Starring Katrina Bowden, Brandon W. Jones, Justine Wachsberger, Damon Dayoub

Directed by Ivan Silvestrini

Screened at FrightFest 2016

Ex-pop idol Sandra (Bowden) is a conflicted woman. Regretful of the starry life she left behind when she had her son, David, her personal crisis isn’t helped by the suspicion that her aloof husband, Carl (Dayoub) is cheating on her.

Behind the wheel of her brand new car – the titular Monolith – Sandra’s supposed to be taking David to visit her parents for the weekend… but when her ‘cheating bastard’ alarm is sent into high gear by a conversation with one of her friends, she decides to change course and take the extended desert drive to Los Angeles in order to confront her film producer husband in person.

The Monolith itself is presented as the latest, greatest in automotive technology. Powered by the ‘Lilith’ AI, operated through a smartphone app, the Monolith is a near-impenetrable, bulletproof tank of a family vehicle complete with beyond-mod-con interior and exterior functions.

When Sandra hits a deer on a winding desert shortcut, she gets out to investigate – only for David, whom she so absently-minded allows to play with her smartphone, to activate Lilith’s ‘vault’ mode and summarily secure himself inside the vehicle.

Unable to get inside and retrieve her child, Sandra is forced into a race against time where she must figure out how to get the helpless youngster out of an impenetrable fortress that’s rapidly becoming an oven in the desert heat.

Monolith’s premise is a decent, if unspectacular one, but Silvestrini and co. never manage to fill their one-note story template with much of interest once David is locked in the car, seeing Sandra haggardly wandering the surrounding environs, finding a few small utilities of interest and wandering back again.

There’s a spark of adrenaline introduced through the introduction of a feral dog, determined to make both Sandra and the dead deer its next meal – its involvement, however, is short-lived and the eventual removal of the canine from the story indicative of both a serious lack of knowledge of the behaviour of wild dogs (especially once they’ve already bitten and subjugated a potential prey) and of Monolith’s patchy storytelling.

In fact, in a vain attempt to perk things up a bit, Silvestrini even takes an hallucinatory detour into a potential future that many viewers are likely to wish had been the actual direction of the narrative. Alas, it isn’t to be, and we continue to play victim to Sandra’s efforts to retrieve her child – hoping with every passing moment that Monolith will just get to the inevitable solution that anyone paying attention will find not-so-subtly foreshadowed within the first 20 minutes.

Whilst Bowden’s performance is strong and convincing enough, her character is grating. Watching a well-to-do, lazy parent suffer an early mid-life crisis isn’t the most interesting of situations, and it’s hard to form any sympathy for Sandra or her almost incessantly whining child given the highly reactive, self-centred personality she exudes throughout the first act. The writing makes her look like a narcissist desperately trying to convince herself that her child is more important than the life that could have been, and Bowden struggles to make the material relatable through no fault of her own.

Culminating in a ridiculous CGI mountain climbing vehicle sequence, Monolith constantly struggles to stay on the right side of absurdity. For example, how this super-smart car is capable of detecting the weight and position of individual passengers, but isn’t programmed in any way to tell that weight on a seat plus the blaring heat outside is not a good combination, is beyond logic. This is especially true of the ‘vault mode’ that entraps David, which is supposed to be protective of those inside the vehicle (in event of, for example, a carjacking). At the very least, it could reasonably be expected that this function would be tuned to protect the lives of dogs with careless owners.

Or, for that matter, careless parents who’d rather let their kids fart about on a smartphone (despite being warned about exactly that) than do something else to stop them whining. But what do I know… I’m not a multinational supercar manufacturer who could possibly absorb such a massive lawsuit.

Still, Monolith is one gorgeous-looking film. The locations are stunning, and the sense of style throughout is impeccable. Those with an interest in cinematography will find loads to love here… but those looking for an interesting story, gripping tension or much beyond aggravation and boredom are likely to be left severely wanting.

The post Monolith (2016) appeared first on Dread Central.

With Blair Witch hitting theaters next weekend and the hype wheel buzzing, we figured that now would be the perfect time to bring on one of the co-directors of the film that started it all… 1999’s The Blair Witch Project. That’s right, kids! Eduardo Sanchez will be joining us LIVE.

We’ll be covering everything you can think of from TBWP and the fervor it caused to whatever else strikes our fancy. Lord knows… if we are anything at all, it’s fancy! It’s Brainwaves Horror and Paranormal Talk Radio, where anything at all can and WILL happen! It’s radio without a safety net, kids.

Tune in Wednesday evening, September 14th, at 9:00PM PT for all the shenanigans…

Brainwaves: Horror and Paranormal Talk Radio is available to subscribe to on iTunes. Not an iTunes user?  You can also listen right here on the site.

Also you can hit Dread Central on Facebook to watch a live stream of the show as it happens.

Spooky, funny, touching, honest, offensive, and at times completely random, Brainwaves airs live every Wednesday evening beginning at 9:00 PM Pacific Time (12:00 midnight Eastern Time) and runs about 3 hours per episode.

Knetter and Creepy will be taking your calls LIVE and unscreened via Skype, so let your freak flags fly! Feel free to add BrainWavesTalk to your Skype account so you can reach us, or call in from a landline or cellphone – 858 480 7789. The duo also take questions via Twitter; you can reach us at @UncleCreepy and @JoeKnetter using the hashtag #BrainWaves.

Have a ghost story or a paranormal story but can’t call in? Feel free to email it to me directly at UncleCreepy@dreadcentral.com with “Brainwaves Story” in your subject line. You can now become a fan of the show via the official… BRAINWAVES FACEBOOK PAGE!

Brainwaves: Horror and Paranormal Talk Radio is hosted live (with shows to be archived as they progress) right here on Dread Central. You can tune in and listen via the FREE TuneIn Radio app or listen to TuneIn right through the website!

For more information and to listen live independent of TuneIn, visit the Deep Talk Radio Network website, “like” Deep Talk Radio on Facebook, and follow Deep Talk Radio on Twitter. And don’t forget to subscribe to Brainwaves on iTunes.

The post Brainwaves Episode 14 – Guest Announcement – Eduardo Sanchez appeared first on Dread Central.

Yesterday we mentioned that in “From Dusk Till Dawn” Season 3 we’ll be meeting an assortment of demons and creatures who have risen from the depths of the now destroyed Titty Twister, and we’ve already crossed paths with a few of them.

Up now is new video in which executive producer Carlos Coto and co-star Zane Holtz discuss what goes into making a monster like Olmeca, a legendary Xibalban warrior that destroys everything in its path and is revered like a god.

“From Dusk Till Dawn” Season 3 features a returning ensemble including D.J. Cotrona, Zane Holtz, Eiza González, Jesse Garcia, Madison Davenport, Brandon Soo Hoo, Emily Rios, and Jake Busey. New cast members joining the third season are Ana de la Reguera as Lord Venganza Verdugo, one of the seven remaining culebra Lords; Marko Zaror as Zolo, an Aztec warrior trained in Hell; Tom Savini as Burt, a retired demon hunter who smokes more medical marijuana than he sells; Maurice Compte as Brasa, a mysterious Rasputin-like figure who takes on the Gecko brothers; and Nicky Whelan, whose character will be revealed during the season.

Related Story: See How From Dusk Till Dawn’s Skull Keeper Was Brought to Life

“From Dusk Till Dawn: The Series” is produced by Miramax in association with Rodriguez International Pictures, FactoryMade Ventures, and Sugarcane Entertainment. Executive producers are Robert Rodriguez, showrunner Carlos Coto, writer Diego Gutierrez, FactoryMade Ventures and El Rey Network co-founders John Fogelman and Cristina Patwa, and Miramax’s Zanne Devine and Daniel Pipski.

Be sure to tune in next week for Episode 3.03, “Protect and Serve,” directed by Alejandro Brugués (Juan of the Dead).

The post Another Monster Wreaks Havoc From Dusk Till Dawn; See How the Olmeca Was Made appeared first on Dread Central.

Those pesky extraterrestrials are at it again, and this time only the dude who played Professor X can save us! Deadline is reporting that James McAvoy has been circling the sci-fi thriller/action picture Extinction for Good Universe and Mandeville Films.

The story, which is one that seems to work on many levels (as good sci-fi typically does), follows a man haunted by nightmares in which his wife is assaulted and who becomes a hero when Earth is invaded by an army bent on destruction. McAvoy, who has previously co-starred in several X-Men films (most recently Apocalypse) and is said to be a big sci-fi fan, would play a father and chief mechanic at a factory who realizes those invading might not be what he expected.

David Hoberman and Todd Lieberman are two of the producers on the film which has had a number of writers on it, including Brad Caleb Kane (“Black Sails”) and Spenser Cohen and Eric Heisserer. The project is currently in development, and the producers are looking for the right director.

More as it comes!

The post James McAvoy Saving Us From Extinction appeared first on Dread Central.

A lot of TV shows will be returning to the airwaves over the coming days and weeks, and one that we’re optimistic about is “Scream Queens,” which has jumped ahead a few years and is now set in a hospital.  In fact, this latest promo for Season 2 is all about the new setting – check it out!

About “Scream Queens” Season 2:
Premiering Tuesday, September 20 (9:00-10:00 PM ET/PT), on FOX, Season Two of “SCREAM QUEENS” graduates from the college campus and into an all-new location. Season Two is set in a hospital, where some of the most fascinating and bizarre medical cases are under observation.

Golden Globe Award nominee Jamie Lee Curtis, Emma Roberts, Lea Michele, Abigail Breslin, Keke Palmer, Glen Powell, and Niecy Nash are set to reprise their Season One characters. Emmy Award nominee John Stamos, Taylor Lautner, and James Earl also joins the cast as the series’ new male leads with Colton Haynes and Cecily Strong as guest stars.

“Scream Queens” is from Ryan Murphy Television and Brad Falchuk Teley-Vision in association with 20th Century Fox Television. The series is created by Ryan Murphy, Brad Falchuk, and Ian Brennan, who also serve as writers and directors on the series. It is executive produced by Murphy, Falchuk, Brennan, and Alexis Martin Woodall (“American Horror Story: Hotel”).

The post New Scream Queens Promo Welcomes You to the Hospital appeared first on Dread Central.

IT’S HERE!!! The innovative collector’s edition of the horror comic book everyone’s been raving about! It’s not available in any store! Only at eibonpress.com

It’s LUCIO FULCI’S ZOMBIE #1, the first of an ongoing series based on the classic film. The first pressing of this instant classic issue sold out in a matter of mere hours, and these are selling fast!

The book is only available at eibonpress.com!

More information in the video below.

The post LUCIO FULCI’S ZOMBIE #1 REPRINT NOW ON SALE! appeared first on Dread Central.

As if “Stranger Things” couldn’t get any weirder, we’ve now got “Stranger Pugs.” Yup, a cute little pug named Doug and his humans were such big fans of the show that they decided to create their own doggie-themed homage, which you can watch below, but be warned: It contains an overload of canine cuteness.

Doug’s YouTube channel has over 54,000 subscribers so he must be one pretty popular dog! He’s also clearly got some acting chops, and if you haven’t done so already, subscribe to his channel for regular doses of pug-related shenanigans.

The post Stranger Pugs Parody Video Is the Cutest Thing You’ll See All Weekend! appeared first on Dread Central.

Because of great interest in this month’s Trick ‘r Treat Sam September Box of Dread, we are extending the signup deadline for September by 24 hours to September 10, 2016, so that you folks get a chance at the Sam September Seventh Box too!

Don’t squander this opportunity!

You have two ways to subscribe to Box Of Dread:

The Sam September Box of Dread will feature items from Trick ‘r Treat along with this new surprise. Feast your eyes on this beauty; it is exclusive to Box of Dread!

This awesome exclusive collectible Sam pin will also be in the Trick ‘r Treat Sam September Box of Dread in addition to other Sam goodies

If you don’t already know, you can soon get some official Trick ‘r Treat digital decorations thanks to AtmosFX’s Trick ‘r Treat Sam Digital Decoration. You can digitally decorate your homes and yards this Halloween season with unique Trick ‘r Treat animated displays that are projected onto walls, windows, props, and more. This pin is being done to help get the word out about this new decoration. The AtmosFX Trick ‘r Treat decor will not be included in Box of Dread so if you are excited about it be sure to sign up for updates at the AtmosFX site.

Related Story: Michael Dougherty Talks Trick ‘r Treat Sequel; Trilogy Planned

On top of that, as usual, one acolyte will also receive the fabled Box of Dread Seventh Box in addition to the regular monthly box. You’ll just have to be an active Box of Dread acolyte to be automatically entered into the drawing.

Hurry… the deadline to sign up for the Sam September Box of Dread has been extended to 11:59 pm ET on September 10, 2016.

Sign up to be a Box Of Dread acolyte now! Then you would also be eligible to win the elusive Box of Dread Seventh Box.

The deadline to sign up for the Sam September Box of Dread has been extended to 11:59 pm ET on September 10, 2016.

The post Trick ‘r Treat Sam September Box of Dread Deadline Extended appeared first on Dread Central.

Tom Holland has been a fixture in the horror community for decades and as a result has a wealth of knowledge regarding the industry and the people working within it.  Who wouldn’t love to spend a few minutes with him every week hearing some of his stories?

If that idea sounds like something you might want to support, then read on for the details of a crowdfunding campaign that just kicked off for the weekly documentary series “Two Minutes with Tom Holland.”

From the Press Release:
Los Angeles-based executive producer Jack Ulrich is proud to announce the launch of a GoFundMe campaign for “Two Minutes with Tom Holland,” a twenty-two episode weekly documentary series which will feature writer, actor, and director Tom Holland, the creator of the horror classics Child’s Play, Fright Night, and Psycho II.

“The goal of the documentary,” said Ulrich, “is to delve behind the scenes of Mr. Holland’s films and to shine a light on his oftentimes entertaining and occasionally bizarre journey from starry-eyed actor to a genuine ‘Master of Horror.’”

Directing the series will be indie filmmaker and producer Christian Ackerman (Hell’s Belles, Death House), with Geek Nation personality and scream queen Carlee Baker (Lucky McKee’s The Woman, “Robot Chicken”) serving as the show’s host. Rounding out the production team is long-time horror journalist and screenwriter Sean Decker of Dread Central.

“If you’d like to hear never-before-told stories from Fright Night, Psycho II, and many more – from Tom himself,” said Baker, “please visit our GoFundMe page and get involved. We’ve got some incredibly cool perks for our contributors, as this series will be for the fans and by the fans. Let’s keep horror alive!”

Offered Holland, “I’d like to take a moment to thank the horror fans out there for their years of love and support of my work, and I look forward to many more years of scaring the hell out of you and of telling you a little bit of how I did it, in ‘Two Minutes with Tom Holland.’”

Learn more and stay up-to-date with “Two Minutes with Tom Holland” on Facebook and Twitter.

The post Weekly Documentary Series Two Minutes with Tom Holland in the Works; You Can Help! appeared first on Dread Central.

The folks over at Eibon Press just keep on kicking the horror world’s ass with their Fulci Comics. Issue #1 of Zombie, based on the classic film, is now available again as a limited edition reprint and is rapidly selling out. Issue #2 is well on the way also, and it promises to be a gore-soaked delight!

Eibon Press co-founder Shawn Lewis provided us with the lowdown today.

“We just went live with the second printing of LUCIO FULCI’S ZOMBIE #1 last night at our website and we’re having the same great success with it,” said Lewis. “The fans of Fulci and ZOMBIE are really coming out in force for these comics. In fact, I wanted to share with your readers that we still have hundreds of unsigned copies of the #1 reprint for sale as of today. The great thing about the unsigned copies is that they come with all the same bells and whistles and they’re a little cheaper too!”

“And we’ll be rolling out LUCIO FULCI’S ZOMBIE #2 in less than a month also,” he added. “Issue #2 features the most iconic scenes of the classic Fulci film, like Shark Vs. Zombie and Eye Vs. Splinter, but it also features a 5-page bonus story from our upcoming GATES OF HELL comic, based on Fulci’s CITY OF THE LIVING DEAD. Check it out one time, won’t you? GATES will be a 3-issue mini-series and is actually the start of a trilogy of horrors we have planned, called THE SAGA OF THE 7 GATES. It’s a blood-soaked epic, based on the films of Fulci!”

A gentle reminder: Fulci Comics are not available in any store. You can only get them at EIBONPRESS.COM.

So get your ass over there!

The post Exclusive: Eibon Press Talks Gates of Hell Comic Series; Fulci’s Zombie #1 Reprint Now Available! appeared first on Dread Central.

At this time we here at Dread Central would like to take a moment to reflect on and honor the memories of our friends and family who were lost to us 15 years ago on September 11th. The passage of time has done nothing to ease the pain. You’ll always be loved and remembered.

And here’s to our troops. Thank you so much for continuing to fight for us every day. Get home safe.

“And wherever you’ve gone… and wherever we might go…
It don’t seem fair… today just disappeared…
Your light’s reflected now… reflected from afar…
We were but stones… your light made us stars.” – Pearl Jam, “Light Years”

God bless.

– The Dread Central Family

The post In Memoriam: September 11, 2001 appeared first on Dread Central.

Director Greg McLean’s latest film, The Belko Experiment, which was written and co-produced by James Gunn, has landed distro following its Midnight Madness debut at this year’s Toronto International Film Fest. We have the early details for you right here, and we only have to wait six months to see it!

From the Press Release:
On the heels of a raucous debut screening at the Toronto International Film Festival’s Midnight Madness, Orion Releasing, a distribution arm of MGM, and BH Tilt announced today that they are partnering to release The Belko Experiment, directed by Greg McLean (The Darkness, Wolf Creek), written and produced by James Gunn (Guardians of the Galaxy, Guardians of the Galaxy Vol. 2), and produced by Peter Safran (The Conjuring and Annabelle).

The film will debut in theaters on March 17, 2017. BH Tilt is Blumhouse’s releasing company run by John Hegeman that takes advantage of new distribution and marketing strategies to release targeted films backed by digitally heavy campaigns. BH Tilt’s most recent release, The Darkness, starring Kevin Bacon and also directed by McLean, grossed over $10m in a targeted release; its next film, Incarnate, directed by Brad Peyton and starring Aaron Eckhart, will be released on December 2nd.

Hegeman said: “Greg, James, and Peter made a truly original and unique movie that we are excited to work with them and Orion on bringing to genre audiences all across the country.”

Jonathan Glickman, MGM’s President, Motion Picture Group, said, “Following a rousing debut here in Toronto, there is no better partner for this exciting film than in the talented hands of BH Tilt. We cannot wait for audiences to experience in what Greg, James, and Peter have created.”

Gunn said: “I can’t imagine a better home for us than BH Tilt – a movie as edgy and unique as Belko needs a deft hand for its release, and BH Tilt is the deftest of them all.”

McLean said: “I’m so proud of this movie and the amazing team of collaborators behind it and couldn’t be more excited about once more working with my friends at Orion and BH Tilt to bring Belko to audiences. Genre fans are in for an unforgettable ride!”

The Belko Experiment explores a twisted social experiment, in which a group of 80 Americans are locked in their high-rise corporate office in Bogata, Colombia, and ordered by an unknown voice coming from the company’s intercom system to participate in a deadly game of kill or be killed.

The film stars John Gallagher, Jr. (“The Newsroom,” 10 Cloverfield Lane), Tony Goldwyn (“Scandal”), Adria Arjona (“True Detective”), John C. McGinley (Stan Against Evil, “Scrubs”), Josh Brener (“Silicon Valley”), Michael Rooker (“The Walking Dead,” Guardians of the Galaxy), Sean Gunn (Guardians of the Galaxy), and Melonie Diaz (Fruitvale Station).

The post TIFF 2016: Orion and BH Tilt Team Up to Distribute The Belko Experiment appeared first on Dread Central.

Starring Natalie Burn, Ignacia Allamand, Ariel Levy, Bryce Draper, Luke Massy

Directed by Patricio Valladares

Screened at FrightFest 2016

Following up on his odious, horribly plotted disaster Hidden in the Woods, Chilean director Patricio Valladares returns to the genre with Downhill – a not-quite-as-odious but still horribly plotted disaster.

Couple Joe (Draper) and Stephanie (Burn) are downhill bike racing enthusiasts. Still reeling from the accidental death of one of their friends during a race, Joe and Stephanie are invited by old friend Pablo (Levy) to take part in a corporate-sponsored race in Chile that could make for a solid payday.

Accepting, the pair hop on a plane and head over, partying with Pablo before taking off the next morning for a practice run through the nearby forest. It’s all – *sigh* – downhill from here, though, when they discover an injured, and sick, man behind the wheel of a crashed vehicle. Desperate to find help for the wounded man, Joe and Stephanie draw the ire of a group of local hunters led by a ruthless brute ‘alpha’ (Massy) – all of whom appear determined to protect the secret behind whatever it is that’s wrong with the man involved in the crash.

Valladares’ Downhill has a pretty good setup: isolated location, fish-out-of-water protagonists, threatening adversaries of unknown motivation and some kind of freaky infection – but as the film progresses, it very much matches its namesake when it comes to quality. Once again, Valladares just can’t seem to help himself when it comes to his portrayal of women – whose only purpose appears to be running, screaming, shouting, stripping and dying. Every time it seems that Burn’s Stephanie is about to go ‘Ripley’ and demonstrate sufficient independent strength, she caves or folds time and time again… the switch serving no real character purpose – it’s merely to drive her from one point of conflict to the next. If things need to move, she gets strong for a moment; if Valladares wants the abuse to persist, she flops like a fish. It’s all over the bloody place and, ultimately, insulting to anyone of reasonable intelligence.

The villains are one-note but passable – which actually works given their shady nature – but Valladares has a tendency to wreck almost every encounter with them by overloading the scene with terrible CGI gunshots/bullets and the belief that shaking the damned camera every time someone pulls a trigger makes for a more impactful sequence. It does not.

Still, there’s a compelling mystery at the core of Downhill – possibly the only thing that will keep the devoted genre fan watching beyond the first 30 minutes – and the makeup effects used to demonstrate the mutations caused by whatever infection is ravaging these woods are superb. There’s also some creature action – the infection evolving into tentacles bursting from chests and other monstrous fun.

But even this is unfocused, unfulfilled and poorly handled. Some obscure answers are offered as the relatively poor ending comes around, but many are kept locked away – for example, what are the bags hanging in the woods for? What is the purpose behind all of the villains’ activity? Why is there only one single incident of apparently supernatural/mystical behaviour in between all the grounded body horror?

Realistically, these are questions that you’re likely to ask and immediately forget – because dissecting Downhill to such a degree simply isn’t worth the time nor the effort. If the filmmakers had felt differently, perhaps we’d have ended up with a more satisfying film but as it stands, Downhill is a dull, slapdash effort with very little in the way of redeeming qualities.

The post Downhill (2016) appeared first on Dread Central.

Starring Missi Pyle, Penn Jillette, Harry Hamlin, Hayes MacArthur

Directed by Adam Rifkin

Screened at FrightFest 2016

After donating enough money to the crowdfunding efforts of low-rent serial killer flick Knocked Off, weirdo Herbert Blount (Jillette) earns himself a Producer credit and the opportunity to be on set throughout filming.

This very simple situation leads to the film you now watch: Director’s Cut.

The concept here is that the footage from director Adam Rifkin’s “Knocked Up” has been stolen by the maniacal Blount and re-edited using a mixture of the finished film, deleted footage and Blount’s own on- and off-set recordings… most interestingly, those in which he records himself stalking, kidnapping and eventually shooting new scenes with film star Missi Pyle, with whom he is completely obsessed.

One of the most gloriously inventive film experiences in years, Director’s Cut plays out with the likeable – but quite clearly out of his mind – Blount providing an almost constant commentary over his edition of the film. He fills us in on his motivations, why certain shots were stylistically chosen, what to look out for in terms of product placement and even waxes lyrical on what he thinks certain filmmaking terms mean as demonstrated on-screen. Often he’s wrong; other times he’s right on with a little twist… and it makes for a seriously fun time for anyone with even a modicum of experience within the industry.

Director’s Cut tends to feel very lighthearted; and Blount, whilst obviously suffering from more than a few loose screws in the ol’ noggin, comes across as a harmless idiot. Yes, he’s creepy; yes, things eventually get dark when kidnapping and more uncomfortable situations arise – but you never get the sense that he would intentionally hurt Missi.

The manner in which Director’s Cut unfolds is borderline genius, getting everything a standard narrative would need to have – such as how Blount acquires the footage he’s using and how he manages to work himself into Missi’s life – through to the audience by having Blount himself include it in his edition of Knocked Off. These scenes are relevant to the story of Knocked Off in Blount’s twisted mind, and his commentary details the artistic and plot significance as relates to Rifkin’s original film. Some are even crudely edited with animation and Blount providing voiceover – turning, for example, a spied-on lunch between Missi and her sister becoming a hilarious, hard-boiled police discussion.

It’s quirky, it’s insane… and it’s riotously entertaining.

The cast are excellent across the board here, admirably managing the multiple layers necessary in terms of being an actor playing an actor playing a character whilst also playing themselves. The star of the show is most definitely Penn Jillette, however, and it’s unsurprising to see that he also wrote the film… because you simply won’t be able to imagine anybody else in the shoes of Herbert Blount. The voice, the enthusiasm, the playfulness… nobody could have nailed this like Jillette does, though he comes very close to being upstaged by the short appearance of his real-life on-stage showman pal, Teller – the usually-silent magician delivering a gut-busting (yes, spoken!) performance that you will never, ever forget.

Director’s Cut does suffer slightly from being a one-note joke, but the humour comes thick and fast and Jillette’s lovable psycho is a constant pleasure to listen to. There’s always the sense of a surprise waiting just around the corner, so even when Director’s Cut finds its grip on pacing begin to slip, your attention is unlikely to wander too far given how frequently things get crazy.

You’ll need a tolerance/appreciation of bad movies (Knocked Off is intentionally derivative, unbelievable and cheesy) and a dark sense of humour if you’re going to get the most out of Director’s Cut – but if you can personally mark those on your list, then get ready for one of the most unique, oddball, self-aware and eminently enjoyable dark comedies you’re ever likely to see.

The post Director’s Cut (2016) appeared first on Dread Central.

Starring Kevin Ryan, Jake Busey, Fiona Dourif

Directed by Patrick Rea

Screened at FrightFest 2016

Ex-paramedic Charles (Ryan) has quit his job in order to follow his dreams and join his bandmates on tour – and before he disappears for six months, he and wife Dana (Dourif) set off on a camping trip to spend some much-needed time together.

Unbeknownst to Charles, Dana has recently discovered that she’s pregnant – but she hasn’t quite worked up the courage to tell him, given that they’ve already agreed that they’re not the kind of couple who would do well with children.

Out in the woods, Charles and Dana find their stay interrupted by the actions of a bunch of local hunters, who spend the evening getting drunk, shooting guns and riding quad bikes all over the forest. That is, until something attacks them…

With the hunters wiped out except for the gravely wounded Sean (Busey) – rescued from the situation by Charles and dragged into the couple’s tent – the three survivors find themselves stalked from all sides by some kind of forest-dwelling creature… and it only seems to be a matter of time before the thing decides to make its way inside.

Yet the thing outside isn’t the only threat, as the smarmy, big-mouthed Sean seems to have ulterior motives of his own – quietly working his way into the minds of his two saviours as he tries to turn them against one another and secure his escape from the forest.

Primarily a character play, Enclosure relies heavily on its cast and – thankfully – everybody here is more than up to the task. Dourif continues her impressive streak within the genre and the interplay between her and Ryan ably generates the feeling of a loving relationship that’s just not quite in the best place right now. It isn’t overtly pointed out at any point, but the two of them manage to organically realise this subtext as a separate thread to Dana’s own worries regarding the pregnancy.

Next to them, Jake Busey inhabits the role of Sean almost entirely – he’s a perfect fit, leaving it difficult to picture anybody else in this position as he grins and weasels his way across each scene.

The drama of Enclosure does, however, outshine the horror as besides a couple of nicely timed scares, Rea overplays his monster hand with just a little too much early exposure given to the forest-dwelling beast(s). But these early shots don’t represent the quality of the impressive creature design once the last act reveals them in their full glory – adding another surprisingly effective creature to director Rea’s stable. His attraction to, and skill with, interesting monsters is just as apparent as it was in 2013’s Nailbiter – a film so inventively approached that most would never have noticed it was a werewolf flick until the reveal.

Here, we have something akin to a folklorish Native American Predator, with undertones of unpaid transgressions against Mother Earth and other antagonistic motives that might just spell the end of all three of our thoroughly modern civilisation dwellers.

Some cartoonish effects and digital compositing do let the side down, robbing chunks of fear factor from the tense, siege-like tent sequences and leaving the monsters lacking, but the dramatic threads playing out remain consistently compelling – and there’s certainly enough threat going on between the humans to get you through without much complaint.

Extra kudos to Rea for refusing to tie things with up with a nice big pretty bow, too – delivering an unexpectedly dark ending that hearkens to mythological and fairytale horror and reinforces his growing reputation as a filmmaker dedicated to finding new monstrous angles from which to come at you.

The post Enclosure (2016) appeared first on Dread Central.

Merely days after the announcement of the PS4 Pro, Tripwire Interactive revealed that Killing Floor 2 will be coming to the system, marking the series’ console debut – but there are a few strings attached. Read on for the details.

From the Press Release:
Tripwire Interactive, in collaboration with Deep Silver and Iceberg Interactive, is pleased to announce that the retail release of its highly successful co-op sci-fi horror FPS game KILLING FLOOR 2 will be available at launch, fully supporting the newly announced PlayStation®4 Pro computer entertainment system and PlayStation®4 computer entertainment system exclusively at GameStop, the largest video game retailer, for $39.99 on November 18, 2016. Enhanced for PlayStation®4 Pro out of the box, the sequel to the 3+ million unit selling Killing Floor will be making its console debut with this release for the first time in franchise history with gory visuals, touting sharper and crisper textures, and overall increased fidelity.

”Partnering with companies like Tripwire and Deep Silver allows us to leverage our position as largest video game retailer in the world to deliver better experiences and opportunities to all gamers,” said Eric Bright, senior director of merchandising at GameStop. “Killing Floor 2 is a great example of how we can take AAA products and bring them to brand new audiences.”

In KILLING FLOOR 2 players descend into continental Europe, where the outbreak caused by Horzine Biotech’s failed experiment has quickly spread and gained unstoppable momentum, essentially paralyzing the European Union. Just one month after the events in the original KILLING FLOOR, the specimen clones are everywhere, and civilization is in disarray; communications have failed, governments have collapsed, and military forces have been systematically eradicated. The people of Europe know survival and self-preservation too well, and lucky survivors have gone into hiding.

Not all have given up hope, though… A group of civilians and mercenaries have banded together to combat the outbreak and established privately funded operation bases across Europe. Upon tracking specimen clone outbreaks, players will descend into zed-laden hot zones and exterminate them.

KEY FEATURES:
·Visceral Gore – KILLING FLOOR 2 ramps up the gore with a proprietary, high-powered persistent blood system bringing new levels of fidelity to the genre. Players will send entrails, severed limbs, and blood flying as they wade through hordes of enemies. But they need to watch out! If caught, enemies will rip them, and their entire party, limb from limb.

·6-Player Co-op or Solo Play— A multitude of varied playable characters await for players to choose from as they enter the fray in online co-op mode or solo mode for those willing to brave the horrific specimens alone.

·12-Player PvP Versus Survival Game Mode – Be the Zed! A 12-player PvP mode where two teams take turns playing Humans vs. Zeds in a pair of short matches. In the first match one team plays Humans and the other Zeds until the humans all die during a single round or they beat the boss. For the second match the teams switch sides, and when the battle is completed, both teams receive a score based on their performance, and the higher score wins!

·Terrifying Zeds – New enemies and fan favorites from the original game are back with expanded and smarter artificial intelligence, dishing out powerful attacks, working as a group to weaken the player’s party and pushing the challenge level and fear factor to new levels.

·Unique Blend of Weaponry – From modern militaristic assault rifles, brutal improvised makeshift weapons, classic historical guns, and off the wall “Mad Scientist” weapons, KILLING FLOOR 2 has a unique blend of killing tools that will satisfy any gamer.

·Expanded Perk System – Perks from the original game have been reimagined with more added to the fold. All perks now progress with meaningful talent choices that amplify different play styles, giving players a progression path that is expansive and full of rewarding milestones.

·Brutal Melee Combat – KILLING FLOOR 2 reinvents melee combat completely. Players now have control over the type of melee attacks they can perform, enabling them to deliver bone-breaking crippling attacks to Zeds.

KILLING FLOOR 2 is developed by Tripwire Interactive and will be published for retail by Deep Silver for the PlayStation®4 Pro and PlayStation®4 and published by Iceberg Interactive for PC. The game will be available globally on November 18, 2016.

Stay up-to-date with the latest KILLING FLOOR 2 news and information at killingfloor2.com. You can also keep track of Tripwire Interactive at any of these online channels: tripwireinteractive.com, on Facebook at facebook.com/tripwireinteractive, Twitter at twitter.com/TripwireInt and on YouTube at youtube.com/user/tripwireinteractive.

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We told you last month that The Devil’s Dolls is being released in select theaters and on VOD/Digital this Friday, September 16th, via IFC Midnight Films, and we recently got in touch with horror filmmaker Padraig Reynolds to discuss his latest genre feature.  Read on for the exclusive word on this voodoo-inspired shocker.

Reynolds, who wrote and directed the 2011 horror feature Rites of Spring, here co-produces and directs from a script by co-producers Danny Kolker and Christopher Wiehl (the latter of whom also stars). Here’s the official synopsis:

A serial killer’s curse unleashes a season of slaughter in the backwoods of Mississippi. According to an ancient Guatemalan tradition, parents teach their children to allay their troubles by telling them to handmake “worry dolls” just before bedtime. But when several of these talismans—which once belonged to a notorious mass murderer—find their way into the hands of unsuspecting residents of a small Southern town, it sets off a grisly wave of bloodshed.

Kennedy Brice (“The Walking Dead”), Kym Jackson (“NCIS: Los Angeles”), Tina Lifford, Samantha Smith (Transformers), Brea Grant (Rob Zombie’s Halloween II), and Yohance Myles (This Is the End) also star. Holly Amber Church provides the score, with cinematography by Adam Sampson.

Filmed over the course of twenty days in Canton, Vicksburg, and Natchez, Mississippi, on the Red Epic Camera, Reynolds says of The Devil’s Dolls, “I was sent the script and really dug the material. I met with the producers, and we got along great. They were really cool with the style I wanted to bring to the script and loved the fact that I had already shot a movie in Mississippi and was familiar with the area. We went location scouting and were shooting within two months. It all happened really fast.”

With the film’s original trailer evoking shades of Child’s Play and “true crime,” we asked Reynolds of any possible influence, to which he replied, “I really wanted to do a crime drama with shades of voodoo in it. I really liked that there aren’t many films in the voodoo genre. So it was a chance to do something fresh and different. There are hints of Child’s Play, but our film is different. The dolls in our movie cause people to become possessed upon contact and basically make them lose their shit and go nuts. The ‘true crime’ aspect is there as well cause we were in the Deep South shooting a detective story in the dead of summer. It was sticky, sweaty, and hot as hell. I think the locations in the film really add to the authenticity of the film and give it a unique look.”

As for Reynolds’ working relationship with co-writer, co-producer, and star Weihl, the director effused, “Chris and I worked every day and were on the same page from day one. He really let me run with my vision and supported every change I wanted to make in the script. I was really impressed with how many different hats he could wear on production. He was writer, producer, and actor all at the same time. We had such a great working experience that we are working on other projects together.”

Regarding the shoot itself, Reynolds said of principal photography, “My favorite part was shooting the opening. My DP Adam Sampson and I really set out to do something energetic. We wanted an action sequence to open the movie and introduce all the players in a unique, fast, and bloody way. Really try to grab you by the throat right away. Plus we shot in this abandoned mental institution in the woods that was pretty incredible.”

Reynolds, who is currently early in production on a new feature film called OPEN 24 HOURS, which is slated to go before cameras this fall, concluded of The Devil’s Dolls, “I’m really excited to be on IFC Midnight again. They released my last film, Rites of Spring, and they are one of the best indie distributors out there.”

The post Exclusive: Director Padraig Reynolds Talks The Devil’s Dolls appeared first on Dread Central.

There are some weird and idyllic trailers out there, and then there’s the trailer for Amethyst. Jared Maters’ silent horror fantasy film does not yet have a release date, so head over to Facebook to get your fix.

From the Press Release:
The 1st trailer for the upcoming feature film ‘Amethyst’ was released this morning. It is the latest from psycho-sensationalist Jared Masters of Frolic Pictures. It is a silent film, and the true story of a girl, who took too much (LSD), and went down the rabbit hole, never to return to this side of reality again.

After exceeding the recommended dose (by about 499 hits of liquid lysergic acid), Amethyst becomes consumed by its psychedelic properties and discovers a whole new existence above ours, a place beyond invisible mirrors. Although she must endure this tragedy, some good does come from it. She befriends a piccolo-playing eunuch, and follows magical orbs to their family cluster.

Will Amethyst’s best friend, Ember, find her … in time? Will Amethyst kill, or be killed, by the many strange beings that surround her? Will she devour the tempting fungi indigenous to the wood? Only you can tell, after baring witness, to the sights and sounds of this splendid, startling and spectacular motion picture event.

Don’t miss Grace Klich and Val Miller, out of the house, exploring the wonders of a secret world. Vampires, sea nymphs, gentiles, river fairies, butterflies and ghost children. Will the mysterious 100-foot obelisk, that Amethyst discovers, help send her home? She may even find sea nymph eggs, but what will she do with them?

This film is not recommended for the closed-minded, or persons with shallow cinematic taste. However, if you are someone who has ever dreamed of an oasis of joy and laughter, this side of Heaven, where goat-footed dwarves ride white pygmy ponies, then, this one’s for you.

Shot in historic Richmond, Virginia, in stunning 4K and Tripto-vision. Co-starring Derrick Biedenback, Vincent Joel and Olivia Yohai. Cinematography by Takede Osheame. Production assistance and continuity by Matt McPartland and Casey Plemons. Produced by Megan Clare Johnson and Andrew Wint. Music composed by Federico Ferrandina. Written and directed by Jared Masters (Slink, Ballet of Blood, After School Massacre).

Be sure to check out the trailer, and tell your friends, but remind them… One drop is enough… Amethyst is coming soon.

The post Amethyst Trailer Dreams of Joy and Laughter appeared first on Dread Central.

After its premier at the 73rd Venice Film Festival, the CGI animated manga adaptation Gantz: O is set to hit Japanese screens on October 14. Toho has released a new trailer and posters for the film, and they look pretty damn sweet.

One of the highest profile Japanese films of the year, Gantz: O is based on the manga series by Hiroya Oku about a team of alien hunting ghosts. Keiichi Sato and Yasushi Kawamura direct, whilst Daisuke Ono, Yūki Kaji, and Saori Hayami lend their voices.

Like Toho’s other 2016 hit, Shin Godzilla, it’s expected to do big business in Japan, which could lead to a limited US theatrical release. Stay tuned…

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Starring Simone Lykke, Casper Sloth, Elias Munk

Directed by Jonas Ussing

Is it possible to go into some kind of cinematically-induced zombie overload?, because I’m pretty damned close to it. With the absolute landslide of undead presentations clogging up the horror genre like a pesky hairball in the drain, it really takes something spectacular to make a blip on the radar these days. Jonas Ussing’s onto something here with his 24 minute short, Zombiehagen.

In a display that ultimately needs to be expanded into either a series or full-length feature, this quickie focuses on two survivors in Copenhagen, and their attempt to not only make their way back into some sense of normalcy (if that’s at all possible), but to search for loved ones that are almost certainly history. We’ve got your standard run and shoot action here, and while the makeup is admirable and the gore is passable, it’s the cinematography that takes home the gold here. Sweeping shots of a deserted city, overturned cars, and evacuated buildings overrun your eye level, and add to the short’s beauty. Now why I usually promulgate that I don’t want to divulge any spoilers, all I’m going to say here is that blood is definitely thicker than…well, stuff that’s not blood. Zombiehagen comes highly recommended solely for visuals alone, because when you look deep inside, it’s just more of those damned zombies!

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