Starring Michael Schantz, Laurence Mullaney, Ria Burns-Wilder, Zach Gillette, Jamie Lyn Bagley

Directed by Kurtis Spieler

Available from Amazon

Everybody’s looking for the next best thing, and the werewolf sub-genre is certainly no exception.  With the latest inclusion to the mix from director Kurtis Spieler, Sheep Skin should be enough to give fans of lycanthropy enough of a fix until something else flies down the production chute.

With a heavy backbone of crime thriller tossed in, the movie does take awhile to build up some steam. The film follows Todd (Mullaney), a businessman who doesn’t exactly seem to take the greatest interest in his bride, and his incessantly lecherous actions towards a new temp in his office cement that assumption.

After a long night at work, he takes off and is immediately snatched up by a group of rather angry young folk who are rather insistent about finding out if Todd is responsible for the murders of many ladies around the city. Deep down they have gut instincts about his “ability to change” and have no second thoughts about offing him as soon as he confesses to his crimes. As the group members bide their time, it doesn’t appear as if Todd will be undergoing any full-moon metamorphosis in the near future, thereby setting off a little dissension in the ranks among our band of ruffians; and the audience continues to wait for something to happen as well.

As the tension mounts, we’re faced with an endless siege of interrogation-like dialogue that very well could put some viewers to bed a little early, but it’s the idea of what will happen that makes this film somewhat enjoyable to sit through. All of the performances are solid, with the gold star going out to the group’s vocal leader, Michael Schantz as Schafer; and with a very admirable collection of portrayals behind him, you can’t help but believe that everyone’s emotions are raw and unharnessed.

It’s quite the feat to advertise a film that upon first inspection (especially the cover art) looks like it will be a balls-to-the-wall terrorfest, but this one works in quite the opposite direction. If you’re willing to sit and wait for a bit, it’ll pay off for you in the end. Worth a watch.

Special features on the DVD (unavailable for review) include:

• Full Feature in Color
• Full Feature in Black & White w/Exclusive Intro
• Director’s Commentary
• Deleted Scene w/Intro
• Behind-the-Scenes Featurette
• Sheep Skin Short Film
• “Dick Punchers” Music Video
• Trailer

The post Sheep Skin (2016) appeared first on Dread Central.

Developed by Naughty Dog

Available Exclusively on PS4

Rated M for Mature

In the modern world of gaming, there are few companies that match Naughty Dog’s dedication to consistently making incredible games. It’s not praise I give lightly. There is an undeniable integrity to their approach, and time and again their consistent dedication makes games that rise far above the grade. Since Crash Bandicoot, they have not come out with a single game that has disappointed me. Since Uncharted: Drake’s Fortune, every game has astounded.

Now, on my knees and lips properly wetted, you’ll be surprised to find that this isn’t a sloppy wet beej for Uncharted 4: A Thief’s End. I really liked it. I borderline loved it. But it wasn’t a game made for me. For all of the epic set pieces, lovable characters, witty dialogue, tense action, and creative story, this is not a game for me. This is because, for the first time in the series, Uncharted 4 is inexplicably devoid of any supernatural element.

Fair warning now, don’t read this review if you don’t want spoilers. If you are jumping into the series right here, with Uncharted 4 as your first game, then consider this to be a 5 star, incredibly high recommendation. As a stand alone title, the game is as close to perfect as I’ve ever seen, aside from The Last of Us. The explosions are bright, the quips rapid, visuals stunning. It’s fun, and keeps you glued to your seat until the end. I beat it all in one sweaty and off-puttingly smelly 12 hour binge. 5/5, 10/10, 5/7, perfect game.

*SPOILERS JUST IN CASE YOU WEREN’T PAYING ATTENTION!!!!*

There’s a good reason that people compare Indiana Jones and Uncharted. Unforgettable hero, charming banter, deplorable villains, heart-stopping action, apocalyptic stakes, and heavy helpings of comedic spice. Oh, and let’s not forget, a dose of the crazy supernatural shit. Take a moment and think, what would Raiders of the Lost Ark be without the Ark of the Covenant? What would Temple of Doom be without Kali Ma? What would The Last Crusade be without the Holy Grail? What would Kingdom of the Crystal Skull be without… okay, bad example.

For the past three games, Uncharted has had, in order, plague zombies that you fought with Nazi weaponry, Marco Polo’s crew turned into black-toothed yeti monsters after bathing in the Tree of Life, and psychedelic sand demon/flesh eating spiders. Now, Uncharted 4: A Thief’s End introduces… pirate traps. Not like, immortal pirates setting traps or any of that stuff. Just 300 year old pirate traps. That only sometimes work. Spooooooky!

The closest you get to a monster are these exploding mummies.

Not only did Naughty Dog fuck with the formula, they also stuck their dick straight into the canon. I’m not going to go on a tirade about the sanctity of the Uncharted series storyline, but I at least expect by the third game I know if there are any spare siblings to crawl out of the woodwork. Unfortunately, Uncharted 3 wrapped things up too neatly, so now to get Nathan back into the game we are introduced to his long lost brother Sam. We learn that they used to be a globetrotting law-skirting dynamic duo, but Sam was shot 15 years ago when the brothers were attempting to escape a Panamanian jail with their old friend/current enemy, Rafe. Neither Nathan nor his lifelong friend Sully have mentioned this because it makes him, like, really super sad.

Granted, it doesn’t go so far as to not feel like Uncharted. It’s a blatant attempt to inject some drama into a series that clearly concluded in game three, but it’s by itself a quality title. I really enjoyed playing it. There’s a whole new dimension to the level design, allowing you to fight, move, ambush, and sneak along walls as easily as you do behind cover. Every arena is designed with this in mind, and swinging from a grappling point to the side of a cliff to toss a grenade behind some snipers is a kind of cinematic fun that used to be reserved for cutscenes. The criticism for the Uncharted games has always been that they are too “scripted,” relying on quick time events and pre-set sequences to deliver on the action. With Uncharted 4, the barrier between pre-scripted events and the ability to create your own action hero vision has never been thinner. You can create some truly Spielberg worthy moments in every fight.

Don’t get me wrong, there are still the signature cinematic sequences, full of running through collapsing buildings and escaping just before something drags you to your death. It’s still Uncharted, after all. It’s still the same game you know and love, but with about 200% more polish. It is, without a doubt, the most mechanically sound and technically robust title of the series. It’s absolutely gorgeous to behold, and a joy to play.

I could have played an entire game that was just this.

And as I said before, as a stand alone game, it’s perfect. If this were Uncharted: A Thief’s End without the “4,” it would be one of my alltime favorite games. Unfortunately, as a fan of the series, I can remember the epic moments from the titles of yesteryear. That awesome on-foot car chase is straight out of Uncharted 2. The intro boat sequence is a callback to Uncharted: Drake’s Fortune. Running across a building as it crumbles is… well, it’s from every Uncharted game.

I know it must sound inconsistent for me to criticize the game for staying the same in the same breath as decrying it for removing the supernatural element, but there’s a difference between tweaking a formula to make it fresh and completely abandoning it. I loved these games for the crazy twist it would take towards the end. It was the perfect icing on the witty action-adventure cake, simultaneously adding camp and increasing the tension and wonder. I really did enjoy the pursuit of Captain Avery’s gold, seeing the various traps, and unraveling the mystery, but the whole time I was on the edge of my seat wondering what was really going on. I was imagining that Libertalia was some kind of prison for dragons or portal to hell. But no, it just turns out that they made their pirate paradise, and pirates will be pirates, so they all killed each other. Riveting.

I’d have to be absolutely insane to let any of these criticisms justify me calling Uncharted 4: A Thief’s End a bad game. As an end cap to the series, it does a good job, and filled my heart with little butterflies when I saw how it all worked out. I was excited playing the whole thing. But I can’t deny that after it was all said and done, looking back at the package, I was let down. If you are looking for a great action adventure game, it will definitely deliver. If you are a series fan like me, it’s not Drake’s greatest adventure.

The post Uncharted 4: A Thief’s End (Video Game) appeared first on Dread Central.

With a promise of “unforgettable scares and evil at every turn,” Freeform’s “Dead of Summer” should tell us if the network has truly shed its former ABC Family tag and embraced the dark side.  For a sneak peek of this latest summer camp-based slasher to come our way, here are several stills and new promos along with the official synopsis of its premiere, Episode 1.01, “Patience.”

Seven camp counselors plan for the best summer of their lives, but the evil lurking at Camp Stillwater has other plans in store for them in the series debut of “Dead of Summer,” airing Tuesday, June 28 (9-10 p.m. ET), on Freeform.

Set in the late 1980s, school is out for the summer, and a sun-drenched season of firsts beckons the counselors at Camp Stillwater, a seemingly idyllic Midwestern summer camp, including first loves, first kisses—and first kills. Stillwater’s dark, ancient mythology awakens, and what was supposed to be a summer of fun soon turns into one of unforgettable scares and evil at every turn.

The series stars Elizabeth Mitchell (“Lost,” The Purge: Election Year) as Deborah “Deb” Carpenter, Elizabeth Lail (“Once Upon a Time”) as Amy Hughes, Zelda Williams (“Teen Wolf”) as Drew Reeves, Mark Indelicato (“Ugly Betty”) as Blair Ramos, Alberto Frezza (“Charlie’s Angels”) as Deputy Garrett Sykes, Eli Goree (“The 100”) as Joel Goodson, Ronen Rubinstein (“Orange Is the New Black”) as Alex Powell, Amber Coney (“Class”) as Carolina “Cricket” Diaz, and Paulina Singer (“Gotham”) as Jessie Tyler.

“Dead of Summer” is produced by ABC Signature Studios and Kitsis/Horowitz. Adam Horowitz, Edward Kitsis (“Once Upon a Time,” “Lost”), and Ian Goldberg (“Once Upon a Time,” “Criminal Minds: Suspect Behavior”) write and executive produce the series. Steve Pearlman (“Once Upon a Time”) serves as executive producer. “Patience” is written by Edward Kitsis & Adam Horowitz & Ian Goldberg and directed by Adam Horowitz.

“Dead of Summer” Series Premiere – Episode 1.01 – “Patience”
Camp Stillwater is about to reopen after being closed down for years. Deb (Elizabeth Mitchell), the new owner, has thrown her heart, soul, and life savings into renovating the camp she loved as a child. She isn’t the only one excited to return as six former campers—Alex (Ronen Rubinstein), Jessie (Paulina Singer), Cricket (Amber Coney), Joel (Eli Goree), Blair (Mark Indelicato), and Blotter (Zachary Gordon)—join her as counselors, hoping to experience the freedom that camp brings now that they are older.

Not part of the old crew, Amy (Elizabeth Lail) is not just new to Camp Stillwater, but to camp in general. While Amy tries her best to fit in with the already tight group, Drew (Zelda Williams) is content to be left alone. As everyone settles in and prepares for the campers’ arrival, Amy is the first to get a feeling that something is not right with this idyllic summer camp.

The post See More from Dead of Summer: Image Gallery and New Promos appeared first on Dread Central.

One of the oddest footnotes of Godzilla fandom is the strange saga of Godzilla vs. Legendary Wolfman, a 1983 feature-length fan film produced by former Toho filmmakers that Toho has kept buried for over 20+ years. Until this summer – maybe, when the legendary fan film might finally see the light of day; or should I say, light of full moon?

The short version of this long, sordid saga is that former Toho production assistant Shizuo Nakajima, along with several other ex-Toho employees, decided to make their own Gojira fan film pitting the King of the Monsters against a giant werewolf. This wasn’t just some rinky dink 8MM short film, either. This was a full-length motion picture with real actors, an actual script, cinematic production values, and creature suits designed by Fuyuki Shinada (20 years later, he would go on to design the monsters for Godzilla, Mothra, and King Ghidorah: Giant Monsters All-Out Attack).

Nakajima drew inspiration from Curse of the Werewolf and his love of classic kaiju flicks to craft a feature about a Japanese man transformed into a werewolf; in true atomic age fashion, he also becomes irradiated, causing him to become a gargantuan wolfman. The enlarged lycan encounters Godzilla, who’s on his own countryside crushing spree; and a mighty monster throwdown occurs.

Only one little problem: Nakajima didn’t have Toho’s permission to use Godzilla, and given how notoriously litigious Toho is about Godzilla’s likeness, they put a silver bullet in any plans for the world to ever see Godzilla vs. Legendary Wolfman. All that had ever seen the light of day were a handful of production stills that had trickled out over the years confirming it to be more than just rumor.

The project remained unreleased and regarded by Godzilla fandom as a “lost” film… until a few years ago, when renewed interest began thanks to dedicated G-fan Mark Jaramillo tracking down Nakajima, himself shocked to learn anyone even knew of the film’s existence outside of Japan. This lead to articles chronicling the strange history of this epic fan film for websites like Sci-Fi Japan, Famous Monsters of Filmland magazine, and even panels at the annual Godzilla convention G-Fest. Nakajima even attended G-Fest XX in 2013, presenting footage from his lost labor of love to a wildly enthusiastic crowd. Since then, Nakajima has vowed to restore the film and finally get it released. Clips from it have appeared on YouTube, and all manner of production stills have been posted on his own Facebook page.

Nakajima now seems to be indicating on said Facebook page that the film will be finished by this summer, presumably for a DVD (Blu-ray?) release, right around the time Godzilla: Resurgence opens in theaters in Japan this July. This news is not official, nor is it even confirmed if Toho has signed off on allowing it to happen. This could all just be wishful thinking on his part, or hoping that fan goodwill will help pressure Toho into making it a reality, a la the recent dust-up between Paramount and Star Trek fans that raised a million dollars on Kickstarter for their own high-end fan film.

Godzilla fans might be getting two new Zilla flicks this summer. And if they’re not, we can at least enjoy these clips from Godzilla vs. Legendary Wolfman and be left to wonder what might have been.

The post Lost Fan Film Godzilla vs. Legendary Wolfman Might Not Be Lost Much Longer appeared first on Dread Central.

Ryan Gregory Phillips’ second feature, Shortwave, is gearing up for its world premiere at Hollywood’s upcoming Dances with Films festival on June 4, and ahead of that premiere comes a gallery of stills to whet our collective appetite. Hungry? Dig in!

See more stills exclusively over on Bloody Disgusting.

The film stars Juanita Ringeling, Cristobal Tapia Montt, Kyle Davis, Jay Ellis, Nina Senicar, and Sara Malakul Lane.

Synopsis:
Josh and Isabel Harris, after suffering the loss of their only child, relocate to a secluded hillside research facility with the hopes of repairing their broken family. After years of trying, Josh and his research partner, Thomas, have a breakthrough involving a cryptic shortwave radio signal and its universal origins. Something within the signal resonates with Isabel, and she begins experiencing seeming hallucinations and visions of distant memories. Upon further investigation into the phenomenon, the scientists fear for Isabel’s health while Isabel fears the signal has attracted something sinister to their new home.

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Fox UK just put out an extended trailer for Independence Day: Resurgence that clocks in at almost 5 minutes. Check it out, and look for the film to hit theaters everywhere June 24, 2016.

Liam Hemsworth, Jeff Goldblum, Bill Pullman, Judd Hirsch, Vivica A. Fox, Brent Spiner, Charlotte Gainsbourg, Jessie Usher, Maika Monroe, Angelababy, William Fichtner, and Sela Ward all star in this epic next chapter. It’s directed by Roland Emmerich and produced by Dean Devlin, Roland Emmerich, and Harald Kloser.

Synopsis:
After INDEPENDENCE DAY redefined the event movie genre, the next epic chapter delivers global spectacle on an unimaginable scale. Using recovered alien technology, the nations of Earth have collaborated on an immense defense program to protect the planet. But nothing can prepare us for the aliens’ advanced and unprecedented force. Only the ingenuity of a few brave men and women can bring our world back from the brink of extinction.

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The gift to Evil Dead fans known as “Ash vs. Evil Dead: Season 1” is coming home on August 23rd, and we have your first look at the artwork. Look for official release details soon!

About “Ash vs. Evil Dead”
“Ash vs. Evil Dead” (review) premiered on Halloween 2015. The series is executive produced by Sam Raimi, Rob Tapert, and Bruce Campbell, the original filmmakers of the franchise, and Craig DiGregorio, who serves as executive producer and showrunner.

Campbell reprises his role as Ash, the stock boy, aging lothario, and chainsaw-handed monster hunter who has spent the last 30 years avoiding responsibility, maturity, and the terrors of the Evil Dead. When a Deadite plague threatens to destroy all of mankind, Ash is finally forced to face his demons – personal and literal. Destiny, it turns out, has no plans to release the unlikely hero from its “Evil” grip.

The cast is led by Bruce Campbell (Evil Dead, “Burn Notice”) in the role of Ash Williams; Lucy Lawless (“Salem,” “Spartacus”) as Ruby, a mysterious figure who believes Ash is the cause of the Evil outbreaks; Ray Santiago (“Touch,” Meet the Fockers) as Pablo Simon Bolivar, an idealistic immigrant who becomes Ash’s loyal sidekick; Dana DeLorenzo (A Very Harold & Kumar 3D Christmas) as Kelly Maxwell, a moody wild child trying to outrun her past; and Jill Marie Jones (“Sleepy Hollow”) as Amanda Fisher, a disgraced Michigan State Trooper set to find our anti-hero Ash and prove his responsibility in the grisly murder of her partner.

Raimi directed the first episode of “Ash vs. Evil Dead,” which he wrote with Ivan Raimi (Darkman, Army of Darkness, Drag Me to Hell) and Tom Spezialy (“Chuck,” “Reaper,” “Desperate Housewives”). Raimi also serves as executive producer with Rob Tapert (Evil Dead, “Spartacus,” Xena: Warrior Princess”) and Bruce Campbell (Evil Dead, “Burn Notice”) along with Craig DiGregorio (“Workaholics,” “Chuck”), who serves as executive producer/showrunner. Ivan Raimi serves as co-executive producer, and Aaron Lam (“Spartacus”) and Chloe Smith (“Spartacus”) serve as producers.

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Starring William Petersen, Tom Noonan, Brian Cox, Joan Allen

Directed by Michael Mann

Distributed by Scream Factory

The first time I watched Manhunter (1986) was late one night, years ago, when my teenage mind wasn’t ready for Michael Mann’s procedural crime thriller. There is a measured pace to Mann’s films that some people aren’t prepared for. I clearly wasn’t, and for the next decade I recalled it to be a bore fest. It took a reevaluation some time later to realize that statement could not be more wrong. This is even more evident if you’re familiar with Red Dragon (2002), director Brett Ratner’s paint-by-numbers version of the same film, featuring a scene-chewing Edward Norton and audience favorite Anthony Hopkins as Lecter. It’s hard to even compare the two films since they’re totally – and tonally – different beasts. Mann’s film is a strongly crafted, meticulous study of the procedural work that encompasses a crime investigation, whereas Ratner’s film is a love letter to Hopkins, lacking in nuance and strong direction. Both films are enjoyable for different reasons, but they don’t exist in the same universe in regard to quality.

Will Graham (William Petersen) is a former FBI agent who is retired, living in Florida following a mental breakdown after his capture of the notorious serial killer, Hannibal Lecktor (intentionally misspelled in the movie, played by Brian Cox). A new killer is on the horizon, dubbed the “Tooth Fairy” (Tom Noonan), and Graham’s old boss, Jack Crawford (Dennis Farina), wants Will on the case because he’s the best. Despite his hesitation, Will agrees. Still, he eventually lets the details of the case completely consume his life. In order to capture this killer, he has to get inside a killer’s mind – and that means paying a visit to his old nemesis, Lecktor, in an effort to see this thing from all sides. Graham’s mind begins to slowly unravel due to the stress of trying to predict the Tooth Fairy’s next move, dealing with an unscrupulous reporter, Freddy Lounds (Stephen Lang), and keeping his family safe from Lecktor’s reach.

Manhunter was created during a period of time after director Michael Mann had left his successful production post on “Miami Vice” (1984-1990). He put three years of research into writing the film, which is a big part of why it is considered such a seminal crime thriller. That also might have been why it wasn’t well received upon release. Anyone familiar with Mann’s films knows that he loves to take his time manipulating the audience, drawing out events until the tension reaches a fever pitch. This isn’t a typical cop/killer film full of expected twists and turns; this is an atypical police drama that examines the depths someone is willing to go to catch a killer. The script is chock full of heavy police jargon, detective work, criminal profiling and forensic analysis – all the stuff that seems so commonplace, now that television is brimming with police procedurals. But to make a film like this back in the ‘80s? There just weren’t many guys, if any, willing to do it. It only took critics over a decade to realize how ahead of his time Mann was when he wrote the film.

Anchoring the impressive roster of actors is William Petersen, who delivers a stunning portrayal as FBI agent Will Graham. When the film begins, he’s enjoying a quiet life that he has no intentions of giving up. Jack Crawford is desperate to have Will’s expertise on the case, ignoring that his participation comes at a cost. The irony is that in order to catch a killer, Will has to practically “become” him, delving deep into the Tooth Fairy’s warped psyche, along with assistance from Lecktor, to think like he does, desperately trying to find a link – any connection – that could lead to where he’s going to strike next. The toll this kind of sleuthing takes on Will is most clearly defined during the scene where he and Jack argue as the lunar deadline to catch the Tooth Fairy approaches. Jack is willing to concede they’re going to have to accept that another family is about to get murdered, but Will snaps back “…don’t talk to me about late, pal! I’ll tell you when it’s too fucking late! Until then, we go as late as I wanna take it!” Petersen completely loses himself in the role of an agent who is the best at what he does, even though it throws his world into chaos. Petersen has even been quoted as saying that Graham’s personality traits crept into him after production had ceased, causing him to shave his head and trim his facial hair so he looked like a new person to himself.

Anyone who thinks that Anthony Hopkins is the only guy who can play Hannibal Lecter is sorely mistaken. It may be Hopkins’ signature role (and I do agree he’s the best actor to play the part) but Brian Cox delivers a different, chilling performance as the mad cannibal. Cox, a Scotsman, modeled his performance after Peter Manuel, a serial killer active in Scotland during the mid ‘50s. A rumor has stated Cox gave his audition with his back to the producers, as they felt the vocal tone of Lecktor was more important than his appearance. Cox plays him with all the cool sophistication of an aristocrat, a thinly veiled shroud of madness lurking just behind that soothing tone. Unlike Red Dragon, where the Hannibal role was significantly beefed up to give Hopkins more screen time, we spend even less time with him here than in The Silence of the Lambs (1991). Lecktor isn’t meant to be the audience’s focus; he’s merely a sideshow act that manages to attract eyeballs through the stories of his grim misdeeds. He is only seen twice in the film – once when Graham goes to visit him, and a second time when the two share a phone call. Otherwise, he remains off-screen, yet his presence is felt throughout. That truly is a testament not only to the work of Cox, but also to the legacy of the character itself.

Although it was initially criticized, Mann’s overt use of color to convey emotion and mood is seen as a major part of why the film is now so highly regarded. Mann, with director of photography Dante Spinotti, infused scenes with a specific color palette to bring the audience closer to the characters. Scenes that feature Will and/or his wife make use of cool blue filters, while those with the Tooth Fairy are painted in shades of sickly green. Color has always been of importance to Mann. He practically ushered in a new wave of style thanks to the flashy pastels of “Miami Vice”, and many could arguably say the show wouldn’t have been as popular without those vibrant hues. With Manhunter, the distinct colors allow viewers to associate Will with comfort and warmth, while the Tooth Fairy brings forth feelings of sickness and unease. While these techniques might seem too “on the nose” for some, they do give the film a unique aesthetic that sets it apart from other crime dramas of the period. The manipulation of the audience through editing and color is a technique Mann has consistently used throughout his career, arguably never more so effectively than here.

Gotta mention the phenomenal soundtrack, too. Mann makes use of popular hits throughout the film, most notably the track “Heartbeat” (naturally) and Iron Butterfly’s “In-A-Gadda-Da-Vida” during the film’s tense climax. The build-up with the latter track as Graham stalks the home of the Tooth Fairy is a palm-sweating moment. It’s interesting to note that many of the songs are used in a diegetic fashion, rather than existing outside the universe in which the film takes place. The decision to do this gives the impact of the songs extra weight, as some of the action perfectly synchs with the on-screen music. Composer Michael Rubini’s cue, “Graham’s Theme”, stands out as a brooding, synth-heavy track that is a perfect example of the mood Mann was going for.

There isn’t much fault to be found with the film’s 2.35:1 1080p picture. The transfer here is an exact copy of the previous MGM Blu-ray, albeit with a different encode, and the results are nearly identical to that disc. Only eagle-eyed videophile nerds will suggest otherwise, as the encode used here is slightly different. DP Dante Spinotti’s use of color filters imbues the image with a rich palette that is perfectly captured by this high-definition release. The bold hues result in a picture that is extremely striking. Film grain looks particularly good, giving the image depth and texture without ever obscuring the picture or appearing artificial. The image beneath the grain is finely detailed. Hannibal films haven’t been treated too kindly on Blu-ray thus far, so I’m pleased to report this is likely the finest of the bunch in high-def. Black levels have a deeply rich appearance that never wavers. Much of the film takes place in the confines of a starlit sky, so black levels remaining… well, black, is of crucial importance.

The director’s cut looks the same as the theatrical cut, with the exception of the standard definition inserts. Even if you aren’t close to being a video quality expert, you’ll notice the drastic shift in quality. The scenes and shots look like they’ve been spliced in from a VHS.

Another thing that people will notice is there are a couple of jerky edits during the film. The two most obvious examples are when Will is watching video footage at the Leeds’ house and during the climax when the Tooth Fairy has his confrontation with Will. In each scene, there is a noticeably abrupt edit that advances the film a few frames.

It’s not an aggressive mix, but the English DTS-HD Master Audio 5.1 surround soundtrack perfectly captures the intended tone of the film. The synth-heavy score is hypnotic in its delivery, particularly those cues composed by Michael Rubini. The soundtrack cuts are what really bring the track to life, none more so than the finale set to Iron Butterfly’s sole hit single. The film relies heavily on the use of sound and song to convey emotions, and the track excels at making sure these cues resonate with the viewer. At times dialogue is a little on the low side. Those levels should have been brought up a few notches so as to be in line with the balance previously established for dialogue in the film. Despite being a surround sound track, there is little activity in the rear speakers. Occasionally, there are some spare, ambient sounds coming from the rears, but more often than not they remain silent. An English DTS-HD MA 2.0 stereo option is also included. Subtitles are available in English SDH.

DISC ONE:

“The Making of Manhunter” contains the following interviews:

– “The Mind of Madness” is an interview with actor William Petersen. Mann owed Petersen a favor after he didn’t get the role that went to Belushi in “Thief” (1981), so he cast him here as the lead.
– “Courting a Killer” is an interview with actress Joan Allen. Allen, who still looks great, talks about how this role was a big deal for her at the time.
– “Francis is Gone Forever” is an interview with actor Tom Noonan. The always-creepy actor discusses his career, bulking up for this role, cut scenes and more.
– “The Eye of the Storm” is an interview with director of photography Dante Spinotti. This is a very technical piece, with discussions about lighting, color use, etc.

“The Music of Manhunter” – Some of the musicians involved with contributing to the film’s impressive soundtrack discuss their work and what kind of notes Mann provided so their music met his expectations.

“The First Lecktor” is an interview with actor Brian Cox. Running almost four times longer than his on-screen appearance, the old Scot sits down to cover how he got the role, who else was up for it… all the usual conversation.

The film’s theatrical trailer and over one hundred images found in a still gallery are also included.

DISC TWO:

Writer/director Michael Mann’s audio commentary is only available on the director’s cut (naturally), and although the comments here come infrequently – there are many gaps of silence – Mann’s words are carefully chosen and packed with relevant details, both technical and personal.

“The Manhunter Look: A Conversation with Cinematographer Dante Spinotti” is a carryover from Anchor Bay’s DVD. While the information is mostly redundant, it is nice to see this package including previously available extras.

“Inside Manhunter with Stars William Petersen, Joan Allen, Brian Cox, and Tom Noonan” – This is another carryover, featuring some legacy interviews from the film’s main cast.

Also included is the director’s cut in standard definition, because… well, I don’t know why. Maybe so the reintegrated footage blends more easily? Not sure but I can’t say I recommend watching it this way.

Special Features:
Disc 1: Theatrical Version (HD)

• Two hours and 50 minutes of new bonus content!
• NEW The Mind of Madness – an interview with William Petersen (18 minutes)
• NEW Courting a Killer – an interview with actress Joan Allen (16 minutes)
• NEW Francis is Gone Forever – an interview with actor Tom Noonan (22 minutes)
• NEW The First Lecktor – an interview with actor Brian Cox (40 minutes)
• NEW The Eye of the Storm – an interview with director of photography Dante Spinotti (36 minutes)
• NEW The Music of MANHUNTER – including interviews with composer Michel Rubini, Barry Andrews (Shriekback), Gary Putman (The Prime Movers), Rick Shaffer (The Reds) and Gene Stashuk (Red 7) (42 minutes)
• Theatrical Trailer
• Still Gallery

Disc 2: Director’s Cut (HD with Standard Definition inserts)

• Audio Commentary by writer/director Michael Mann
• Director’s Cut (Standard Definition)
• The Manhunter Look – A Conversation with cinematographer Dante Spinotti (10 minutes)
• Inside Manhunter with stars William Petersen, Joan Allen, Brian Cox and Tom Noonan (18 minutes)

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I have to admit that of all the licensed Lego products, I never thought that we would see one based on “The Addams Family.” But it looks like we could indeed be getting one if the Addams Family Mansion Lego set reaches 10,000 supporters on the Lego Ideas website. It’s currently at 7,094, and with 693 days left, this seems like a very reachable goal.

And it’s easy to see why it’s getting so much support. Just look at it! It’s the Addams Family mansion through and through, down to the most minute details. They even included the polar bear. The page handily includes a picture of the original mansion from the show, and goddamn, I can’t see any significant differences. Supporting this is truly a must for horror nuts.

About the Lego Addams Family Mansion:
From the 1964-66 TV sitcom “The Addams Family,” this is the mansion and family! The project is an “end of series” anniversary tribute to the last new episode aired on April 8, 1966 – 50 years ago!

The Addams Family was a group of fictional characters created by American cartoonist Charles Addams and includes Gomez, Morticia, Uncle Fester, Lurch, Grandmama, Wednesday, Pugsley, and Thing. They lived in this mansion at 001 Cemetery Lane.

Construction details:
– 3-Floor Mansion; each floor is a removable segment
– Sits on two 15”x10” base plates (for a total of 3,072 studs)
– The Mansion separates into two halves through the center
– A full glass greenhouse out back
– All original Lego pieces with no modifications
– All floors are covered in tiles and “carpet” tiles
– All ceilings are covered in inverted tiles
– The Mansion is 22” high
– The entire build is comprised of 7,200 pieces
– Look for these special characters and details:
* Tish relaxing in her large rattan chair, with her black fan
* Gomez practicing fencing in the living room
* Lurch and his harpsichord
* Beware of Thing…delivering mail from his table
* Cleopatra, the meat eating plant, and others in the greenhouse
* Kitty Kat, the lion, by the grand staircase
* The tall stuffed polar bear watching over all the proceedings
* The NYSE stock market ticker tape machine
* Call for Lurch… with a black rope noose butler bell call
* Suit of Armor – who is hiding inside?
* Massive fireplace, with a moose head on the mantle
* Have a rest on the bed of nails!
* Grandmama and Uncle Fester with his light bulb and dynamite
* Cigar Store Indian watching over Pugsley and Wednesday
* Back upper porch with cannon, cannonballs, and a catapult
* Backyard cemetery with unknown inhabitants
* Attic spider web
* Family automobile
* Special guests include bats, owls, spiders, snakes, and parrots

The post Help The Addams Family Mansion Lego Set Hit Shelves appeared first on Dread Central.

After many months of eagerness and anticipation, Total War: Warhammer is finally upon us, and we’ve got one hell of a launch trailer to accompany it. I shit you not… it’s an interactive trailer so you can just click on the screen to move the camera around. Now that’s strategic marketing!

In Total War: Warhammer (buy it on Steam), you take control of one of four factions as you battle it out for control of the Old World. With magic, dragons, giants, and legions of troops at your disposal, nothing will stand in your way as you set out to conquer what’s rightfully yours.

Synopsis:
Through a marriage of award-winning Total War game mechanics and the incredible depth and complexity of Games Workshop’s World of Warhammer Fantasy Battle, critics have judged Total War: WARHAMMER as one of the best strategy games ever made.

Tomorrow (May 24th) at 08:00 BST, gamers worldwide will start their own adventure. An epic quest of conquest through glorious battle, with the Old World as prize. Till then, experience the frontline clash of magic, monsters, and legendary heroes in our stunning 360° interactive launch trailer.

1) Click and drag your view of the battlefield on desktop (Chrome, Opera, Firefox, or Internet Explorer).
2) Use the YouTube or Facebook app on your mobile as a virtual window, and pan your view around (note that this is currently the only way to experience the 360 functionality on your mobile).
3) Select VR view from the YouTube App and drop your phone into Google Cardboard.

The post The Old World Is Changing and Can Be Yours for the Taking in Interactive Total War: Warhammer Launch Trailer appeared first on Dread Central.

Starring Bruce Willis, Goldie Hawn, Meryl Streep

Directed by Robert Zemeckis

Distributed by Scream Factory

Robert Zemeckis is a director who has frequently pushed the boundaries of technology available to cinema, breaking ground and paving the way for future filmmakers to enhance their own projects. For a long while he had a hot streak, beginning with Used Cars (1980) and ending sometime around 2004, when he delivered the dead-eyed The Polar Express. His fascination with the motion-capture used for that particular picture took over his filmography for nearly a decade with viewers complaining the “uncanny valley” computer effects work didn’t quite look right. But I digress. Just one year before Jurassic Park (1993) showed off what CGI was capable of producing, Zemeckis made a picture that took full advantage of the still-nascent computer tech with his supernatural story of jealous rivals, Death Becomes Her (1992). Here, the blending of reality and technology is practically seamless, and though the film is a minor footnote in cinema it does feature some truly cutting edge effects work, in addition to also boasting a strong leading triumvirate in Bruce Willis, Meryl Streep, and Goldie Hawn.

Broadway, 1978. Actress Madeline Ashton (Meryl Streep) performs in a show – Songbird! – that bombs big time. Backstage after the curtain drops, Madeline is met by long-time rival Helen (Goldie Hawn), a writer who is engaged to marry a plastic surgeon, Ernest (Bruce Willis). Because Madeline can’t stand the thought of Helen gaining happiness, she quite easily lures Ernest away from his fiancée. Cut to seven years later and Helen is a wreck, living in a mental hospital and weighing well over a couple hundred pounds. She is entirely fixated on getting her revenge on Madeline. Cut to another seven years later and we learn life isn’t so rosy for Ernest and Madeline, with the two practically living separate lives under the same roof. Madeline is a has-been actress, while Ernest has lost his career in surgery, reduced to doing reconstructive work on corpses at a mortuary. One night, Madeline gets an invitation to a book release party for Helen’s new novel and, eager to show up her old nemesis, decides to attend with Ernest in tow.

Both she and Ernest get a major shock when they see Helen, who looks like she’s back in her mid-20s, looking all svelte and sexy. This greatly upsets Madeline. She goes to the home of a woman her skin care specialist recommended, a mysterious lady named Lisle (Isabella Rossellini) who is a supposed expert in youth rejuvenation. There, Madeline is given a potion said to stave off aging, but she must agree to stay out of the public eye after ten years so as not to draw suspicions. Madeline agrees and drinks up, quickly turning into her younger self. Her change comes a little late, however, as Helen has successfully seduced Ernest, convincing him to kill Madeline. He does – inadvertently, with a push down the stairs – but he gets a huge shock when Madeline, bones broken and neck twisted around Exorcist style, gets up and starts to stumble about. Turns out, not only does the potion reverse aging but it essentially makes the consumer immortal… though any damage done to the body remains.

After Madeline learns to accept the fact she’s technically dead, Ernest brings her home to work things out. Helen arrives, too, leading to a big back-and-forth between the three of them. Once Madeline discovers the plan the other two hatched to kill her, she does the sensible thing and shoots Helen point blank with a shotgun. Unfortunately, the blast only leaves a gaping hole in Helen’s abdomen that has no other effect on her. Ernest is rightly scared off by the two warring women, but they realize if their bodies are going to have to survive decades of abuse they’ll need someone to keep them “fresh” and in working order. Oh, Ernest, dear…

Zemeckis knows how to do black comedy for mass audiences, delicately balancing disturbing humor with guffaw moments. The smart script allows him to play with many ripe elements – vanity, Hollywood, female rivalry, absurd anti-aging techniques, jealousy, murder. These two women appear to have everything a person could want yet it is their rivalry that continually draws out the worst in each other. Nothing in life matters except one-upping the other. The lengths to which both of these women go to achieve such petty successes drives the humor, their morbid victories adding an extra layer of ridiculousness to the process. It’s funny to see the panic on their faces not when their rival is “killed” but once it’s revealed they’re both on the same playing field. Madeline and Helen are both shrewd and cunning; although once it becomes clear neither can kill the other a tenuous truce of sorts must be achieved, not that either one is any less catty toward the other.

There is some great chemistry between the three leads. Nothing needs to be said about Streep. If she’s in a film, you can be damn sure she’s nailing her role. And here, playing a once-glamorous Hollywood star? Please. Hawn is equally great, displaying more of an arc than Streep’s character is given, allowing her to act out a range of emotions and appearances. Fat Goldie Hawn is a thing of nightmares. And then there’s Willis. Remember when there was a time that he gave half a shit about being an actor? He’s still in that mode here, and his milquetoast, sheepish character is a nice change from the action heroes he’s known for.

Death Becomes Her is a fun romp for the gallows humor crowd. Zemeckis’ pacing is great, allowing the film to have fun with the many little twists and turns without ever becoming dull or stagnant. The film is never any better than its minor cult status suggests, but even as a somewhat overlooked entry in Zemeckis’ oeuvre the strong special effects work manages to make up for a lack of depth. Good on Scream Factory for rescuing this title from Universal’s dungeon and giving it a new life on Blu-ray.

Framed at a ratio of 1.85:1 with a 1080p image, Death Becomes Her opens with some rough visuals – film grain is chunky, definition is poor and muddy, and colors are blasé. But once the film moves past the opening scenes, the picture does improve a good amount. Colors look stronger, small details become more apparent, black levels stabilize, and film grain looks much smoother. Dean Cundey was the director of photography here, so fans of his work should have a rough idea of how this picture looks. Universal is notorious for providing wildly inconsistent transfers to their catalog, and most are in dire need of greater remastering. This is not terrible by any standards, though the picture does look more dated than it should.

As per usual, Scream Factory has provided an English DTS-HD MA track with 5.1 surround sound or 2.0 stereo options. Dialogue sounds excellent, with no level issues. Sound effects are nicely separated and have some real “weight” to them, allowing the multi-channel option to provide a decent sense of immersion. Rears don’t come into play very often, only adding minor bits of ambiance sporadically. Subtitles are available in English.

“The Making of Death Becomes Her” – Zemeckis, along with a handful of crew members from the film, sits down for a new interview that covers the original script ideas, quality of the cast & crew, production, and more.

“Vintage Behind the Scenes Featurette” – This is your standard mid-90s EPK, filled with the requisite talking heads discussing their roles.

A photo gallery and the film’s theatrical trailer finish out the extra features.

Special Features:

• NEW The Making of Death Becomes Her featuring interviews with director Robert Zemeckis, producer Steve Starkey, writer David Koepp, director of photography Dean Cundey, production designer Rick Carter and special effects artists Lance Anderson and David Anderson
• Vintage “Behind-the-Scenes” featurette
• Photo Gallery
• Original Theatrical Trailer

The post Death Becomes Her (Blu-ray) appeared first on Dread Central.

We’ve been keeping a close eye on the new flick starring Danielle Harris, Inoperable, and right now we are happy to deliver to you cats the official trailer premiere. Dig it!

From the Press Release:
INOPERABLE, the new hospital horror feature starring Danielle Harris of the HALLOWEEN and HATCHET franchises, has just released its first trailer.

INOPERABLE centers around a young woman (Harris) in a seemingly evacuated hospital with a hurricane approaching that has awakened malevolent forces inside. The woman realizes she is trapped in a time loop and must escape the hospital before the storm passes, or she will be trapped there forever.

The movie filmed in the greater Tampa, Florida, area in January and February and is currently in post-production.

The film’s writer and director is Christopher Lawrence Chapman, who directed the films Morgan Pickett’s Charge and The Accident and helped produce the new horror feature Clowntown, which was just being sold at Cannes.

Producer and co-writer is Jeff Miller (Axe Giant: The Wrath of Paul Bunyan, The Burning Dead), who met Chapman on Clowntown.  Giorgio Daveed is director of photography, editor, and producer.

INOPERABLE also stars Clowntown alums Jeff Denton, Katie Keene, and Chris Hahn in addition to Michelle Marin (The Gainesville Ripper), Cher Hubsher (“My Super Sweet 16”), and others.

Robert Kurtzman’s Creature Corps handled the film’s makeup effects, with David Henson Greathouse (Syfy’s “FaceOff”) supervising, and he, Barry Aslinger, and Beki Ingram handling the bulk of the effects. Philip Jessen is unit production manager, Ashley Eberbach is first assistant director, and Bobby Marinelli is production designer.

For more information visit the Inoperable website.

The post Exclusive Trailer Premiere: Danielle Harris in Inoperable appeared first on Dread Central.

If you’re in the New England area and you wanna see The Conjuring 2 early and on us… we have your hook-up! Read on for the details of how YOU can secure your passes for our Boston screening!

We have available a limited number of passes to the advance screening of The Conjuring 2 on Monday, June 6, at 7:00 PM at AMC Loews Boston Common. To get your ADMIT TWO passes, click here. Remember: Seating is first-come, first-served and not guaranteed so arrive early!

Related Story: Attention San Diego – Dread Central Has Your Passes to See The Conjuring 2 EARLY!

New Line Cinema’s supernatural thriller The Conjuring 2, with James Wan (Furious 7) once again at the helm following the record-breaking success of The Conjuring, brings to the screen another real case from the files of renowned demonologists Ed and Lorraine Warren, portrayed by Vera Farmiga (Up in the Air, TV’s “Bates Motel”) and Patrick Wilson (the Insidious films).

Rounding out the cast are Frances O’Connor (TV’s “The Missing”) as the single mom, with Madison Wolfe (TV’s “Zoo”) and newcomers Lauren Esposito, Patrick McAuley, and Benjamin Haigh as her children; Maria Doyle Kennedy (TV’s “Orphan Black”); Simon Delaney (TV’s “Roy”); Franka Potente (TV’s “The Bridge”); and Simon McBurney (Mission Impossible: Rogue Nation).

The screenplay is by Chad Hayes and Carey W. Hayes & James Wan and David Leslie Johnson, story by Chad Hayes & Carey W. Hayes & James Wan. Peter Safran and Rob Cowan, who previously collaborated on The Conjuring, are producing. The executive producers are Walter Hamada and Dave Neustadter.

Expect the film in US theaters on June 10, 2016, and in the UK on June 17. For more info visit The Conjuring on Facebook, The Conjuring on Twitter, and The Conjuring on Instagram.

Synopsis:
The supernatural thriller brings to the screen another real case from the files of renowned demonologists Ed and Lorraine Warren, who, in one of their most terrifying paranormal investigations, travel to north London to help a single mother raising four children alone in a house plagued by malicious spirits.

The post Attention Boston – Dread Central Has Your Passes to See The Conjuring 2 EARLY! appeared first on Dread Central.

One of Lucio Fulci’s finest, Cat in the Brain is getting a whole lot of love courtesy of Grindhouse Releasing; and we have your details right here. Dig it!

From the Press Release:
Grindhouse Releasing has set a July 12 street date for the new deluxe 3-disc Blu-ray edition of Lucio Fulci’s nightmare classic CAT IN THE BRAIN. The movie will be touring theaters all over the U.S. this summer, starting June 2.

CAT IN THE BRAIN is a psychological masterpiece in the tradition of such cinematic classics as PSYCHO, STRAIT-JACKET, ERASERHEAD, and Fellini’s 8 1/2. Acclaimed Italian horror maestro Lucio Fulci, director of ZOMBIE and THE BEYOND, stars in this blood-soaked epic as a director being driven insane by his own movies. Fulci is thrust into an ultra-violent nightmare of death and depravity where murder and madness consume his sanity in a vortex of violence.

“CAT IN THE BRAIN is my favorite Fulci movie,” says Grindhouse Releasing co-founder Bob Murawski. “How could it not be? It’s wall-to-wall gore and stars Lucio Fulci playing himself. It delivers on all levels.”

As with Grindhouse Releasing’s #1 best-selling smash PIECES, the new Blu-ray release of CAT IN THE BRAIN will be issued in two versions: the standard release and a special edition for collectors limited to 3,000 copies.

The limited version of the CAT IN THE BRAIN Blu-ray includes a glow-in-the-dark slipcover and an original portrait of Lucio Fulci created especially for this release.

Grindhouse Releasing advises all customers who want to be guaranteed a copy of the limited edition to pre-order from Diabolik DVD, as Diabolik customers will get first priority and will receive the set early.

Supplies are not expected to last long — if you do not pre-order from Diabolik DVD, there is no guarantee of receiving one of the limited collector’s copies.

As an additional exclusive, Diabolik DVD is offering a special bundle that includes the CAT IN THE BRAIN Blu-ray and the official Lucio Fulci bobblehead from Cult Colletibles. This offer is limited to 500 copies, as these are the last of the numbered Lucio Fulci “Weird Wobbler” bobbleheads – when they’re gone, they’re gone!

Special Features:

• Hi-definition digital restoration of the original UNCENSORED DIRECTOR’S CUT
• Presented with English and original Italian language soundtracks
• In-depth interviews with director Lucio Fulci and cult superstar Brett Halsey (REVENGE OF THE CREATURE, RETURN OF THE FLY, THE GODFATHER 3)
• New interviews with composer Fabio Frizzi, screenwriter Antonio Tentori, cinematographer Sandro Grossi and poster artist Enzo Sciotti
• Lucio Fulci’s heroic appearance at the 1996 NYC Fangoria Weekend of Horrors
• Original Italian theatrical trailer & gallery of stills and poster art
• Liner notes by Antonella Fulci, David J. Schow, Eli Roth and Martin Beine
• BONUS CD – the original soundtrack by Fabio Frizzi!
• Chilling GLOW-IN-THE-DARK slip cover – limited to first 3000 copies
• Mini portrait of Lucio Fulci – suitable for framing – limited to first 3000 copies
• PLUS OTHER SURPRISES!

CAT IN THE BRAIN screening dates:

• 6/2/2016 – Alamo Drafthouse, Omaha, NE
• 6/3/2016 – Moolah Theatre, St Louis, MO
• 6/4/2016 – Moolah Theatre, St. Louis, MO
• 6/5/2016 – Alamo Drafthouse S. Lamar, Austin, TX
• 6/10/2016 – Hollywood Theater, Pittsburgh, PA
• 6/11/2016 – Hollywood Theater, Pittsburgh, PA
• 6/15/2016 – Alamo Drafthouse, Richardson TX
• 6/17/2016 – Coolidge Corner Theatre, Boston, MA
• 6/18/2016 – Coolidge Corner Theatre, Boston, MA
• 6/19/2016 – Alamo Drafthouse Mission, San Francisco, CA
• 6/20/2016 – Alamo Drafthouse Westlakes, San Antonio, TX
• 6/20/2016 – Alamo Drafthouse Stone Oak, San Antonio, TX
• 6/21/2016 – Alamo Drafthouse, Dallas, TX
• 6/22/2016 – Alamo Drafthouse, Ashburn, VA
• 6/25/2016 – Alamo Drafthouse Vintage Park, Houston, TX
• 6/25/2016 – Alamo Drafthouse, Lubbock, TX
• 6/25/2016 – Alamo Drafthouse, El Paso, TX
• 6/27/2016 – Alamo Drafthouse, Kansas City, MO
• 6/27/2016 – Alamo Drafthouse Laredo, TX
• 6/27/2016 – Alamo Drafthouse, New Braunfels, TX
• 6/27/2016 – Alamo Drafthouse Park North, San Antonio, TX
• 6/28/2016 – Alamo Drafthouse, Winchester, VA
• 6/29/2016 – Alamo Drafthouse, Yonkers, NY
• 7/1/2016 – Frida Cinema, Santa Ana, CA
• 7/8/2016 – Grand Illusion Cinema, Seattle, WA
• 7/13/2016 – Film Scene, Iowa City, IA
• 7/15/2016 – Circle Cinema, Tulsa, OK
• 7/16/2016 – Circle Cinema, Tulsa, OK
• 7/29/2016 – Music Box Theatre, Chicago, IL
• 7/30/2016 – Music Box Theatre, Chicago, IL
• 7/30/2016 – Metrograph, New York City, NY
• 7/31/2016 – PhilaMOCA, Philadelphia, PA
• 7/31/2016 – Metrograph, New York City, NY
• 8/1/2016 – PhilaMOCA, Philadelphia, PA
• 8/5/2016 – Hollywood Theater, Portland, OR
• 8/6/2016 – Hollywood Theater, Portland, OR
• 8/12/2016 – Cinefamily, Los Angeles, CA
• 8/31/2016 – Alamo Drafthouse, Littleton, CO

More theaters and screening dates coming soon! For more info visit the official Grindhouse Releasing website, “like” Grindhouse Releasing on Facebook, and follow Grindhouse Releasing on Twitter.

The post Grindhouse Releasing Brings Lucio Fulci’s Cat in the Brain to Theatres and Blu-ray! appeared first on Dread Central.

If you missed Hardcore Henry in theaters (or thought the whole first-person thing would be too much on the big screen), your chance is coming soon to right that wrong!

From the Press Release:
Brace yourself for one of the most unflinchingly original wild rides when the adrenaline-fueled action hit Hardcore Henry arrives on Digital HD on July 12, 2016, and on Blu-ray, DVD, and On Demand on July 26, 2016, from Universal Pictures Home Entertainment and STX Entertainment (pre-order from Amazon).

Filled with non-stop action and thrilling adventure, Hardcore Henry is the first film shot completely in first-person shooter perspective. The Blu-ray, DVD, and Digital HD feature even more explosive thrills with deleted scenes and commentary with the director and actor/producer. Be the first to own Hardcore Henry, starring Sharlto Copley (Chappie, District 9, Elysium), and immerse yourself in an exciting new world as you become the title hero!

You remember nothing. Mainly because you’ve just been brought back from the dead by your wife, who tells you that your name is Henry. Five minutes later, you are being shot at, your wife has been kidnapped, and you should probably go get her back. You’re also in an unfamiliar city of Moscow, and everyone wants you dead. If you can survive the insanity and solve the mystery, you might just discover your purpose and the truth behind your identity.

Strap in for a wild ride that critics are calling “a revolutionary movie experience” (Jake Spencer, Indiewire). From the director of the viral first-person shooter music video Biting Elbows’ “Bad Mother F***er” (Ilya Naishuller) and the producer of Wanted (Timur Bekmanbetov), Hardcore Henry is a groundbreaking action hit that’s unlike anything you’ve seen before!

Special Features:

• Deleted Scenes
• Fan Chat: Director Ilya Naishuller and Star Sharlto Copley Answer Fan Questions about How Hardcore Henry Was Made
• Feature Commentary with Director/Producer Ilya Naishuller and Star/Executive Producer Sharlto Copley

The post Hardcore Henry Explodes onto Blu-ray and DVD in July appeared first on Dread Central.

Jim Lane’s Betrothed arrives on VOD July 15th courtesy of Osiris Entertainment; and to make sure you’re keeping the film on your radar, today we have an exclusive clip to share.

Betrothed (review) stars Mikayla Gibson, Bill Oberst, Jr. (“Criminal Minds,” Circus of the Dead), Trae Ireland (13/13/13), Omar Gooding (Barbershop), Reatha Grey (Chocolate City), Joey Bell, David Brown, Elizabeth Castillo, Jamie B. Cline, Adam Dunnells, Nailya Shakirova, and Bunny Gibson (Creepshow III).

Lane directs from a script by Jeff D. Rosenberg. Greg Munsell, Carole Vesely, and Marie Lemelle produce.

Synopsis:
A trip to the store turns into a surreal nightmare when a college student is kidnapped by a deranged, dysfunctional family. Now Audra West finds herself trapped in the middle of the desert and betrothed to Adam, the youngest son of the murderous clan. As a determined detective conducts a frantic search, Audra realizes the only way to survive is to escape. But even if she could get away, almost two hundred miles of desert lies between her and help.

The post See an Exclusive Clip from Betrothed appeared first on Dread Central.

Something as brilliant as “The Twilight Zone” could only come from the mind of a brilliant individual, and the man responsible for the series was of course Rod Serling. The show’s creator and host, the late Serling used science fiction and fantasy to tell stories quite unlike anything on the small screen then or since, and the series remains one of the best to ever hit the airwaves.

Fans of “The Twilight Zone” will want to check out a 5-minute video the folks over at PBS Digital Studios’ Blank on Blank just put together, which gives new life to a vintage interview Australian radio presenter Binny Lum conduced with Serling back in 1963. The audio was dug up from The National Film and Sound Archive of Australia, and it’s likely you’ve never heard it before.

In the interview, which is unsurprisingly poignant and deep, Serling talks about his childhood and the inspirations behind “The Twilight Zone,” and he also digs into the limitless potential of science fiction and the way that it has essentially predicted the future over the years. It’s a fascinating listen and a fun video, so be sure to give it a watch below.

The post Rod Serling Talks Twilight Zone in Vintage Audio Turned into Fun Animated Video appeared first on Dread Central.

This year is a big one for the Fantasia International Film Festival, as the event celebrates its 20th birthday in July. Ahead of the full lineup, the first wave of titles have been dropped in our inbox today, along with the reveal that both Guillermo del Toro and Takashi Miike will be honored with special achievement awards. Read on for all the details!

From the Press Release:
The Fantasia International Film Festival will be celebrating its 20th Anniversary in Montreal this summer, taking place from July 14-August 2, with its Frontiéres international co-production market and Industry Rendez-Vous weekend being held July 21-24. The full lineup of over 130 feature films will be announced July 5th. In the meantime, the festival is excited to announce a selected first wave of titles, along with several special happenings.

A CHEVAL NOIR FOR GUILLERMO DEL TORO

The 20th edition of the Fantasia Film Festival will be presenting leading genre filmmaker Guillermo del Toro with its prestigious Cheval Noir Award, which del Toro will accept in person in his first-ever Montreal appearance. Del Toro, best known for such fantasy and horror classics as PAN’S LABYRINTH, THE DEVIL’S BACKBONE, CRONOS, CRIMSON PEAK, and the HELLBOY movies, will also deliver a Master Class at Fantasia. In addition, del Toro will host the Canadian premiere of Gilles Penso and Alexandre Poncet’s CREATURE DESIGNERS: THE FRANKENSTEIN COMPLEX, a fascinating documentary on the history of movie monstermakers, in which he is featured prominently in.

A LIFETIME ACHIEVEMENT AWARD FOR TAKASHI MIIKE

The Fantasia International Film Festival is proud to be presenting Director Takashi Miike, one of the most groundbreaking filmmakers of his generation, a Lifetime Achievement Award. No other filmmaker has left a mark on Fantasia’s first 20 years as he has. Since our screening of FUDOH: THE NEW GENERATION in 1997, which was the first time Miike’s unique vision was shown in North America, no fewer than 29 of his films were showcased at the festival, including such modern classics as AUDITION, ICHI THE KILLER, and VISITOR Q. Miike’s work also opened Fantasia three times with YATTERMAN and North American premieres of the Cannes selections FOR LOVE’S SAKE and SHIELD OF STRAW. In addition to receiving his award, Takashi Miike will be hosting the North American Premiere of TERRA FORMARS, a sci-fi extravaganza where a team of misfits must fight humanoid cockroaches to colonize Mars, and AS THE GODS WILL, a surreal deathgame where Japanese traditional objects turn playground amusement into modern video-game blood baths.

THE WORLD PREMIERE OF STEVEN SHAINBERG’S RUPTURE

Steven Shainberg, celebrated iconoclastic filmmaker behind SECRETARY and FUR: AN IMAGINARY PORTRAIT OF DIANE ARBUS has returned to the director’s chair with his first full-on genre work, which we are thrilled to be unveiling to the world. RUPTURE is a provocative and startling sci-fi/horror/thriller about a single mother struggling to escape from a mysterious organization that have abducted her, starring Noomi Rapace, Peter Stormare, and Michael Chiklis. Produced by Andrew Lazar, Christina Weiss Lurie, Steven Shainberg of Tango Pictures, and Andrea Iervolino, Monika Bacardi of AMBI.

KIYOSHI KUROSAWA’S CREEPY BERLINALE SMASH COMES TO CANADA

After forays into auteur cinema like the magnificent TOKYO SONATA (Un certain regard Jury Prize at Cannes 2008), J-horror pioneer Kiyoshi Kurosawa, whose classics CURE and SÉANCE were adored at Fantasia in their day, makes a triumphant return to the horror thriller genre with the Berlin Film Festival selected Hitchcockian horror thriller CREEPY, which will be screened in Canadian Premiere. Kurosawa brings terror to a quiet neighborhood where an ex detective and his wife have to deal with their deranged new neighbor spectacularly brought to the screen by the excellent Teruyuki Kagawa.

GET READY TO SCREAM AS FANTASIA TURNS THE LIGHTS OUT

Fantasia will be presenting a Special Screening of David F. Sandberg’s hotly anticipated horror film LIGHTS OUT, in which a woman is haunted by a creature that only appears when the lights go out. Teresa Palmer, Maria Bello, Billy Burke, and Alicia Vela-Bailey star.

IT’S ALIVE!? NO, IT’S REALIVE (World Premiere)

The provocative new film (formerly PROJECT LAZARUS) from acclaimed Spanish filmmaker Mateo Gil (screenwriter of THE SEA INSIDE, VANILLA SKY, director of NOBODY KNOWS ANYBODY, BLACKTHORN) presents a modern spin on FRANKENSTEIN, where the emphasis rests on the emotional and psychological ramifications of reanimating the dead. Tom Hughes stars as a man awakened from cryogenic sleep 60 years into the future who must adjust to a life that left all his loved ones behind.

ASSASSINATION CLASSROOM: GRADUATION

One year after hosting the International Premiere of the long awaited manga adaptation ASSASSINATION CLASSROOM, a Fantasia 2015 fan favourite, the festival will have the pleasure of screening the North American Premiere of ASSASSINATION CLASSROOM: GRADUATION, the conclusion of Director Eiichiro Hasumi’s diptych. All the students from class 3-E are back to eliminate Koro Sensei before he destroys the planet, but unexpected revelations about his past will change the game and bring a whole new threat over the beloved characters of this ultimate crowd pleaser.

A SPECTRAL WHITE COFFIN FROM ARGENTINA

Argentinean horror steps into a bold, new dimension in Daniel de la Vega’s grisly supernatural shocker WHITE COFFIN (World Premiere), scripted by brilliant filmmaking siblings Adrian and Ramiro Garcia Bogliano. Fantasia is thrilled to be opening WHITE COFFIN’s diabolical lid for the world to discover its horrific secrets, where child kidnapping, afterdeath resurrection and occult ritualism are intertwined for an unspeakable purpose.

A VERY RED CHRISTMAS FROM AUSTRALIA

Christmas day becomes a hellish homecoming in Craig Anderson’s RED CHRISTMAS (International Premiere), an unusual Australian horror/comedy gorefest starring beloved genre vet Dee Wallace (HILLS HAVE EYES, THE HOWLING, E.T.) that’s at once an over-the-top rollercoaster of a slasher film and a confrontational sociopolitical hand grenade.

YEON SANG-HO IS BACK WITH SEOUL STATION

The Korean capital’s central subway station becomes a maze of terror in Yeon Sang-ho’s SEOUL STATION (Canadian Premiere), an electrifying, socially incisive and ultimately heart-wrenching animated zombie chiller from the acclaimed director behind THE KING OF PIGS (Satoshi Kon Award at Fantasia 2012), THE FAKE, and the Cannes 2016 sensation TRAIN TO BUSAN.

AN INVISIBLE MAN UNLIKE ANY THE SCREEN HAS SEEN BEFORE

A man who abandoned his family now risks everything to find his missing daughter, including exposing the secret that he is becoming invisible in THE UNSEEN (World Premiere), an unconventional and compelling dark horror drama from Canada. The feature debut from Vancouver special make-up effects maestro Geoff Redknap, whose work was seen in DEADPOOL, ELYSIUM, WATCHMEN, and CABIN IN THE WOODS, to name a few, THE UNSEEN stars Aden Young, Julia Sarah Stone, and Camille Sullivan.

PSYCHONAUTS

Fantasia is proud to be unveiling the first Canadian showing of the astonishing Spanish feature PSYCHONAUTS, from BIRDBOY creators Alberto Vázquez and Pedro Rivero. A fraught, even frightening animated surrealistic fairy-tale blessed with beautiful handcrafted artwork that’s bound to leave viewers more than a hint haunted. Winner: Best Animated Feature, Stuttgart Film Festival 2016, Official Selection: Annecy 2016, Holland Animation Film Festival 2016.

Additional First Wave Highlights Include…

ABATTOIR
USA – Dir: Darren Lynn Bousman
The murder of her family leads a real-estate reporter into a nightmarish mystery in this ghoulishly original film that haunts the netherworld between blood-soaked supernatural horror and hardboiled neo-Noir. Darren Lynn Bousman, the man behind REPO: THE GENETIC OPERA, SAW II-IV, and THE DEVIL’S CARNIVAL, has returned. Official Selection: Los Angeles International Film Festival 2016. International Premiere

THE ALCHEMIST COOKBOOK
USA – Dir: Joel Potrykus
Sean has dropped out of life, set up shop in a small trailer in the woods, and decided to pursue the forbidden art of alchemy. An irreverent, abrasive, and horror-infused take on modern-day alienation that plays like a punk-rock EC Comics tale, from the acclaimed director of COYOTE, APE, and BUZZARD. Official Selection: SXSW 2016, Nashville Film Festival 2016, BAMCinemaFest 2016.

AMERICANA
USA – Dir: Zachary Shedd
A film editor must battle his own demons when an on-set eruption of violence leads to a deeper, darker conspiracy. A beautifully brooding neo-Noir, more calculated and compelling with every twist and turn. Official selection: Seattle International Film Festival 2016. International Premiere.

ANTIGANG
France – Dir: Benjamin Rocher
A police squad’s rough and unconventional methods are challenged just as a rash of robberies put Paris on edge. Jean Reno stars in this explosive, captivating, and highly entertaining action film. North American Premiere.

Atmo HorroX
Quebec – Dir: Pat Tremblay
All is well in the land of the mad, in the latest surrealist opus from Pat Tremblay (HELLACIOUS ACRES), twisted titan of the Quebec underground. One thing is certain — rational thought has left the building and hasn’t left a number where it can be reached. Official Selection: Revelation Perth International Film Festival 2016. North American Premiere.

THE BACCHUS LADY
South Korea – Dir: E J-yong
Senior citizen So-Young takes in a mixed-race kid while tending to her many clients. A thoroughly compassionate and revealing look at the lives of aging prostitutes in South Korea – with a murderous twist! Official Selection: Berlinale 2016 (Panorama). Canadian Premiere.

BAD BLOOD: THE MOVIE
USA – Dir: Tim Reis
What’s the deal with all those frogs in the gas station’s makeshift basement laboratory? This old-fashioned creature feature is a goopy new lab sample of the growing Atlanta, GA horror scene featuring hand-crafted make-up effects designed and created by James Sizemore. WINNER: Audience Award, Best Feature, Chattanooga Film Festival 2016. International Premiere.

BAD CAT
Turkey – Dir: Mehmet Kurtuluş, Ayşe Ünal
Forget FRITZ THE CAT, this is GARFIELD-goes-BAD LIEUTENANT! Guaranteed fun for cat lovers, fans of international animation, and hopeless degenerates. Which one are you? Official Selection: Neuchatel International Fantastic Film Festival 2016. North American Premiere

THE BODYGUARD
China – Dir: Yue Song
The new master of the Iron Kick clan sets out in search of a lost friend, earns a job protecting a rich man’s daughter, and clashes with a criminal gang in one of the most exciting and auspicious martial arts films in years! Canadian Premiere

CHIHAYAFURU PART 1 & PART 2
Japan – Dir: Nori Koizumi
Chihaya is driven like few shojo heroines are: she wants to become the world champion of karuta, the traditional, competitive card-playing game mixing ancient poetry, extreme hand speed, and almost violent card tossing. Adapted from the acclaimed manga, this perfect blend of coming of age tale and exhilarating sports drama will make you laugh, cheer and probably shed a tear. North American Premiere.

THE DARK SIDE OF THE MOON
Germany – Dir: Stephan Rick
A psychedelic mushroom trip turns a successful lawyer into a wanted man in this tense and violent thriller starring Moritz Bleibtreu and Jürgen Prochnow. Official Selection: Zurich Film Festival 2015, Hamburg Film Festival 2015. North American Premiere.

EMBERS
USA/Poland – Dir: Claire Carré
Since the apocalypse, humanity has been deprived of its memory. Two strangers wake up together. Are they somehow connected? A thoughtful science fiction tale from a promising new voice in independent cinema. Official Selection: Oldenburg Film Festival 2015, Slamdance 2016. Winner: Narrative Feature Jury Award, New Orleans Film Festival 2015. Canadian Premiere.

THE GREASY STRANGLER
USA – Dir: Jim Hosking
The feature debut of absurdist advertising genius / acclaimed short filmmaker Jim Hosking is the grossest father-son comedy you’ll ever see and the weirdest serial killer film on the planet, propelled by an in-your-face drive to baffle, nauseate, and antagonize with its bizarre brand of humor. Produced by a superteam that includes Elijah Wood, Josh C. Waller, Ben Wheatley, Tim League, and Ant Timpson. Official Selection: Sundance 2016, SXSW 2016. Canadian Premiere.

HEART ATTACK
Thailand – Dir: Nawapol Thamrongrattanarit
Workaholic Yoon has a more serious medical condition than stress-induced rashes. He’s starting to show the symptoms of serious heartache. Paging pretty Dr. Imm! A pitch-perfect rom-com from a rising Thai star director. WINNER: Thailand National Film Association Awards (Best Director, Best Screenplay, Best Editing). Official Selection: Osaka International Film Festival, Udine Far East Film Festival, New York Asian Film Festival. Canadian Premiere.

HUNT FOR THE WILDERPEOPLE
New Zealand – Dir: Taika Waititi
A troublesome teen and a cranky old man get tangled up in a wild manhunt through the New Zealand bush in this intelligent, hilarious, and original adventure that is the biggest homegrown kiwi hit of all time. From the co-director of WHAT WE DO IN THE SHADOWS. Official Selection: Sundance 2016, Tribeca Film Festival 2016, Calgary Underground Film Festival 2016. Quebec Premiere.

IN A VALLEY OF VIOLENCE
USA – Dir: Ti West
A drifter comes to mining town Denton, home to criminals, bullies, and hustlers and all hell begins to break loose in this witty, tense, and grisly Western from maverick horror maestro Ti West starring Ethan Hawke, Karen Gillan, and John Travolta. Official Selection: SXSW 2016 International Premiere.

KIDNAP CAPITAL
Canada – Dir: Felipe Rodriguez
Stripped bare and confined in an Arizona basement, a group of undocumented Mexicans are beaten and brutalized in an attempt to extort money from their families. A brutal powerhouse laced with a claustrophobic tension. Official Selection: Manchester Film Festival 2016, Newport Beach Film Festival 2016. Winner of the Chairmen’s Award at the 2015 San Diego Film Festival. Canadian Premiere.

MAN UNDERGROUND
USA – Dirs: Michael Borowiec, Sam Marine
The latest gem to emerge from the loose U.S. wave of personal indie genre visions of recent years that includes such singular works as THEY LOOK LIKE PEOPLE, BELLFLOWER, and RESOLUTION, MAN UNDERGROUND is a very special and uncomfortable film. A sometimes funny, sometimes frightening work of intense paranoid drama with chilling elements of sci-fi and an incredible lead performance from FLAKED’s George Basil. Official Selection: Cinequest 2016. International Premiere.

MIRUTHAN
India – Dir: Shakti Soundar Rajan
Karthik’s orderly life is upended when his beloved sister disappears — and a strange virus transforms everyone around him into bloodthirsty ghouls! There’s no time to sing and dance in the first Tamil zombie chiller!

OPERATION AVALANCHE
Canada – Dir: Matt Johnson
In 1967, four undercover CIA agents were sent to NASA posing as a documentary film crew. What they discovered led to one of the biggest conspiracies in American history. An astonishing new creation from the brilliant team behind THE DIRTIES. Official Selection: Sundance 2016, Hot Docs 2016. Quebec Premiere.

TEENAGE COCKTAIL
USA – Dir: John Carchietta
Picture-perfect teens Annie and Jules are in love, and have made a plan. A cautionary tale of sorts about mad teenage love, growing up on the Internet, and the kind of poor decisions that characterize life lived to its fullest… or shortest. Official Selection: SXSW 2016, Independent Film Festival of Boston 2016. International Premiere.

THEY CALL ME JEEG
Italy – Dir: Gabriele Mainetti
Can a small-time crook who unexpectedly gains incredible, unnatural powers turn his life around and become a crusader for good? A smart, slick, stylish, and very Italian take on the superhero action adventure, loaded with colorful characters and clever ideas. Winner of the Silver Scream Award at the Imagine International Film Festival, Amsterdam. Canadian Premiere.

TRASH FIRE
USA – Dir: Richard Bates Jr.
Owen and Isabel are hatefully in love, and soon to be parents. Can a road trip to visit mysterious distant family save their relationship, or are they opening a rotting Pandora’s box of secrets, lies, and murder? An acerbic, hilarious horror-comedy from the director of EXCISION and SUBURBAN GOTHIC, starring Adrian Grenier, Angela Trimbur, and Annalynne McCord. Official Selection: Sundance 2016, Chicago Critics Film Festival 2016. Canadian Premiere.

UNDER THE SHADOW
Iran/U.K./Jordan – Dir: Babak Anvari
Amidst the horrors of the Iran-Iraq war, a terrifying djinn may be stalking a mother and daughter’s missile-struck apartment. A bold new leap in Persian-language cinema, UNDER THE SHADOW repurposes the conventions of genre storytelling into frightening new form, delivering an emotionally pulverizing experience in fear that also functions as gripping sociopolitical commentary. Official Selection: Sundance 2016, Seattle International Film Festival 2016. Quebec Premiere.

WE ARE THE FLESH
Mexico – Dir: Emiliano Rocha Minter
A brother and sister fall into the clutches of an uncanny entity whose dark rituals demand that they break every imaginable taboo. Courageous viewers, prepare for a journey deep into the heart of darkness that counts Alejandro González Iñárritu, Alfonso Cuarón and Carlos Reygadas among its enthusiastic supporters. Official Selection: International Film Festival Rotterdam 2016. North American Premiere.

WE GO ON
USA – Dirs: Andy Mitton, Jesse Holland
Miles is prepared to pay $30,000 for proof of any sort that life may go on after we die. For better or for worse, he’s going to get an answer. Engrossingly intelligent and character-driven, full of stunning curves and surprises, and utterly frightening, WE GO ON is one of the most gripping paranormal explorations that cinema has seen in years. An absolute triumph of resourceful independent filmmaking. Winner: Audience Award, Best Feature, Dead by Dawn Horror Film Festival 2016. Official Selection: Cleveland International Film Festival 2016. Canadian Premiere

WOMEN WHO KILL
USA – Dir: Ingrid Jungermann
Commitment phobic Morgan (director Ingrid Jungermann) and her ex-girlfriend Jean (Ann Carr), locally famous true crime podcasters, suspect Morgan’s new love interest (A GIRL WALKS HOME ALONE AT NIGHT’s Sheila Vand) is a murderer. A smart, introspective black comedy that won a richly deserved award for Best Screenplay in a US Narrative Feature at this year’s Tribeca Film Festival. International Premiere.

The post 2016 Fantasia International Film Festival Announces First Wave Films; Celebrating Guillermo del Toro appeared first on Dread Central.

Despite being directed by the great Takashi Miike, the sci-fi manga adaptation Terra Formars was slaughtered by critics like an exterminator slaughters bugs and underperformed at the Japanese box office, opening in seventh place and taking a total of $5,512,622.

We still don’t know when, if at all, it will be released overseas (there’s still a ton of Japanese movies we want to see which haven’t yet been released in the West), but we’ve got a look at one hell of a weird teaser for the film, in which scientists create a sticky surface to catch the menacing giant cockroaches. Sticky enough to trap sumo wrestlers, it seems. Have a look at this bizarre piece of viral marketing below.

The post Scientists Try to Trap Cockroaches in Bizarre Promotional Video for Miike’s Terra Formars appeared first on Dread Central.

Around these parts we’re HUGE fans of the flick Deathgasm and try to let you know about any Deathgasm related goodies as soon as we can! That being said, if you’re as big a fan of both it and collectibles as we are, you’re really gonna want to pay attention to this!

The figures you see below will be available via Goodleg Toys and go on sale tomorrow morning, Friday, May 27th, at 6.66 AM Berlin time (GMT+1; that’s six minutes past seven)! What’s that mean to you folks Stateside? 10:06 PM PT TODAY!

For more info hit the above link, and “like” Goodleg Toys on Facebook!

The post Get Your Custom Deathgasm Toys While You Can! appeared first on Dread Central.