When we heard that the visionary creator behind Camera Obscura and all those damn creepy Fewdio shorts, Drew Daywalt was gearing up for a big new horror feature we rent right to the source and got the Fear Factory director to give us the lowdown! Here be the official press release!
Horror writer/director Drew Daywalt (CHILDREN SHOULDN’T PLAY WITH DEAD THINGS, DEATH VALLEY, BEDFELLOWS) has just inked a deal with producer Eric B. Fleischman of EBF Productions (RITUAL, TWO-BIT WALTZ) to direct the horror feature THE HURTING MAN, based on Daywalt’s script. Indie horror luminary Larry Fessenden (Habit, The Last Winter) is attached as Executive Producer.
THE HURTING MAN follows the story of a police officer who tragically finds his family murdered after a failed 911 call and now must work to save their souls from a demonic boogieman haunting his childhood home.
“I wrote this script and kept it close to my chest,” says Daywalt, “ because this one was written from my own worst terrors, both as a parent of small children, and also tapping into my own childhood fears of a hideously costumed boogieman. This one’s going to scare the hell out of everyone. I promise. I can say that because it really scares me, and I’m letting my fear guide me on this one.”
Says Fessenden, “There’s a certain kind of genuinely terrifying old-school-campfire scare that Daywalt gets right in his Fear Factory gems and I can’t wait to see him nail those chills in a long form film.”
Film goes into production this fall.
Daywalt, Fleischman & Fessenden are not commenting on cast yet, but promise something wonderful is in store for horror fans as well as everyone else.
While little else is known about the project, we have been informed from close sources that the terrifying boogeyman in this film will inspire iconic halloween costumes for years to come.
Lookin to get your short film seen? Looking to get a lil cash in the process? Popcorn Horror and Texas Frightmare are upping the ante and bringing you Blood Games, a short film competition with a $400,000 cash prize! Just visit the official site for details.
Something Wicked This Way Comes hopes to come to your house, specifically your television. Wicked Bird Productions is using Kickstarter and the horror community to bring their documentary about horror films and New England to life. We got a chance to talk to Wicked Bird founders Stacy Buchanan & Jessica Barnthouse about their project and their passion for the genre. Head on over to the official Kickstarter page to learn more and give the interview a listen to hear all about it!
Silent Hill is a confusing place. In fact, the confusion, the chaos, the unpredictability of it has always added another dimension to its terror. Silent Hill, after all, is a hell that takes its prisoners through a multitude of sufferings both of the flesh, and of the mind. When you try and roadmap the pain, when you try and catalog the tormentors, Silent Hill loses a little bit of that chaotic randomness that makes the trip so unpleasant, and ultimately, so effective. This is the major problem, among a multitude of others, that bring Christophe Gans‘ original vision to a dull and horribly uninspired conclusion in this, the second entry in the series.
In fact, it is evident from the first frames of the sequel that Gans’ voice is absent here. Gone is the gloomy unsettling atmosphere of the first film. Gone too is the attempt to build atmosphere at all. The second film abandons any attempts to disturb the viewer and instead tries to weave a narrative that is not only lackluster, but negates much of the crux of the story of the first film in an attempt to link the two together out of some misguided necessity.
The second film opens with Sean Bean (the father from the first film) and the now teenage Heather/Alessa ( Adelaide Clemmens) on the run as Alessa is returned to our world from the horrific prison of Silent Hill, only to be pursued by the religious zealots/ cultists of the first film. Why? Well, apparently the cultists believe their salvation rests in Alessa’s destruction. This is the crux of the second film and the mysterious disturbing atrocities that comprised the denizens of the hellish world introduced to us in the first film serve more as set pieces here, rarely showing any more substance than to segue into the next vapid, unnecessary fx shot propelled forward by an even more mediocre script.
Unfortunately, unnecessary is the name of the game with Director Michael Basset’s interpretation of the celebrated video game world of Silent Hill. Nothing seems to have weight here and the contrived and often times silly story renders its characters as one dimensionalplot devices that are as formulaic as the end goal of the picture. We simply don’t care about Alessa and her struggles. she no longer has the endearing yet haunting naïveté of the child of the first film and the attempt to paint her as a jaded nomadic road tough teen just comes across as laughable. Sean Bean is as wasted as an actor of his caliber can be in a picture such as this and Malcolm McDowell plays a character so cartoonish in ambition and demeanor that any steam the film might have had sputters to a dead stop as soon as he enters frame.
Silent Hill is a landscape populated with fear and madness and insanity is in every breath you draw from the very air while you are there. Where the cultists tried in vain to push back that madness in a desperate struggle to cling to some kind of existence in the original, they manipulate their world now, seemingly controlling the elements, which devalues the very purpose of the universe here itself. This bizarre idea of order to the events and horrors in Revelation leaves the film feeling less like the video game that inspired it and more like its official strategy guide. Well, I for one was more than happy to push eject on this one. Game over.
I had heard a lot of negative press for the latest entry in the Texas Chainsaw Massacre franchise. Negative, scathing press. So much in fact, that I wanted to like this film, to see something in it that the detractors didn’t. At the very least I wanted to come away from it thinking, “hey, it might not have been the TCM we wanted to see, but you know what, it wasn’t half bad.” Well, that’s what I wanted. It’s hard to be disappointed by something that you have little to no hope for in the first place. Congratulations, Chainsaw 3D for accomplishing this task with such astounding ease that I’m near convinced it was done solely for me. In fact, if Chainsaw 3D had set out with the intention to be a bad film its might just have been misguided enough to give us something a little worthwhile. Alas, Chainsaw in its latest incarnation, is just bad.
I love Hooper‘s original film. It was shot in such a fashion that we felt as though we hiding just behind that tree, just under that porch or just far enough away in a field watching the events unfold, but powerless to help those hapless victims as they fell prey to the atrocities that hunted them down and ultimately undid them. It was unrelenting, merciless horror and it earned its place as one of the most horrifying movies ever made. Hooper’s follow up was an LCD laden fever dream that was part satire, part dark comedy and, strangely enough, part parody of the original. The result was a bizarre trip into a funhouse of insanity and delirium that left some fans divided and others giddily delighted. Even the poster was a sendup of popular cinema at the time and hinted of the subtext of the head-in-the-sand yuppie delusions of the “me generation” and the lurking horror of madness that betrayed the glitzy shiny consumerism that characterized the US during the 80s. TCM 2 is in fact, one of my favorite “non-sequels” and one that I never approach after downing too much Nyquil.
Chainsaw 3D opens with images of the original and quickly we are led to believe that it is intended to be a direct follow up to the first film. This, had it been handled with even the slightest respect to Hooper’s masterpiece would have set well with me. I would have welcomed a sequel that played homage to the original. Unfortunately, this attention to detail stops abruptly after the opening credits and we are treated to tired conventions and ridiculous inconsistencies galore. So many in fact that as a fan, its more a slap in the face than just an exercise in bad writing.
So, here is the gist of 3D’s premise: After the events of the first film local law enforcement make their way to the Sawyer family household to bring the cannibalistic clan to justice. We are treated to a parade of family member’s simply not present in the first film (including Bill Mosely in button down shirt and khakis that make him look more like a first tier AT&T support representative than a maniacal murderer) complete with a new mother and her baby that is plucked from its mother’s arm after, get this… a lethal kick to the head… I am not joking… the Sawyer family are hard to keep down, unless you plant a size 10 1/2 in their noggin apparently. We fast forward to what I can only guess is present time (which would make our heroine and her group of plucky expendable stereotype friends in their late thirties, but of course that wouldn’t appeal to the always looming target audience and demographic now would it?) and the adopted Sawyer baby learns of her real origins as she is left the house that her grandmother Verna Sawyer imparts to her in her will. Apparently the best way to blend in to rural Texas is to bring along your black thug boyfriend, your promiscuous, outspoken and scantily clad best friend and her bland but decidedly not rural boyfriend. Sounding familiar at all kids? yes, the familiar trappings are all here and by the time the actually body count starts we are all checking our watches and popping no-doz by the pill-full.
The missing Sawyer runs around amidst the massacre of her friends seeking help from local law enforcement (remember, time works differently here in rural Texas) who remarkably are the same group of good ole boys that sent the family to their messy demise. Here is where 3D commits its worst offense. Leatherface, despite his stunted intellect, bloodlust and decideldy edgy fashion sense, has become a dark brooding vigilante hell bent on avenging his family, taking out the group of original misguided redneck rabble rousers. Do I really have to continue? Is saying that I watched this in its entirety going to hurt my Mensa standing? Oh, what the hell… our lost lil Sawyer girl finds an equally attractive young cop to help her..umm… ok, they do actually attempt a twist here… yawn. For those of you that might attempt this one and fail to heed my warnings I’ll stop here as lil girl Sawyer starts to embrace her heritage and what started as a silly attempt to capture lighting in a bottle and capitalize on the success of the original film devolves into an even worse display of non-sensical writing and downright disrespect of the subject matter. This one was a labor, kiddies. AVOID.
Uh… Brazilian Porn Stars and Horror? Count us in! We received this press release earlier today with a tasty lil photo of the star… enjoy!
“Brazilian Porn Muse stars in Independent short film about a vampire and a serial killer
In the United States, several beautiful porn stars divided their careers between adult films and horror movies. Some famous examples: Marilyn Chambers, actress of the classic “Behind the Green Door”, starred in David Cronenberg’s “Rabid”; the muse Traci Lords left the X-Rated films to make the B horror “Not of this Earth”, and more recently a new generation of porn star, Jenna Jameson, starred in “Zombie Strippers”.
This phenomenon has now arrived in Brazil: Monica Mattos, the greatest and most successful Brazilian porn star, retired from adult films to make independent horror cinema.
The beautiful 29 years old brunette, who claims to have made more than 300 pornographic films, was the only Brazilian actress to win the AVN Award in USA (called “The Oscar of Porn Cinema”), in 2008, for Female Foreign Performer of the Year. Horror fan since childhood, she now changed from groans of pleasure to screams of horror.
“I’ve always loved horror movies since childhood, and never had any nightmare because of them. No, I always have fun watching them! I remember, when I was a kid, I used to meet friends from school to watch movies, and we always chose horror movies. The funny part was to see everybody scared to death while I was laughing all the way through”, said Monica, who would later become an actress of her beloved genre: “I never imagined that one day I would become an actress in horror films, but when I received the first invitation was like a dream coming true!”.
She starred in three horror short films since 2011: “Zombeach” (2011), directed by Newton Uzeda; “Driller Killer” (2011), directed by Rodrigo Freire, and “Red Hookers” (2012), directed by Larissa Pajaro Chogui. But her newest work claims to be the most ambitious of the Brazilian ex-porn muse: “O Estripador da Rua Augusta” (in english, “The Augusta Street Ripper”), a story of horror and dark humor non-pornographic, but full of sensuality.
Written and directed by Felipe M. Guerra and Geisla Fernandes, this short film has Monica Mattos in the role of a seductive vampire who wanders on the famous Augusta Street, in São Paulo, Brazil, and works as a prostitute as an easy way to get food in the wild São Paulo nights. But suddenly her path intersects with another monster that attacks at the same address, the Ripper of the title – a serial killer who is killing prostitutes in that region, played by Henrique Zanoni.
This short film is the first association between directors Felipe and Geisla. Both names are already recognized in the Brazilian independent circuit: Felipe started making homemade productions on VHS in 1995 and has seen his extremely low budget filmes, like “I Scream When I Knew What You Did in Friday the 13th of Last Summer”, reached film festivals in several countries, while Geisla’s latest work, zombie short “Necrochorume”, was recently screened in a film festival in Colombia.
Author of the story and co-author of the screenplay for “The Augusta Street Ripper”, Felipe explains the idea to invite Monica Mattos as the star: “After reading the finished script, I realized that Monica was the only actress that I saw as the character. This movie is like a bloody and sexy answer to these childish modern vampire movies like ‘Twilight’, so Monica fits perfectly in the proposal, and she is fantastic in every way!”.
Geisla speaks enthusiastically about the project: “It’s a movie full of dark humor and sex appeal, an experience that will surprise the viewers. The plot is inventive and courageous, because we built two different worlds – the world of the heroine and the world of the villain – and put them in parallel, culminating at this point where they clash, creating an absurd and exotic atmosphere”.
To make realistic the bloody scenes of torture and murder from “The Augusta Street Ripper”, the filmmakers hired the special effects technician André Kapel Furman. The most famous FX professional of Brazilian cinema, he has worked in feature films like “Embodiment of Evil”, directed by José Mojica Marins, “Drained”, directed by Heitor Dhalia, and “Reflections of a Blender”, directed by Andrew Klotzel.
The star itself is quite excited about the project: “I always liked vampire movies and loved the story of the short, it is an interesting mix of seduction and terror. The coolest part was going through makeup effects. Some impressed me so much that now I’m trying to imagine how the effects were done in every movie I see”, said Monica.
Filming is taking place in São Paulo, in an apartment in the center of the city and, of course, in the famous Augusta Street. Currently, production is in the final stage, and the release is scheduled to 2013, with the promise of transforming Monica Mattos in the new star of Brazilian independent horror.
Considering the actress’s performance in “The Augusta Street Ripper”, this will not be so difficult – and perhaps Monica becomes the new superstar of independent horror worldwide, not just in Brazil!”
Plot/Synopsis: Five friends go for a break at a remote cabin in the woods, where they get more than they bargained for. Together, they must discover the truth behind the cabin in the woods.
Forethought(s): I like the way Whedon writes and he did do Buffy and Angel so I’m guessing there’s going be that vibe to the movie and there’s nothing wrong with that at all.
Fun Fact/Trivia: The studio wanted to convert the movie to 3D but Whedon and Goddard both had objections so the plans were eventually canned.
Stars of the movie: Kristen Connolly,Chris Hemsworth,Anna Hutchison.Fran Kranz and Jesse Williams
The Breakdown: TTT(Time to fist titty)=41mins and 2x seconds. TTK(Time to first kill)=13mins in and it was a hawk by an invisible fence but the first first kill comes at 43minutes-ish. The kill sequence comes in just after the toplessness.
Do I start by comparing this movie to Battle Royal,Scooby-Doo or Buffy the Vampire SlayerTV show? You know what? It’s actually all those rolled into one. It’s B.R in the sense that it’s a type of game and by killing people the world is saved(I know it’s not just like BR). It’s like Scooby with the group they have. There’s a Velma,Daphne,Shaggy,Fred and a male Velma. It’s like Buffy due to the writing. In fact I really think this (the movie) is a left over idea from the show that Whedon couldn’t do since it was so adult.
There’s a few things I did not like about this movie but they weren’t massive issues. One was just how long it takes to become a horror movie. I would say it took about 37 minutes to become horror-ish. The first 36 were definitely a normal drama type of movie but then the eerieness sets in and then some tits and a kill. Can’t get much more horror than that. After all that the movie is total horror but not all slash,stab behead type of way…..but there is a beheading. My second issue was the lighting. Some of the scenes were just way to dark. I understand that lack of light can enhance the mood but so can using light. I tend to get creeped out more with things that can be seen than those that can not. Finally is the teasing of all types of monsters. The main bad in this movie is a family of zombies,however,late in the film we find out that there are TONS of other monsters that could have been used but won’t and the way we find this out is that they’re put on showcase and then used to kill people near the end of the movie. Some of the monsters that are used but not long enough are:Mermen,huge Man-Bat like thing,a Pinhead-esq creature who I deemed BladeHead,a killer clown and the list goes on and on.
There’s a lot I liked about this film. One of them is oddly enough one of the things I didn’t like about the film,the lack of monster use. Sure I didn’t like the amount of time that the other monsters were given but I did love the range of monsters they showed off. I also really enjoyed the acting/casting. They got the right looking actors for the roles they have. The writing was another thing I really liked,it really was like watching Buff the Vampire Slayer TV show all over again,just without all the pop culture references.
Best line/exchange in the movie: Marty:Ok, I’m drawing a line in the fucking sand. Do NOT read the Latin!
The Verdict: This movie hits the g-spot for so many types of fans it’s crazy. I think if you can find this fun,original-ish modern throw back of a horror flick then by all means pick it up. This is a must own for horror heads without a doubt.
I give this movie 4 as ifs out of 5. https://www.youtube.com/watch?v=7ENUBUdFswM Follow me on: Twitter: http://twitter.com/Justin_TheBuck Facebook: https://www.facebook.com/BuckOnStuff
Ho, Ho, Horror!!! Sorry, had to get that out of the way. It might not be Halloween, but we here at HorrorFix we loves ourselves some Christmas…and Hannukkah… yeah, yeah… and Qbert or Quasar or whatever the other one is. What we mean to say is suck it Easter Bunny, no one beats the man who loves red as much as we do: Santa!!! So let’s let our own HorrorFix staff writer Buck introduce this next little holiday ditty for ya!!!
“This was my very first face to face interview and I couldn’t have asked for a nicer guy to talk to. He could go on and on and on; it was a fun interview and I hope you all enjoy.”
Andrea manages to screw yet another psycho… Rick plays telephone with a head full of crazy… Herschel saves an assload on new shoes.. Carl is definitely NOT in the house and suddenly has a penchant for Alpo. What do these things have in common? They all happened in the first half of season 3 of AMC’s beloved zombie drama The Walking Dead. Season 2, which was largely characterized by the core group’s ambitions to turn Herschel’s farm into a safe haven allowing them to find some semblance of normal life, saw our survivors on the run with nowhere to turn and nowhere to go. We got out first glimpse of fan-favorite Michone and the rumblings from the rumor mill hinted at the introduction of The Governor, a character that followers of the comic we’re salivating to see brought to the screen. So with expectations high, how has the first half of the uber popular comic adaptation held up to our expectations?
Luckily, and seemingly against all odds with the departure of show frontrunner and creative force Frank Darabont, TWD has managed not only to continue to raise the bar for cable drama, but has managed to mainstream zombie horror to such an extent that set top “zombie survival” games bearing the TWD logo can be seen gracing the end caps of Walmarts everywhere. So good has the series been in fact that fans (both living and undead) are frothing at the mouth for the series’ return in February. For those just now jumping on the bandwagon, here’s the gist of what you’ve missed so far.
Herschel’s farm, now overrun with the living dead is no longer a safe haven and the group sets their sites on a prison, once secure not now playing host to a gaggle of walkers. Rick and his new brand of kickassery go in machetes and fire pokers a-blazin and round up the last biters there only to find that some of the prison’s former inmates are still alive. Rick ignores their pleas to join the group and soon the small group ex-cons learn of Rick’s protective side when it comes to the safety of his group. Meanwhile, in an undisclosed location, Andrea and Michone hole up in what looks to be a bar/live bait shop as Andrea battles a horrible fever. We are soon introduced to Michone’s resourcefulness when it comes to the Walkers and the two’s friendship is tested as Merle, long absent brother of Daryl is reintroduced, snagging the duo in the woods and bringing them before his new employer: The Governor.
Back in the prison things turn from bad to worse as Herschel loses his leg AND seeking vengeance on RIck for hastily kicking him out, one of the former inmates lets a mess of walkers back into the compound, ultimately resulting in the death of Ricks wife Lori as she gives birth to her daughter. Rick, upon hearing the news of his wife’s passing distances himself from the group, eventually retreating into his own psychosis, talking to the deceased on a phone from within the prison’s walls.
With a newborn added to our ragtag group, formula is the newest grocery list item and Glenn and Maggie are the next to fall prey to Merle’s quest to find his brother while out scouting for the new baby’s food. The two are taken back to the Governor’s mecca in deadland, Woodbury, and tortured as to the whereabouts of their group. Michone stumbles upon the Governor’s secret, catching him interacting with the reanimated corpse of his daughter and decides a quick exit from Woodbury is on the agenda. Andrea, who has found solace in the arms of their would be captor disagrees with Michone’s decision and the two part. Michone is pursued through the woods by Merle and a group of the governor’s men, outwitting them and eventually making her way to the very prison her pursuers are looking for. Formula in hand, she is taken in under the pretense that the core group is not accepting new members, only to aid them in rescuing Glenn and Maggie from Woodbury. Our climax sees a daring rescue, Michone’s showdown with the governor (he loses an eye and the corpse of his daughter in the mele), Merle’s reunion with Daryl (and the governor’s eagerness to betray him in an attempt to spin their family reunion into a terrorist conspiracy resulting in an attack on the town), Rick’s road back from temporary insanity and the introduction of yet another comic book character, Tyrese.
The show, which continues to wow us and prove that the genre, even in the midst of our current zombie over saturation, is rife with great minds that elevate the source material to new heights. The comic, The Walking Dead is available monthly from Robert Kirkman and Image Comics. The AMC original series returns from its mid-season hiatus this February 10th, 2013.