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Warhammer: End Times – Vermintide (Video Game)

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vermintideDeveloped by Fatshark

Available on PC through Steam

Rated M for Mature


The streets of Ubersreik have a familiar feel. As you begin a mission, a sweeping view of the intro zone pans in to show your band of slayers. Numbering four, one of you will say a scripted snarky banter that alludes to your present objective. Heading out, a group of dormant fodder enemies wait patiently for you to warm up your smashes and shots. Soon, depending on difficulty level and luck, a horn will sound, signaling a coming tide of chittering flesh. Various whispers, cackles, and callouts signal the coming of specialized foes, and a thunderous bellow heralds a coming massive lumbering titan.

If this sounds a lot like a certain zombie shooter that goes by Left 4 Dead, then you would be right. Warhammer: End Times – Vermintide has become known amongst my friends as “Left 4 Rats.” You and three compatriots will follow a linear path from objective to objective, before gearing up for a final massive encounter that will test the limits of your mettle. Standing between you and ultimate victory is the unending “Vermintide,” a swarm of vile rat-men who employ all manner of foul machination and mutation. There are rats that creep and leap, and rats that snag and drag. There are rats that boom for blind, rats that shoot, and rats that loot. There are rats that lumber and thunder, and rats that lead and refuse to bleed. It’s a familiar formula, but fortuitously fun.

Though treading in familiar waters, I see no reason to hold that against Vermintide. It’s a title that skipped the wave of cheap imitators that came after Left 4 Dead by about half a decade, so deserves to live outside the stigma of “clone.” Still… it is basically Left 4 Rats, so the comparison is warranted.

What sets Vermintide apart from the competition is that it’s really damn good. It is a more focused vision than Left 4 Dead and its many imitators, relying entirely on a cooperative experience. Maps are split into main missions and side missions. Main missions typically require the completion of a few objectives, leading up to a final encounter. These missions are far more robust, taking maybe 30-45 minutes to complete with an average group. Side missions are generally single objective affairs, with a brief intro before you get to the meat of the encounter.

There is no “Versus” mode. As is the problem with every cooperative experience, the question lingers, “what do you do when you have beaten every mission?” It feels odd to say this, but it seems Vermintide has learned what makes pay-to-win games fun and applied it well to a lump-sum product. At the end of every round, you roll a number of dice to determine what loot you get. The number of dice is always the same, but the quality varies. There are items you can obtain during a mission that increases the number of winning sides on the dice, making collecting these items a priority. So, let’s say you roll 5 positive dice, you will get a tier 6 reward (as you start at tier 1 automatically). There are four tiers of gear: common, uncommon, rare, and orange. Higher difficulty play increases the loot rewards, meaning that a hard level game will reward orange gear at tier 6 while a medium will only do so at tier 8.

You can grind out high level items over time if you are afraid to venture into the realm of badass gods who play on nightmare difficulty. Combining 5 items of the same level in the forge will yield an item of the next tier. Getting a common item sucks, but at least you can smash them together to make something worthwhile. Items also come with randomized enchantment slots based on their tier (uncommon has 1, rare has 2, and orange has 3). Disassembling an item of a lower tier gives you the material required to unlock these enchantment slots, which both doubles the grind and value of low-level items.

If it sounds like an unreasonable amount of shit to do, it kind of is. There’s no way you will play through 15 iterations of the same level successfully just to grind out the loadout you need to try the next difficulty level. Fortunately, this isn’t super necessary for winning. It’s going to be near impossible to beat a Cataclysm difficulty mission in uncommon gear, but skill can make up for significant gear gaps. The game is 20% having the right tools and 80% knowing how to use them.

Much of that knowing how to use them bit comes from working with your team. The satisfying feel of chopping away at hordes of rats on easy difficulty quickly becomes a desperate stand against threats from all angles. This is one of those games that you can witness people learning, and the jumps between difficulties. Playing with a group I thought I found more than competent to tackle levels on normal, we decided to try our hand at hard. We failed to watch our flanks, and were quickly taken down by the increased Gutter Runner (assassin rat) spawns. The game doesn’t have a level restriction on matchmaking, so being paired with noobs that don’t know a Stormvermin from a Packmaster is aggravating. Getting a good group together, learning the ropes, and figuring out how to watch each others’ backs is what this game is all about.

To further the replay value and challenge scale, a series of tomes and grimoires are hidden in every main mission. These hard to find items increase the value of your loot dice, with grimoires providing a 100% positive roll chance. The tomes are easier to find, generally stashed away in some out of sight nook or cranny. These take up your healing item slot, but can still be swapped for a potion and picked back up. Grimoires are far trickier, generally requiring complex jumping puzzles and secret activators to find. These take up your potion slot (reserved for temporary boost potions), but more importantly drop your maximum health by 33%. There are two grimoires and three tomes in every main mission, making the challenge of carrying them all to the end significant. The reward of significantly increased loot is tantalizing, but whether or not your group is up to it is a totally different question.

I love the Warhammer/Warhammer 40k universes, but I’ve never had the time or money for the tabletop. Warhammer 40k: Dawn of War 2 is one of my most played games of all time, with the original Dawn of War coming in a close second. For me, Warhammer: End Times – Vermintide is a perfect foray into the world. While purists will cry foul over the absence of save rolls or the unfair depiction of their favorite unit, Vermintide brings the world to a new audience. It’s the perfect medium for the story, and the kind of game you dream of playing when you hear about hordes of heroes holding out against a never ending tide of foes. A must have, this hopefully isn’t the Endtime of coop Warhammer games.

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Snowpiercer Pulls into TV Land

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Around these parts we’re huge fans of the 2013 Korean feature film Snowpiercer, and word has come via THR that it is being adapted as a TV series with Josh Friedman (“Sarah Connor Chronicles,” War of the Worlds) attached to pen the script for Tomorrow Studios, which has optioned the rights to the film.

The potential series will be based on the 2013 film that was written and directed by Bong Joon-ho in his first English-language production. The movie, which starred Chris Evans and Tilda Swinton, is set in a post-apocalyptic Ice Age where the only remaining life on the planet survives aboard a train that travels around the globe. Bong and feature co-producer Dooho Choi are attached to executive produce alongside Tomorrow’s Marty Adelstein and producing partner Becky Clements. Park Chan-wook, who produced the feature, is also attached as an EP.

The drama hails from Korea’s largest movie studio, CJ Entertainment & Media, which produced the feature. The sci-fil film is based on the French graphic novel Le Transperceneige.

The feature was released in June 2014 and grossed $4.5 million domestically en route to a $86.8 million worldwide cume after being released on video on demand after only two weeks in release. The film was also was an awards season favorite, picking up nominations from various festivals as well as the Broadcast Film Critics Assn. before landing on multiple Top 10 films of the year lists across the country.

We are very excited to be working with Josh on this incredible story,” Adelstein said. “As such a prolific and innovative writer, he is the ideal person to create a massive new world in this adaptation. This is an expansive, high-concept project; and we are thrilled to be a part of reimagining it for television.

For Friedman, “Snowpiercer” marks his latest TV gig. His credits include NBC’s pirate drama “Crossbones,” comic book adaptation “Locke & Key” (which did not move beyond the pilot at Fox), and the upcoming Wizard of Oz-themed mini “Emerald City.” He’s repped by UTA and attorney Karl Austen.

I couldn’t be more excited for the opportunity,” Friedman said. “Marty and Becky are the perfect partners to help me bring this world to TV. I’m a huge fan of director Bong’s films, especially Snowpiercer. It’s great the way the best sci-fi is great — thoughtful, political, funny, scary, and sly. And it’s on a train. A big f—ing train. What more could you want?

Tomorrow Studios is a partnership between Adelstein and ITV Studios.

Snowpiercer

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Headshot Being Distributed Globally by Vertical Entertainment and XYZ Films

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More distro news was released today, and this latest announcement should be of special interest to fans of The Raid‘s Iko Uwais and Asian horror!  Read on for the details of how and when you can check out Headshot!

From the Press Release:
Nikkatsu Corporation has partnered with Vertical Entertainment and XYZ Films for global distribution of the Indonesian action thriller HEADSHOT. The companies will coordinate to release the film day-and-date around the globe on digital and VOD platforms, alongside targeted theatrical releases in select territories.

HEADSHOT, which is currently in production in Indonesia, is directed by The Mo Brothers (Timo Tjahjanto and Kimo Stamboel) and stars Iko Uwais, Chelsea Islan, Julie Estelle, and Sunny Pang. The film is based on a script by Tjahjanto and is produced by Mike Wiluan, Wicky Olindo, Sukdev Singh, and Shinjiro Nishimura, with Nikkatsu handling international sales and negotiating the global pact with Vertical and XYZ. The film is financed by Screenplay Infinite Film, Surya Citra Media (SCM), Amuse Entertainment Singapore, and Nikkatsu Corporation Japan.

Screenplay Infinite Film and partner SCM will handle Indonesian distribution, Nikkatsu in Japan and the rest of Asia, with Vertical and XYZ releasing in North America and orchestrating a simultaneous worldwide VOD release across multiple platforms.

Vertical has had success with its North American distribution operation and is pushing into the global market with day-and-date releases set for titles Terminus, He Never Died, and Frank & Cindy, the first two in collaboration with XYZ.  XYZ worked with The Mo Brothers on the Sundance hit Killers and with Uwais and Estelle on Gareth Evans’ iconic The Raid franchise.

“The distribution landscape is changing for films like HEADSHOT. It makes the most sense to target the core audience directly on a worldwide basis, taking advantage of the platforms with the most traction,” says Aki Sugihara, EVP of International Operations for Nikkatsu. 

The film is expected to wrap production in mid-December.

HEADSHOT follows an amnesiac (Uwais; pictured below) who washes ashore with a serious and mysterious head injury. His past comes back to haunt him shortly after being nursed back to health by a young doctor (Islan).

headshot-ikouwais

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Friday the 13th: The Game Meets Funding Goal; First Look at Sack-Head Jason

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That’s not Warrington Gillette under that sack! It’s Steve Dash! Well actually, it’s just a bunch of pixels, but still! It’s fucking cool to see! That’s right, kids! Friday the 13th: The Game has reached its $700,000 goal with 51 hours (at the time of this writing) to go!

The cash will go toward creating a single-player mode and much more! To celebrate the good news, we have some new images of the game’s star, including the aforementioned Friday 2 look! Sure it’s just concept art, but it warms our hearts that it’s coming! Check them out!

Friday the 13th The Game

Friday the 13th The Game

Friday the 13th The Game

For the first time in more than twenty-five years, Friday the 13th is returning to the video game world. Gun Media and IllFonic, in partnership with Crystal Lake Entertainment, are proud to announce that Friday the 13th: The Game is set to launch next fall, 2016.

Friday the 13th: The Game is an online, asymmetric multiplayer experience where one player will assume the role of Jason Voorhees against seven other players assuming the roles of camp counselors trying to survive the night.

Developed by Gun Media and IllFonic, Friday the 13th: The Game will deliver a terrifying combination of features designed to satisfy gamers and fans of the Friday the 13th franchise alike. In addition to bringing the tension and horror of the movies to life, the game will also let players don the mask of Jason Voorhees for the first time and control all new levels of brutal action!

Friday the 13th: The Game is being developed for PC, Xbox One, and PlayStation 4 for release in the fall of 2016.

For more information, visit Friday the 13th video game on Kickstarter, the official Friday the 13th video game website, and Friday the 13th video game on Facebook.

Friday the 13th: The Video Game Friday the 13th: The Video Game Friday the 13th: The Video Game Friday the 13th: The Video Game Friday the 13th: The Video Game Friday the 13th: The Video Game Friday the 13th Game Friday the 13th Game Friday the 13th Game Friday the 13th Game

Friday the 13th: The Video Game

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Knock Knock! Who’s There? DVD and Blu-ray!

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The Keanu Reeves thriller Knock Knock (review) is getting set to make its home video debut, and we have your details and artwork right here.

From the Press Release:
One of the hottest tickets at the 2015 Sundance Film Festival, Knock Knock, the sexy new thriller from co-writer/director Eli Roth (Cabin Fever, Hostel), arrives on Blu-ray (plus Digital HD), DVD (plus Digital), and Digital HD on December 8 from Lionsgate Home Entertainment. The film is currently available On Demand.

Knock Knock stars Keanu Reeves (John Wick) as a man whose good intentions lead to deadly consequences when he helps two strangers who ask for his assistance. Lorenza Izzo (The Green Inferno) and Ana de Armas (TV’s “El Internado”) are “irresistibly sexy” (Mashable) as Reeves’ twisted visitors.

When a devoted husband and father is left home alone for the weekend, two stranded young women unexpectedly knock on his door for help. What starts out as a kind gesture results in a dangerous seduction and a deadly game of cat and mouse. A sexy new thriller from director Eli Roth, Knock Knock stars Keanu Reeves as the family man who falls into temptation and Lorenza Izzo and Ana de Armas as the seductresses who wreak havoc upon his life, turning a married man’s dark fantasy into his worst nightmare.

The Knock Knock home entertainment release includes audio commentary with the cast and crew, deleted scenes, and a behind-the-scenes featurette. The Knock Knock Blu-ray and DVD will be available for the suggested retail price of $19.99 and $19.98, respectively. Screenplay by Eli Roth and Nicolás López and Guillermo Amoedo. Story by Anthony Overman and Michael Ronald Ross. Directed by Eli Roth.

Special Features:

  • Audio Commentary by Eli Roth, Lorenza Izo, Nicolás López, and Colleen Camp
  • Deleted Scenes with Optional Audio Commentary by Eli Roth
  • The Art of Destruction: The Making of Knock Knock Featurette
  • Still Gallery

Knock Knock

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Demonic Birds Strike in The Unkindness of Ravens; Help Fund and Watch Extreme Trailer

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Lawrie Brewster (Lord of Tears) describes his next horror film as “Apocalypse Now meets The Evil Dead,” and he’s just taken to Kickstarter in an effort to fund the epic horror fantasy. It’s called The Unkindness of Ravens, and we’ve got all the information you need. So read on!

Written by Sarah Daly and starring Jamie Scott Gordon, the supernatural/psychological feature introduces new horror icons The Raven Warriors, entirely original creations borne out of extensive research into the mythology of ravens. Inspired by the Valkyries of Norse mythology as well as the Celtic Morrigan, these evil raven-headed beasts stalk the earth, seeking suitable victims. They hunt in a flock, or “unkindness,” and their ultimate prize is the juicy white eyeballs of their chosen victim.

Using these new villains as the launching point, The Unkindness of Ravens tells the story of Andrew, a homeless veteran plagued by flashbacks of a traumatic event he witnessed in the Army. Andrew travels to a retreat in the remote Scottish Highlands hoping to overcome his fear of ravens, the dark creatures that populate his visions. But, in this bleak wilderness, his nightmares manifest into an enemy more powerful than he could ever have imagined.

Check out the extreme trailer below, and head over to Indiegogo to learn more and help fund The Unkindness of Ravens!

unkindness of ravens

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Scream Factory Unleashing a Women’s Prison Massacre

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Released in 1983, Bruno Mattei’s Italian film Women’s Prison Massacre (aka Emanuelle Escapes from Hell) has become a cult classic over the years and is one of the most well-known exports of the “women in prison” sub-genre. Just in time for Christmas, Scream Factory brings it to Blu-ray!

From the Press Release:
Featuring master of exploitation Bruno Mattei’s (Cruel Jaws, Rats: Night of Terror) signature flourishes and a script co-written by Claudio Fragasso (Troll 2, Beyond Darkness), Women’s Prison Massacre is a brutal and uncompromising entry in one of cinema’s most infamous genres. This 1980s Italian exploitation classic makes its Blu-ray debut on December 8, 2015 courtesy of Scream Factory. Fans can pre-order their copies now by visiting ShoutFactory.com.

Mattei hauls his unique cinematic stylings to the slammer in Women’s Prison Massacre! Sultry reporter Emanuelle (Laura Gemser) is on the verge of breaking a big story about a corrupt politician when she gets framed and sent to a women’s prison. There, incarcerated women face unspeakable cruelty and inhumane conditions — and that’s before a quartet of dangerous men are temporarily transferred to the facility! When the felonious four overpower the guards and take over, it’s up to Emanuelle and her fellow inmates to take control of the prison — and their very lives.

women's prison massacre

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Gobble Up This Turkey Hollow Trailer

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The trailer for the kid-friendly genre flick and Lifetime Thanksgiving special Jim Henson’s Turkey Hollow has arrived, and your kids should eat it up!

From the Press Release:
Just in time for Thanksgiving, Lifetime joins forces with The Jim Henson Company on the Lifetime Original Movie Jim Henson’s Turkey Hollow, starring Academy Award and Golden Globe winner Mary Steenburgen (“Orange Is the New Black,” “Last Man on Earth”), Jay Harrington (“Benched,” “Better Off Ted”), and Grammy and SAG winner Chris “Ludacris” Bridges (Fast and Furious ).  The live-action family-friendly film is based on original characters and story written in 1968 by creative mastermind Jim Henson and his longtime writing partner Jerry Juhl (“The Muppet Show,” “Fraggle Rock”). 

Jim Henson’s Turkey Hollow will premiere November 21, 2015, at 8pm ET/PT on Lifetime.

“As we all know, Jim Henson was a one-of-a-kind visionary whose works have entertained and sparked the imagination of millions of people across the globe for generations,” said Tanya Lopez, SVP, Original Movies, A+E Networks.  “It is a true honor to partner with The Jim Henson Company and be able to continue his legacy with this wonderful project.”

“Turkey Hollow is an unproduced gem from our Company’s archives. I have fond memories from my childhood of my father planning and developing this production. He was delighted by the idea of magical creatures living in the woods and was excited to portray them in a more realistic way than his other well-known puppet characters,” said Lisa Henson, CEO of The Jim Henson Company and daughter of Jim Henson.

The movie follows the story of the Emmerson family, recently divorced father Ron (Harrington) and his kids, Tim (Graham Verchere) and Annie (Genevieve Buechner), as they head to the quaint town of Turkey Hollow to spend a rustic Thanksgiving at the farm of Ron’s eccentric Aunt Cly (Steenburgen).  Surprised by the lack of internet and technology in Turkey Hollow, Tim and Annie soon find themselves swept up in tracking the “Howling Hoodoo,” an elusive monster that, up until now, Turkey Hollow residents have long dismissed as mere legend.  The Thanksgiving holiday threatens to take a bleak turn when a scheming neighbor frames Aunt Cly for turkey theft, but the fractured family teams up with some surprising new friends to save the day.  Ludacris appears as an on-screen narrator in the film.

Produced by The Jim Henson Company, Jim Henson’s Turkey Hollow is executive produced by Lisa Henson and Halle Stanford (The Jim Henson Company’s EVP of Children’s Entertainment) as well as Michael Taylor of Multiple Media Entertainment. Kirk Thatcher (It’s a Very Merry Muppet Christmas Movie ) is directing.  Christopher Baldi and Tim Burns wrote the script based on a story by Jim Henson, Jerry Juhl, and Kirk Thatcher.  The Burbank, CA, location of Jim Henson’s Creature Shop designed and fabricated the creatures of Jim Henson’s Turkey Hollow.

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The Arrow: The Bog Is Hell in Tobe Hooper’s Eaten Alive

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eaten aliveIn his new interview conducted for inclusion on this Arrow Films Blu-ray, director Tobe Hooper seems unable to convey the reason behind his decision to shoot Eaten Alive on a soundstage, stating only a desire to do it.

Between this discussion and the included archival interview, Hooper implies a desire to give this backwoods oddity a nightmarish, or otherworldly, feel. And unlike his previous Texas Chain Saw Massacre, revered for its realism, Eaten Alive’s design places it firmly inside the far-gone psyche of its antagonist (Neville Brand) with its desolate, dilapidated location and boosted color palettes that heighten his isolation and madness.

It’s not perfect, but Eaten Alive is unique for several reasons, from its structure right down to its overt weirdness. It’s just creepier than expected. In his interviews, Hooper seems proud of the fact there are very few films like it, and he’s right. The narrative is repetitious. For much of the running time, it’s just scenes of people checking in to this dingy hotel, to either be dispatched by our lunatic via his massive scythe blade or fed to his pet crocodile that inhabits the front yard bog. And while it may sound like Eaten Alive is your typical mid-to-late 70s proto-slasher, there’s hardly anything typical about it.

First of all there’s a mean streak that cuts a swath straight through the center. It isn’t just watching people show up and die; it’s watching people suffer some pretty nasty abuse at Brand’s hands. It gets worse when the Phantom of the Paradise himself, William Finley, and his family pop in for an overnight stay where he proves to be just as disturbed as Brand. He heaps all sorts of verbal and mental abuse on his wife and child–especially insensitive since her dog was just devoured by the resident croc. Also of note, Robert Englund! His character, Buck, leaves one of the deepest impressions (deep enough for Quentin Tarantino to mostly repurpose it in Kill Bill Vol. 1) in a genuinely skeezy performance as our local womanizer/misogynist.

The influx of weirdos leads to a bonkers climax where all hell breaks loose. As Judd, Neville Brand is exactly the right kind of crazy. The moments where he loses his cool and pursues his victims are an odd mixture of frightening and baffling, while the death scenes remain disturbing even by today’s standards. They’re all heightened by an electronic sting that underscores every cut and stab, making viewers feel the impact as much as the victims. Coupled with the brazen and ever changing color scheme, and the movie is a deeply visceral experience. Despite its flaws, this is an approximation of one man’s personal hell, and it can be damn effective if you let it.

In some ways, Eaten Alive feels like the product of a very cynical “hey, let’s get that guy from Texas Chain Saw Massacre to do it again!” style cash-in from producers looking to recapture lightning in a bottle. Viewing this through that lens, it’s easy to see Eaten Alive as a failed effort. No, it’s not on the level of Chain Saw, but it’s fun if taken on its own terms. It must’ve been frustrating for Hooper to become “that guy” in the business so quickly, especially since he was trying to get an LA noir made following Chain Saw‘s success. So even if Eaten Alive‘s intentions were somewhat cynical, it remains a curiosity that’s worth checking out.

And true to form, Arrow’s Eaten Alive disc is the definitive edition. For starters, both Hooper interviews bring good information to the table. The archival one, previously found on the Dark Sky special edition, runs 20 minutes and nicely covers the experience of shooting this movie through Hooper’s eyes. He’s never explicit in detailing his clash with producers, although it’s strongly hinted at. It’s also nicely supplemented by a new interview with the director that recounts his attachment to the project in a rather vague way, along with his desire to shoot it on a soundstage. I still don’t know exactly what the hell Hooper is saying with Eaten Alive, and these features don’t necessarily help with that, but they’re worth a look for any curious parties.

The troubled production is covered in a little more detail via the audio commentary (also ported from the Dark Sky release), which features producer Mardi Rustam, actors William Finley, Roberta Collins, and Kyle Richards, along with FX artist Craig Reardon. This is one of those frankentracks where everyone’s participation was recorded separately and “stitched” together to match relevant action on screen. With so many different perspectives, it’s worth a listen. Rustam provides a little additional context for scenes he shot once Hooper left the project (interestingly, these are the worst in the film), while the actors are generally relegated to their screentime and offer some great recollections about working with Neville Brand.

Beyond the new Hooper interview, the director does a very brisk intro. Arrow also produced two new conversations for this release. The first, and my favorite extra in the set, is an incredibly vibrant and enjoyable discussion with actress Janus Blythe. Such a fun and energetic presence, Blythe is incredibly frank about the types of roles women could get in the 70s (“I mean, I have nice tits but come on…”) and recalls how the horror genre treated her a little better. Make-up FX man Craig Reardon recollects working on this in one of the dodgiest studios in town and takes an opportunity to wax philosophical about the appeal of horror films, especially in the socially turbulent times of the 1970s. Pretty interesting stuff.

Other supplements from the old Dark Sky SE include a lengthy chat with Buck himself, Mr. Robert Englund, who is never without stories to tell. These range from his early career as an actor to the challenges of going long stretches in between paychecks when you’re just starting out. He reveals his approach to Buck was to recreate a role he played on stage in The Rainmaker, only with added skeezinessand has no shortage of complimentary things to say about Tobe Hooper. There’s a five-minute featurette with the late Marilyn Burns, which is slight but sweet.

We also get a documentary on the real life case that served as the inspiration behind this film. It’s called The Butcher of Elmendorf: The Legend of Joe Ball, and it covers his murder of several women, each of whom were fed to his pet alligators. It’s interesting, and one wishes the 20-minute history lesson had been a bit more expansive.

Rounding out this set are plenty of radio and TV spots, as well as the alternate opening credits (where Death Trap is the on screen title), a DVD copy of the film, reversible cover art, and a booklet essay penned by critic Brad Stevens.

Eaten Alive may not be as good as some of the director’s efforts, but it’s a worthwhile curio all the same. Atmospheric and crazy, it’s perhaps too bad Hooper had to return to such familiar territory so soon, but nearly 40 years later it’s a movie worth appreciating for its own merits (or lack thereof).

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Watch the First 7 Minutes of Ethiopian Post-Apocalyptic Film Crumbs

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The Ethiopian post-apocalyptic, surrealist science-fiction romance Crumbs is available now on DVD from IndiePix Films and heading to digital platforms on November 17th so it’s the perfect time to check out the first seven minutes of the film.

Fresh off a highly acclaimed international festival run, director Miguel Llansó’s fantastical fable continues to entrance audiences around the world. After its World Premiere in the Bright Futures section at the Rotterdam International Film Festival, followed by EFM in Berlin, Crumbs captured a special Nightfall Jury Mention at the 2015 Los Angeles Film Festival and the New Flesh Award for “Best First Feature Film” at Montreal’s 19th Annual Fantasia International Film Festival. More recently the film also received the “Imaging the Future Award” at Switzerland’s Neuchatel Fantastic Film Festival and the “Underground Spirit Award” at Serbia’s Palic Film Festival.

Crumbs, which clocks in at a little more than an hour, is joined on the DVD by two striking short films from director Miguel Llansó: Night in the Wild Garden and Chigger Ale, also starring Daniel Tadesse.

Synopsis:
Set against the background of spectacular, wild, and desolate Ethiopian landscapes, CRUMBS introduces audiences to a strange-looking scrap collector, Gagano (played by the charismatic Daniel Tadesse). Alternately gripped by daydreams and constant fears, the diminutive Gagano has had enough of collecting the priceless crumbs of decayed civilization – Teenage Mutant Ninja amulets, toy ray guns, and Superman costumes — including the most valuable: merchandise from Michael Jackson and Michael Jordan. Meanwhile, his true love, Birdy (Selam Tesfaye), pines for him in the abandoned bowling alley they’ve colonized.

When a spaceship that has been hovering high in the sky for years starts showing signs of activity, Gagano has to overcome his fears – as well as a witch, Santa Claus, and second-generation Nazis — to discover things aren’t quite the way he thought.

crumbs3

crumbs

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Margaret Qualley Could Be Next to Join Death Note Adaptation

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Some possible casting news for the upcoming American version of popular Japanese manga Death Note has arrived as THR is reporting that Margaret Qualley (“The Leftovers”) is in talks to play the female lead. Qualley is the daughter of actress Andie MacDowell.

Adam Wingard (The Guest, You’re Next) is directing the feature, which will star Nat Wolff (Paper Towns), for Warner Bros. Jeremy Slater (Fantastic Four) wrote the most recent draft of the script.

The story, set in a major metropolitan American city, centers on a student who discovers a supernatural notebook that allows him to kill anyone by writing the victim’s name.  He then decides to cleanse the world of those whom he deems evil. As the student is tracked by a reclusive police officer, a cat-and-mouse game ensues.

Roy Lee, Dan Lin, Jason Hoffs, and Masi Oka are producing Death Note, which is eyeing a production start in spring 2016.

margaret-qualley

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The Demon Files – Clip from Third Episode Provokes Evil

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Destination America has a ton of paranormal shows currently airing, and sadly almost all of them suck. There is one shining beacon of goodness on it, though, and that’s Ralph Sarchie’s “The Demon Files.” On tap right now we have a clip from the third and final episode of the season.

Will it make it to official series status? That’s up to you. We suggest you tune in.

From the Press Release:
In the season finale of “THE DEMON FILES” airing on Sunday, November 15, at 10/9c, there is a home in Nixa, Missouri, where spirits are wreaking havoc and a family fights to survive. Escaping tragedy after their newborn daughter’s near-death experience, they returned home with baby Olivia only to discover a new nightmare: a violent entity who may be trying to take the father’s life in place of the child.

Related Story: Ralph Sarchie Talks The Demon Files and Much More!

Tormented by spirits, the family has called upon Ralph Sarchie, former NYPD sergeant turned demonologist, and his team for rescue. Their mission is to help this family and, if there is a demon, cast it out. But this is no ordinary case as Ralph is forced to confront the husband and wife, who may be hiding a dark secret.

About “The Demon Files”:
Ralph Sarchie’s life is divided between two very different worlds. In one he’s a decorated sergeant for the N.Y.P.D. who proudly protected and served his city for over 18 years. In the other he’s a highly regarded demonologist, helping real American families who fear they may be threatened by the demonic. His book, Beware the Night, details how he uses his cop-hardened savvy to combat supernatural evil at every turn and served as the inspiration for the 2014 movie Deliver Us from Evil. Now, in “The Demon Files,” Sarchie and his team travel across the country meeting with people apparently suffering from demonic activity.

Sarchie stars along with Mark Stabinski, Mike Dolan, Brian McCauley, Sean Austin, Kayne Anderson Ates, and Debra Aguayo.

Look for the show on Destination America Sunday nights at 10:00 PM ET. For more information “like” “The Demon Files” on Facebook and visit “The Demon Files” on Destination America.

Demon Files

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AFM 2015 – Japanese Godzilla Film Retitled to Godzilla Resurgence

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We’ve been covering the 29th Toho Godzilla film for a while now and can now tell you that the next film has been officially titled Godzilla Resurgence (formerly Shin Gojira or True Godzilla). We even have a peek at the sales title treatment announcing a promo reel screening in Santa Monica courtesy of August Ragone.

Hiroki Hasegawa, Yutaka Takenouchi, and Satomi Ishihara star. Hideaki Anno and his directing and writing partner Shinji Higuchi are at the helm.

Godzilla Resurgence takes place in modern-day Japan, which has suffered an attack by the Big G. The United States soon gets involved in the chaos to help the Land of the Rising Sun secure its existence.

Godzilla Resurgence

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Someone Left This Note on My Car Window; You Won’t Believe Why

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So this just happened.

I was running by Staples to make some test prints of a design before sending it to our regular printer. I come back to my car to find a note tucked into the weatherstripping of my driver side door. At first I am thinking, “Someone scratched my car – WTF?!?” On closer inspection I see that the note actually says:

Never leave your child alone in the car – the consequences might haunt you

I nearly fall down I am laughing so hard. You see, there’s no one in my car. The only thing in the backseat is a prop from our haunted house that we bought from Spirit.

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I get my phone out to take a picture of the note and walk around the other side of my car to take a shot of the zombie prop in the backseat. I am laughing hysterically and notice the lady in the car next to me giving me the dirtiest look. I don’t know if she was the person who wrote the note, but as she pulls away, she keeps staring me down before exiting the parking lot finally. Meanwhile I am laughing so hard I can’t breathe.

At this point I am not sure what is funnier. That someone could mistake an obvious inanimate prop for a person in broad daylight or that someone was clever enough to do this as a joke. Either way, this shit made my day.

The post Someone Left This Note on My Car Window; You Won’t Believe Why appeared first on Dread Central.

Henry Rollins Cannibal Film He Never Died Gets New Poster

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All of us here at the Dread offices are hotly anticipating the release of He Never Died (review), which stars badass rocker Henry Rollins as a cannibal. Yeah, seriously. It’s headed our way on December 18th courtesy of Vertical Entertainment, and today a fresh new poster has arrived.

Check it out below via Arrow in the Head!

Written and directed by Jason Krawczyk, the film also stars Boo Boo Stewart, Kate Greenhouse, Steven Ogg, and Jordan Todosey.

Synopsis:
He Never Died follows Jack in his battle with cannibalism and mental sobriety. An exceptionally prolonged life has brought depression and detachment. Jack buys stolen blood from a hospital intern, plays bingo, sleeps fourteen hours a day, watches television six hours a day, and lives alone. This is his life – he has shelled himself away from social interactions.

The fuse is lit when Jack’s past comes back to rattle him. Jack must now walk a tightrope of sobriety and try to eat as few people as possible in this violent tale of personal responsibility and self-worth. As it turns out, there are very few reasons to live when you can’t die.

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Anguish – Spooky New Stills, Artwork, and Trailer

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Teenage girls and demonic possession. What could go wrong? Check out the first set of stills, artwork, and a trailer for Anguish right here.

From the Press Release:
Gravitas Ventures has secured North American rights to Anguish, a thriller written and directed by Sonny Mallhi, which premiered in July at the Fantasia International Film Festival. Gravitas will release the film in select theaters and on demand on December 18th.

In the film inspired by true events, Tess (Ryan Simpkins, A Single Man) is a teenage girl finally old enough to understand that the cause of her psychological problems is a supernatural “gift” that allows spirits to take over her body. Now that she understands what is happening to her, she must decide whether she wants to keep fighting or succumb to the soul of a recently deceased girl who refuses to leave. Karina Logue (“Ray Donovan”) and Annika Marks (“The Fosters”) also star.

“I am looking forward to working with Gravitas,” stated writer/director Sonny Mallhi. “This is an accomplished distribution group with a proven track record in horror – it’s exciting to be partnered with them.”

“We were drawn to the terrifying, small town world created by veteran filmmaker Sonny Mallhi,” said Gravitas Founder and CEO Nolan Gallagher.

This is Sonny Mallhi’s directorial debut; previously he co-produced The Lakehouse and served as executive producer on The Stranger and House at the End of the Street, and he wrote and executive produced The Roommate. Mallhi’s company, Candlewood Entertainment, produced Anguish alongside Guy Danella (The Possession of Michael King). Deepak Bajaj and Madan Popli are the executive producers.

The deal was negotiated by Nolan Gallagher, Founder and CEO of Gravitas Ventures, and by Alex Saks at ICM Partners and Robert Labate of Holland and Knight on behalf of the filmmakers.

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Anguish-Poster

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Mena Suvari Takes Us South of Hell

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On tap right now we have a behind-the-scenes featurette in promotion of the new supernatural thriller “South of Hell,” the result of a collaboration between Eli Roth and Jason Blum. Check it out right here.

“South of Hell” Black Friday Binge Details:
WE tv will offer its next scripted series, “South of Hell,” as a true programming event – rolling out all seven episodes of the supernatural thriller in order in a Black Friday Binge, beginning at 6 pm ET/PT on Friday, November 27. All episodes of the series will premiere back-to-back as the suspense and drama unfold and escalate over seven intense hours. At the conclusion of the binge, the entire series will be available on VOD, download to own, and TVE platforms.

Related Story:  Exclusive South of Hell Images Tease the Thrills to Come

To support this “Black Friday Binge” event, WE tv will offer live, shareable GIFs inside the WE tv app during the linear premiere and exclusive bonus content on WEtv.com, including behind-the-scenes videos and photos, cast interviews, and more.

About “South of Hell”:
Charleston, South Carolina, is an elusive city with many faces and the perfect home for Maria Abascal (Mena Suvari), a stunning, 30-year-old demon hunter for hire. Alongside her brother, David (Zachary Booth), she is skilled and fearless in her pursuit of the demons that live in others. Like those that she hunts, Maria is divided within herself, struggling with her own demon, Abigail, who resides inside of her, feeding on the evil Maria exorcises from others. Maria and Abigail share a soul and a destiny, but as Maria desperately tries to overtake Abigail, she will discover how far Abigail will go to remain a part of her.

The cast also includes: Bill Irwin as Enos Abascal, Maria and David’s father and cult leader; Drew Moerlein as Dusty, Maria’s neighbor; Lamman Rucker as Rev. Elijah Bledsoe, a priest with a strong attraction to Maria; Paulina Singer as the Reverend’s daughter, Grace; Lydia Hearst as Southern belle Charlotte Roberts; Slate Holmgren as the local drug dealer, Sweetmouth; and Lauren Velez as Tetra, a spiritual informant.

“South of Hell” is produced by Sonar Entertainment and Blumhouse Television. The premiere episode was written by Matt Lambert. James Manos, Jr. (“Dexter,” “The Shield,” “The Sopranos”), is executive producer and showrunner. Jason Blum of Blumhouse Productions (Paranormal Activity, Insidious, Sinister) also serves as executive producer, along with Gerard Bocaccio, Stewart Till, Gene Stein, Erica Motley, and Eli Roth.

In addition to Roth, an array of respected directors shepherded individual episodes of “South of Hell,” including Ti West (House of the Devil, The Sacrament), Rachel Talalay (“Doctor Who,” Tank Girl), Jennifer Lynch (“The Walking Dead,” “Teen Wolf”), and Jeremiah Chechik (“Helix,” “Reign”).

SOH_2

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Krampus: The Christmas Devil (DVD)

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Krampus The Christmas DevilStarring A.J. Leslie, Jay Dobyns, Paul Ferm, Bill Oberst, Jr.

Written and directed by Jason Hull


The first lump of coal of the holiday season has arrived, and its name is Krampus: The Christmas Devil.

It should come as no surprise that with Michael Dougherty’s Krampus set to hit theaters in a few weeks, Krampus would begin to make his presence felt in other aspects of b-movies or in this case, z-grade movies. As a matter of fact, I only watched this movie by mistake. I foolishly got it confused with Krampus: The Reckoning, another just-released Krampus flick. I don’t know if that Krampus film is any good, but I’m positive it cannot possibly be any worse. Turns out I was the one in for a reckoning either way.

I knew from the first opening moments that I was in for a long haul. The very first impression Krampus: The Christmas Devil gave me was this is not a b-movie or an indie – this is an amateur film just a few slight notches above home movie. Grainy shot-on-digital footage, pointless overuse of slow-motion and other editing tricks, go nowhere plot, endless scenes of talking heads engaging in roundtable discussions, some of the most eye-rolling fight choreography you’ll ever see, and the acting – oh, dear lord, the acting.

When Bill Oberst, Jr., appears towards the end, it’s like if Daniel Day-Lewis suddenly took the stage during a kindergarten play. He’s so far above the rest of the cast it’s not even funny.

Krampus barely appears in his own movie, and even when he does, he keeps his face hidden, appearing mainly as an unseen figure in a holiday hoodie winter gear… and with good reason; the hands I thought were just cheap gloves were actually cheap gloves masquerading as monster hands, and when we finally see Krampus’ demonic mug, it looks like it was bought at Party City around Halloween.

The movie opens with Krampus dragging a small boy in his sack through the snow, intent on tossing him into a frozen lake as punishment for whatever sin Saint Nicholas has deemed punishable by death. Krampus is very bad at his job because when he turns around to check his list for other names of children that deserve to be murdered, he fails to notice the kid crawl out of the ice and run for his life. The young boy appeared to be completely dry so even the icy water was bad at its job.

Flash forward thirty years and the young boy has grown up to be a police detective, married, with a teenage daughter of his own. He’s spent years obsessively investigating what happened to him as a kid as well as a slew of other missing children reports that he attributes to St. Nick’s Yuletide demon companion. Naturally, nobody believes him, least of all his boss. It’s like the worst episode of “Law and Order: Special Krampus Unit.”

Why does Krampus keep naked women chained up in his lair? I mean, besides the obvious answer that the filmmakers felt they needed some T&A to help sell the movie. A horny little devil in addition to punisher of naughty children? Bill Oberst, Jr., chugging milk with menacing glee comes across as more threatening than Krampus himself.

Even more evil than Krampus is Santa, a growling, scowling a-hole who screams at children and barks orders at Krampus. The guy playing Santa looks and sounds like more like one of the crab fishing captains from “The Deadliest Catch” than the man who brings toys and joy to the world on Christmas Eve. If he were an evil biker on a holiday special titled “Sleighs of Anarchy,” I’d be willing to buy into this take on the character.

I kept waiting for a plot twist revealing that this St. Nick was just some psychopath paired with a deformed gimp he forces to wear the Krampus outfit as part of their decades-long, tag-team, child-murdering spree. That would have been more believable than expecting me to believe that these two have any supernatural powers.

Neither scary, funny, nor fun, Krampus: The Christmas Devil proved a chore to sit through, a boring nothing of a movie that constantly dared me to fast forward or shut it off.

Running time: 82 minutes. Opening credits: 3-1/2 minutes. End credits: 9 minutes. All throughout there are countless scenes that feel like filler, other scenes that drag on, and, again, criminal use of random slow-motion. It seems even the people who made this one realized they barely had a movie and did anything to pad it out.

If you really want to punish someone for being naughty this holiday season, force them to watch Krampus: The Christmas Devil.

The post Krampus: The Christmas Devil (DVD) appeared first on Dread Central.

First Look at Patrick Tatopoulos’ Obituary Boys

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Around here we’re big fans of Patrick Tatopoulos, who’s fresh off designing the Batmobile for Batman v Superman: Dawn of Justice. Right now we have a pretty neat piece of concept art for his next directorial effort, Obituary Boys.

The plot and characters are still under wraps as leads are now being cast. This will be the second genre feature for Tatopoulos, following Underworld: Rise of the Lycans, which brought in a worldwide box office of over $91 million.

Obituary Boys is being produced by Marina Grasic (Crash), Mark Ciardi (Million Dollar Arm), and Stephen Furst (My Sister’s Keeper). It was written by Kenny Yakkel (This Is Your Death).

Look for more on the film as we get it!

Obituary Boys

Obituary Boys

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How Friday the 13th: The Final Chapter and Tommy Jarvis Made a Man Out of Me

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As I watched Friday the 13th: The Final Chapter, I desperately wanted to be Tommy Jarvis. Hardly the most shocking of confessions, I know. After all, Tommy’s the character with whom we’re supposed to identify. It’s his bespectacled eyes that we view the film through, and it’s him that we cheer when he finally brings the big, bad killer from Crystal Lake down to his knees.

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What may surprise, though, is that unlike Tommy and much of the original audience for the film, I wasn’t pubescent, prepubescent, or anywhere near my teens. I was 24, and it was my first time watching a horror film.

Let’s backtrack a bit. No one can exist for over two decades without encountering a little bit of horror. I wasn’t that sheltered! But the horror I saw growing up was always at some slumber party, viewed through the cracks of my fingers covering my eyes as I huddled in the corner with my earphones on so as not to hear the screams of the myriad victims hacked or hurt, beaten or bludgeoned, or worst of all… mutilated (man, did I hate that word!)  Even as a self-styled cinéaste, I never consciously sought to watch horror. Truth be told, I hated horror.

Now’s about that time when you’re probably asking yourself, “Self, how could a bloke who hated horror with as much passion and vehemence as this guy end up writing a piece for Dread Central?” Perfectly valid question, and one I’m glad to answer, even if it means revealing more about myself to the vast denizens of cyberspace than I do to even my therapist.

A child of divorced parents at a time when it was actually rare to have parents no longer conjoined in wedded bliss, I had enough fears and neuroses bouncing around my fragile-as-a-Faberge-egg psyche without adding ghouls and ghosts and sundry slashers and stalkers into the mix. My constant companions were feelings of abandonment and unworthiness, and they were quite enough, thank you. I certainly didn’t need to add any new fears to the raging maelstrom that was my mind.

So while my friends went to our local mall’s theater a dozen strong to enjoy the latest exploits of everybody’s favorite child killer turned lovable, quipping cartoon character Freddy Kreuger in A Nightmare on Elm Street 4: The Dream Master, I wiled away the 93 minutes reading the menus in the food court. When my favorite magazine Mad parodied Tobe Hooper’s Poltergeist, just reading that was enough to give me nightmares for weeks. Let’s repeat that for emphasis. It wasn’t Poltergeist the film that scarred me; it was the bloody (figuratively, not literally: Mad was ostensibly for kids, after all) cartoon parody that gave me sleepless nights. No Gorezone pull-out posters adorned my wall, that’s for darn sure.

So what changed? How did this kid who was afraid of not just his shadow but other peoples’ shadows as well end up with a body adorned with horror tattoos and whose life’s passion is horror and horror culture?

It was Tommy Jarvis and the fourth Friday that did it. You see, in my early twenties, I started working at this weird Frankenstein’s monster of a video store whose back catalogue consisted mainly of cassettes acquired and cobbled together from other mom-and-pop shops that had sadly gone out of business. There were so many “important” titles we didn’t carry, and forget about full series. You wanted to rent a Star Wars or an Indiana Jones? Sorry, better find another shop – we had none of those. But how about a Friday the 13th film? We had a couple of them. And as long as Parts 4 and 9 (the much maligned Jason Goes to Hell: The Final Friday) were all you wanted, you’d be satisfied because that was all that we had. (Notice a pattern here: The Final Chapter; The Final Friday. In the world of horror, the word “final” carries about as much weight as the promises made by that Nigerian prince in those myriad electronic missives clogging up the junk folder in your inbox.)

Feeling it was time to finally put away those childish fears, I nervously took home our well-worn copy of The Final Chapter and, with much trepidation, allowed it to unspool in my VCR. In broad daylight, mind you! There was no way I was going to sit down and consciously watch my first horror film after the sun went down. I may have been bravely facing my fears, but I certainly wasn’t foolhardy.

And there he was: Tommy Jarvis, the kid I had wanted to be and wished that I was! As played in his big-screen debut by future Lost Boy and Michael Jackson impersonator Corey Feldman, Tommy was a kid who loved monsters. He had an impressive collection of creature masks adorning his bedroom. He was brave, precocious, and didn’t take any excrement from anyone. Like me, Tommy was raised by a single mom and had one sister. Unlike me, Tommy was around 11 or 12, but it mattered not. I had found my new cinematic hero.

Friday the 13th: The Final Chapter is a great film. Ably directed by Joseph Zito, who also made the fantastic The Prowler, The Final Chapter also features the return of the prodigal son – makeup and effects wiz Tom Savini, who returned to the fold after sitting out parts 2 and 3, in the hopes of helping to kill off his malevolent creation for good. And in a sense they did. Jason, portrayed indelibly and menacingly by uncredited stuntman Ted White in his sole turn as the Crystal Lake bogeyman, was never quite as human in the films that followed in the franchise. He was still fun, sure, but this was the last time he was truly scary.

But back to Tommy. When he repeatedly yells “Die!” while swinging that machete, making sure that Ms. Voorhees’ baby boy was pushing up the proverbial daisies for good this time (and this following the incredible gore gag where Jason’s unmasked face slides down his own machete and gets sliced like an overripe avocado), something changed inside him, and something changed inside me as well. There was a look in Tommy’s eyes in the final frame which suggested that this young boy was fundamentally and forever altered from his experience with Jason. He was transformed, and so was I. Incredibly, I was now a horror fan! Sure, my sofa was soaked with a sweat stain so large and deep that even after it dried, it left a ring that never fully disappeared and no amount of fabric cleaner could get rid of, but it didn’t matter. I had just endured my first horror film! And not only did I survive the experience, I liked it… hell, I loved it! And like those deranged mad scientists in all those 50s creature flicks, I wanted more, more, more!

Friday the 13th: The Final Chapter was my first baby step toward becoming a horror fanatic, a marvelous journey that’s been an absolute pleasure to take. There are so many more sights I’d like to show you and so much more that I’d like to share, but for now, let’s just save a little something for the sequel.

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The post How Friday the 13th: The Final Chapter and Tommy Jarvis Made a Man Out of Me appeared first on Dread Central.

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