveying those emotions. His best moments – also his most unintentionally funny moments – come when he attacks his victims. It seems his thing is to run at a would-be meal arms outstretched, fangs bared, at top speed. You don’t see that too often.

Thanks to some improvements all around, The Return of Count Yorga finds itself a much more enjoyable film than its predecessor. The deaths are clever & bloody, there’s a greater sense of then-current style, Craig T. Nelson makes his film debut, someone dies in a pool of quicksand, a vampire-hunting priest provides the film’s best levity, and Yorga’s right-hand man Brudah continues to be silently creepy. It almost doesn’t matter than Quarry is a mannequin with a sound chip.

If you’re wondering why this isn’t a double feature with the first film, that would be because Twilight Time acquired those rights. Having watched MGM’s 14-year-old Midnight Movies DVD recently, it was very clear Count Yorga, Vampire needed an HD upgrade; however, I would have a very hard time forking over Twilight Time prices for a C-level vampire picture. Buyer, be aware.

Presented with a 1.85:1 1080p image, the film looks about as strong as a $100,000 (at best) production from 1971 can be expected to look. Colors are well-saturated and accurate, detail is average and film grain looks natural. Softness can be seen in many medium and wide shots, and there is some minor dirt seen on the print. Still, it looks as good as it needs to and that should be good enough for any viewer.

A no frills English DTS-HD MA 2.0 mono track capably delivers the film’s clean, defect-free soundtrack. Dialogue is clear and well-balanced. Composer Bill Marx’s score includes some eerie cues that set a moody tone. Subtitles are available in English.

Film historian Steve Haberman is joined by actor Rudy De Luca for a very informative audio commentary track. Haberman discusses how the 1970s cultural climate worked its way into the script.

The film’s theatrical trailer, a TV spot, a couple of radio spots, and a photo gallery are also included.

Special Features:

• Audio Commentary with Film Historian Steve Haberman and Actor Rudy De Luca
• Theatrical Trailer
• TV Spot
• Radio Spots
• Photo Gallery

The post Return of Count Yorga, The (Blu-ray) appeared first on Dread Central.

The Hudson Horror Show has become a must-attend event for horror fans in the Upstate New York area. Consistently featuring a lineup of beloved films, all shown on original 35mm prints, the Hudson Horror Show is a great time. And the lineup for the twelfth show is here.

Hudson Horror Show XII will take place at the Empire South Hills 8, South Hills Mall, Poughkeepsie, NY, on December 12. The action kicks off around noon and runs until midnight. And the event has now expanded into two theaters which will each be showing the same films, but in a different order. You can see the official schedule for both theaters HERE, and you can purchase tickets HERE. If you’re considering attending the event, do not wait to buy tickets. Recent Hudson Horror Shows have sold out very quickly. Don’t get left out in the cold!

As for the films you’ll be treated to at Hudson Horror Show XII, they are some great ones! The headlining movies are The Warriors and Halloween II. Also being shown are Friday the 13th Part 2, Demonoid, Stunt Rock and the infamous HHS Mystery Movie! All this, plus great vendors and fantastic giveaways all night long make Hudson Horror Show a 12-hour epic marathon day not to be missed.

The post Lineup for Hudson Horror Show XII Announced; Tickets Going Fast appeared first on Dread Central.

We here at Dread Central recently had the opportunity to speak with director Anthony DiBlasi, whose latest fright-flick, Last Shift (review), was recently released on DVD. He filled us in on the inner-workings of the film and just what he’s got up his sleeve for his next project – read on and enjoy!

DC: Anthony – give us the lowdown on the film: how you came to direct it, its premise – the whole nine yards!

AD: I’d directed two other films with Scott (Poiley: co-writer) that he was a producer on, and we made Cassadega in Michigan together. We did those for bigger budgets, and I came to him specifically wanting to do something that was non-stop, traditional, scary – something that’s really meant for an audience that will creep people out, and I’d love to do it for a really small budget and have it really contained. It’s about an officer all alone in a dispatch station, and I really wanted to utilize sound design, which would be a major component of the film. So we went out and found a police station that was abandoned in the area, and we were able to lock it down before we wrote the script, so we wrote it around that police station – it was a really great experience doing it that way, and that’s how it all came together.

DC: In the film there are instances of Satanic activity, claustrophobia, and a ton of jump scares – what is it about this movie that’s going to scare the crap out of people?

AD: I think the main component of it is that you’ve essentially got one character that takes you on a journey, and you’re in her point of view through the entire movie, and I think that helps a lot for viewers to just settle in and experience everything as she does. Every corner that she lurks around, there’s something waiting for her, and it’s always in her point of view – is it just playing with her mind, or is this a full-on haunting? It’s a really important element of the film, just keeping that momentum going for a fresh experience.

DC: Julia Harkavy in the lead role was just fantastic – how did you manage to keep her on edge during the filming? She looked legitimately freaked out in a number of scenes!

AD: Whenever I set up scares, I do like to keep an element of surprise for the actors, so it’s usually like it is for the audience – a bit of misdirection. I love working with actors, and I love being open and upfront with them, but at times I like setting them up for things they’re not expecting – that’s when you get true reactions from things they haven’t seen before. If you’ve got a really good actor like I did with Julia, she’s experiencing every moment as if it were real, so me adding that extra layer of reality to it really sent her over the edge.

DC: When you start directing a film, who do you look to for inspiration?

AD: I think this film in particular draws influence from John Carpenter, and for horror fans, he’s one name at the top of the heap, and he’s on the same level as Martin Scorsese. They’re both true auteurs and have a style that you can see through their work. John’s really on the same level as Martin, and I hope that someday he gets his due because of the films he’s made and brought to the world. It’s funny, because people in horror or sci-fi never really quite get that respect that you would as if you were in another genre of cinema, but he’s definitely a director whose work I really admire.

DC: Lastly, what’s coming up next for you on the work slate?

AD: I just did a film called Most Likely to Die, which is a 90’s throwback slasher, and it had its world premiere at FrightFest this year – it stars Heather Morris from “Glee,” Perez Hilton, and Jake Busey.

The post Anthony DiBlasi Walks Us Through Last Shift appeared first on Dread Central.

The finale of the Paranormal Activity franchise is nearly upon us, and recently we sat down with the man taxed with the herculean task of putting it all together: director Gregory Plotkin. Read on for the skinny on the end of an era!

“I had guidance from the best,” says Plotkin of his involvement with the franchise since the second film. “Collectively with Oren [Peli] and everyone, we’ve come up with a rather unique bag of tricks so I felt pretty comfortable. I know how to cut these movies. I know how to put them together. This [being chosen as director] was all born out of working on five of these films. Since I was a kid, I’ve always wanted to direct, and I was given this amazing opportunity to have a voice in this franchise from PA2 on. Over the years I developed a relationship with Jason [Blum] and Oren and the studio, and I made it known that if any opportunities happened to come up, I’d love to direct something. They knew that given the time I’ve spent in the cutting room on these films, this would be a labor of love for me. I’ve eaten and breathed these movies over the last five years. This is my dream come true, and I cannot think of another film I’d be happier to make my directorial debut with.”

Left to right: Ivy George, Brit Shaw, Gregory Plotkin on the set of Paranormal Activity: The Ghost Dimension

Plotkin continues, “Filming in 3D was definitely challenging. I did a lot of research on shooting in 3D, and what I never wanted to do was make a movie that was 3D just for being 3D’s sake. I’m hoping we’re successful here in breaking that standard 3D mold. In terms of the vision I had and how it would pertain to 3D, I think we were pretty successful in getting that on-screen. It was a bit of a learning curve for sure, but I’ve been lucky enough to have been an editor on these films and others, so working up the FX shots wasn’t entirely new to me. Luckily I also had a great team of people who were always with me, helping and offering suggestions.”

“When I came aboard PA2, we began having conversations about where we thought all this was going,” says Plotkin regarding The Ghost Dimension being the franchise’s finale. “I never really thought about the pressure of having to wrap things up. What I wanted to do with this was simply make a movie that lives up to the other films that came before it. Oren’s film is the absolute classic. I still watch it and get scared. Everything about it is perfect. Having worked with Oren and the rest of the directors on all of the sequels, the only pressure I was concerned with was delivering something to complement everything that those enormously talented guys brought to the table. I wanted to make a great scary film and answer the questions that have been lingering for so long.”

Related Story:  The Paranormal Activity Series and Top Things that Haunt Us at Night

“We want to wrap all this up in a way that the fans will hopefully find satisfying. This movie was made for them. This one is for all the people out there who love the franchise and have supported it for so long. This could not have happened without them,” remarks Plotkin of the franchise’s adoring fanbase. “We didn’t feel comfortable just utilizing the same slow-burn technique that we had been using. We needed to answer their questions and also give them a fun ride. If people are scared and if people get their answers, I’ll be very happy. We know that we’ll never be able to please everyone. So, from the get-go, we decided, ‘Let’s not make the same film again; let’s do something differently.’ We had a lot that we wanted to do in the body of 90 minutes. We decided not to take the foot off of the pedal. Let’s show the evolution of Toby [the film’s demon], show the evolution of everything that had gone unseen in the other films. My hope is that people will see this and then go back and watch the other films in the franchise and say to themselves, ‘Oh, I bet you that was what was happening… and there… and there!'”

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 Paranormal Activity: The Ghost Dimension – Exclusive Interview with Director Gregory Plotkin appeared first on Dread Central.

Alchemy
written by Kristen Davila & directed by Katrelle Kindred

Cliffside Bend
written by Taylor Martin & directed by Quyen Nguyen-Le

Mandroid
written by Robert Funke & directed by Victoria Rose

Oak
written by Matthew Sanchez & directed by Camila Tanabe

Shortage
written by Anna Musky-Goldwyn & directed by Jessica Kaye

Vincent
written by Rosanne Flynn, and directed by Kaushik Sampath

The Sweet Taste of Redemption
written by Jordan Trippeer and directed by Tarek Tohme

Strings
written by Rosanne Flynn & directed by John Berado

The Labyrinth is one of the most interesting, professionally produced anthology films I’ve seen in quite some time. A lot of credit goes to the fact the eight directors of these dark, thought-provoking shorts shared the same crew, worked in collusion with each other, the score is written by one person, and the interstitial animations (drawn by Einar Baldvin, accompanied by the voice of executive producer and actor James Franco) beautifully and inventively tie everything together.

While I liked bits and pieces of the most recent full-on horror anthologies – V/H/S: Viral, Tales of Halloween, and ABC’s of Death – none of them can compete with the vibe of unity The Labyrinth puts across. Since The Labyrinth is not a part of the horror “boy’s club,” it’s refreshing to see that out of the eight stories presented, there are 11 writers and directors who are women. As a result of tapping into the feminine, perhaps more intuitive, side of life and death, the characters are complex, textured, and empowered.

More than anything, The Labyrinth reminded me of the British anthology TV series “Black Mirror.” There’s also a touch of “Tales From the Crypt,” as the stories focus on moralistic comeuppances and the consequences of one’s selfish or hasty decisions.

This would be a very long review if I went into detail on each story, so I’ll single out my three favorites.

Vincent (written by Rosanne Flynn and directed by Kaushik Sampath) is about a young, recently engaged bus driver who’s fibbing to her fiancé about her true feelings… then she encounters a lair of liars on her bus during its final run of the night. When a passenger accuses a frail, kindly old man of stealing her purse, the driver is forced to intervene and face her own demons.

The Sweet Taste of Redemption (written by Jordan Trippeer and directed by Tarek Tohme) features one of the few recognizable faces in the cast. Flavor Flav plays Midnight, a connoisseur of wine, liqueurs, and spirits. He bottles them himself, using only the rarest of ingredients, and serves them in his exclusive, secret speakeasy. It’s chic, upscale, and of course, invite-only… but it’s a club you may not want to be a member of after all.

Strings (written by Rosanne Flynn and directed by John Berado) was my favorite of the eight. (My taste is borne out by the fact it’s slated for expansion into a feature film.) It’s definitely one of the darkest of the parables, and its one quick moment of violence in death is more shocking than many entire horror films. Strings is about a violinist who falls deep into a rabbit hole of lies and finds herself with no way out of the labyrinth… except one. When her grieving sister steps in to pick up the pieces, she finds herself drawn into pure, otherworldly evil.

The post Labyrinth, The (2015) appeared first on Dread Central.

We told you a few days ago that Drafthouse Films is preparing the North American release of director Tetsuya Nakashima’s (Kamikaze Girls, Confessions) latest thriller, festival sensation and provocative Japanese box office hit The World of Kanako; and now we have the film’s first-look teaser trailer to share.

The film will be simultaneously released on December 4th in select theaters, as well as available via multiple digital VOD platforms including Amazon Instant, iTunes, Vimeo, VHX, and more. A home video release on Blu-ray and DVD is slated for early 2016.

Based on a 2005 novel by Akio Fukamachi, often deemed unfilmable due to the lurid nature of the narrative, and drawing comparisons to groundbreaking Asian cinema genre classics such as Kim Jee-woon’s I Saw the Devil, Park Chan-wook’s Oldboy, and Takashi Miike’s Ichi the Killer, The World of Kanako is an expertly crafted, relentless sledgehammer to the senses. Critical and popular response to the film in Japan prompted Nakashima to release a statement which helped audiences understand the “grotesque” nature of the film.

In The World of Kanako, broken ex-detective Akikazu (the prolific Kôji Yakusho; 13 Assassins, Babel, Shall We Dance?) searches for his missing teenage daughter (newcomer Nana Komatsu), only to discover that she may not be the person who he once thought she was. Kanako is Nakashima’s ninth feature, following the highly acclaimed and equally devastating Confessions, Japan’s submission to the 2011 Academy Awards.

The World of Kanako had its North American premiere at Toronto International Film Festival in 2014 and has played multiple regional festivals since, including Austin’s Fantastic Fest. Drafthouse Films COO James Emanuel Shapiro believes that the timing was key for the upcoming release: “It’s a Christmas movie for those who require a dose of Asian extreme in their holiday cheer.”

Synopsis:
An uncompromising revenge thriller of operatic scope, The World of Kanako is a non-stop visual and emotional assault to the senses as it follows troubled ex-detective Akikazu (Yakusho) on the hunt for his missing teenage daughter, Kanako. What he discovers in his search is an unsettling and harrowing web of depravity–surrounding both Kanako and himself. As Akikazu stumbles along a shocking trail of drugs, sex, and violence, he finds himself woefully unprepared for the revelations that affect all he holds dear.

Directed by Tetsuya Nakashima, The World of Kanako is an astonishing tour de force of mystery, beauty, and boundary-pushing violence. A wildly kinetic and startlingly venomous throwback to the best that Asian extreme cinema has to offer, The World of Kanako offers a trip right up to the edge of a man’s private hell––and over it.

The post New Teaser Trailer Takes You Inside The World of Kanako appeared first on Dread Central.