Nerdist talks to Sam Raimi about fruit, his career in retail sales, how he got started making movies, the links between comedy and horror, the Evil Dead TV show and of course why Spider-Man 3 was "awful".
We knew Universal Studios was rebooting the classic monster movies into a new cinematic universe. So who's writing them? The "Monster Men," a collective of writers inspired by both the Pixar "brain trust" and the traditional tv writer's room. Among the writers on board: screenwriter/director Alex Kurtzman (Star Trek, Fringe); longtime Fast & Furious writer Chris Morgan; the creator and writer of the Fargo tv series, Noah Hawley; Prisoners screenwriter Aaron Guzikowski; and Bill & Ted’s Excellent Adventure and Men In Black screenwriter Ed Solomon. [more inside]
The film that frightened me most - Guardian writers on their personal cinematic nightmares: Threads, Ringu, The Sixth Sense, The Blair Witch Project, The Shining, The Texas Chainsaw Massacre, The Orphanage, Eden Lake, Watership Down, Psycho
Disclaimer: The facts are taken from the journal "Taste, Taboo, Trash: The Story of Ramsay Brothers" by Kartik Nair. I personally declare that the journal is only used as a reference & no intentions copying the content for any benefits, it's only to spread the knowledge regarding the working ways of Ramsay brothers. [more inside]
The Dissolve's "Movie of the Week" on this week leading to Halloween has been The Blair Witch Project, which it describes as "the most widely despised great horror movie". They discuss the legacy of the film fifteen years after its release and the future of the genre that it helped to create: found-footage horror. And where are the people who made it these days? Heather Donahue is growing pot. Josh Leonard is still acting (Michael C. Williams less so). And the directors Daniel Myrick and Eduardo Sánchez seem to want to catch that same lightning in a bottle, but with very underwhelming results.
Halloween is almost here which to me means one thing: overanalyzing horror flicks for any feminist undertones! ... [N]o season has better metaphors for misogynistic fears and powerful female sexuality than the scary movies that permeate almost every channel and film festival throughout October.At Autostraddle, Nina suggests nine horror films she likes in the "Blossoming-Teenage-Girl-Becoming-A-Woman" sub-genre. She is far from alone in her search for interesting feminist themes in horror cinema and literature. [more inside]
ComicsAlliance writer Benito Cereno has put together a collection of links to horror films available for streaming on Netflix this October: The Haunting of Netflix House 2: Your Sister is a Netflix
In 2004 Joseph Kahn directed the hyper-kinetic, poorly reviewed motorcycle action movie Torque. It was Kahn's directorial debut, and though he was tapped for (one of many) failed Neuromancer adaptations, he devoted the next six years to a largely self financed project: the horror-comedy farce Detention. Noted cultural critic Steven Shaviro discusses in this essay why Detention, despite also being reviewed negatively, is one of his favorite movies of the decade. Shaviro's review contains major spoilers for the plot, and it's probably best to go into the movie blind. A brief non-spoiler synopsis is available below the jump. [more inside]
Things That Don't Suck, Some Notes on The Stand
[Spoiler alert: assume everything, from the link above to those below, contains SPOILERS.] [more inside]
I recently reread The Stand for no particular reason other than I felt like it. I'm honestly not sure how many time[s] I've read it at this point, more than three, less than a half dozen (though I can clearly remember my first visit to that horrifyingly stripped bare world as I can remember the first reading of all the truly great King stories). It's not my favorite of King's work, but it is arguably his most richly and completely imagined. It truly is the American Lord of The Rings, with the concerns of England (Pastorialism vs. Industrialism, Germany's tendency to try and blow it up every thirty years or so) replaced by those of America (Religion, the omnipresent struggle between our liberal and libertarian ideals, our fear of and dependence on the military, racial and gender tension) and given harrowing size.
I'm happy to say that The Stand holds up well past the bounds of nostalgia and revisiting the world and these characters was as pleasurable as ever. But you can't step in the same river twice, even when you're revisiting a favorite book. Even if the river hasn't changed you have. This isn't meant as any kind of comprehensive essay on The Stand. Just a couple of things I noticed upon dipping my toes in the river this time.
[Spoiler alert: assume everything, from the link above to those below, contains SPOILERS.] [more inside]
Director, writer, and producer Mick Garris releases videos of his interviews with people in the horror and sci-fi entertainment industry at his new website, Mick Garris Interviews. There is also a YouTube channel. An introduction can be found at the about page. According to The Nerdist, interviews will be released at the rate of one per week. Interviews already uploaded: a four-parter with Director John Carpenter (here's Part 1 YT), and one segment with John Badham, director of Dracula (1979) and, incidentally, Saturday Night Fever (1977).
Jason Blum—producer of Paranormal Activity, Insidious, Sinister, The Purge, The Bay, and Oculus—participated in an interesting interview at SXSW Film 2014 about his model of producing high-quality low-budget horror films for wide release. The video is almost an hour long, but worth watching if you're interested in contemporary mainstream horror.
The gals at Anglo-Filles have an entertaining (and epicly long) talk about the history of Dracula and vampires as characters and symbols throughout the ages and throughout fiction - topics discussed include Varney The Vampire, The Vienna Vampire Scare, Where Does Sunlight Killing Vampires Come From, The Secret Spanish Dracula, and Jonathan Harker As An Abuse Survivor.
Metafilter favorite David Cronenberg (previously, previously, previously) has lately been making short films for festival exhibition. Most are aggressively simple, with only a few actors and even fewer locations. But they're all unmistakably Cronenberg films. [more inside]
"The Texas Chainsaw Massacre was the first real “slasher” film, and it changed many things—the ratings code of the Motion Picture Association of America, the national debate on violence, the Texas Film Commission, the horror genre—but it remained a curiously isolated phenomenon. The film itself, involving five young people on a twisted drive through the country, is a strange, shifting experience—early audiences were horrified; later audiences laughed; newcomers to the movie were inevitably stricken with a vaguely uneasy feeling, as though the movie might have actually been made by a maniac—but the story behind the film is even stranger." We begin with a couple of stolen barbecue chicken wings....
VOMICA is a short horror film about a British commando raid that finds an ancient evil in the crypts and tunnels of occupied France. It recently won Best Short Film prize at the 2014 H P Lovecraft film festival, and is available to watch on Vimeo—for today only—if you go here and use the password 'mayday'.
David Cronenberg: a virtual exhibition based on an exhibit at the Toronto International Film Festival.
BBC Radio 4's 'The Film Programme' talks to George A Romero. 'Forty five years after the release of genre-defining Night of the Living Dead, Francine Stock talks to the director George A Romero about inventing the undead zombie and where he might unearth horror in contemporary society. Plus why he doesn't rate Stanley Kubrick as a horror director.' [SL BBC Radio 4 episode] [more inside]
The Appointment is a horror film from 1981, starring Edward Woodward as the father of a family possessed by some sort of malevolent entity. Although it has (probably quite rightly) been largely forgotten, it does have a really fantastic opening scene. [more inside]
Dark Dreamers was a series of interviews with horror writers and directors and other icons. Several of them are on youtube: Clive Barker; Wes Craven Harlan Ellison (1, 2, 3); Richard Laymon; Richard Matheson; Julie Strain (MLYT)
For your October delight: Top 10 horror movies, as picked by Guardian critics, Ten Exceptionally Well-Written Horror Films, Top Ten Horror-Sci-Fi Films: A Primer And Pseudo-History, The 12 Weirdest Vampire Movies Ever Made, The Top Grossing Scary Movies Of All-Time, and, perhaps most importantly of all: The 25 best horror films on netflix instant.
Monsters Rule OK: A British Horror Playlist. Fangoria presents a mixtape of British horror that includes musical selections from Blood on Satan's Claw, The Wicker Man, Chocky, Berberian Sound Studio, A Field in England, Children of the Stones, and Twisted Nerve—as well as dialogue excerpts from Don't Look Now, The Stone Tape, Hellraiser and others.
Sadako throws out the first pitch at a baseball game - undoubtedly you'll want a Sadako Hair Dog and Sadako Well Water after watching that, just be careful when you order it.
Network of Blood: "Videodrome’s depiction of techno-body synthesis is, to be sure, intense; Cronenberg has the unusual talent of making violent, disgusting, and erotic things seem even more so. The technology is veiny and lubed. It breaths and moans; after watching the film, I want to cut my phone open just to see if it will bleed. Fittingly, the film was originally titled 'Network of Blood,' which is precisely how we should understand social media, as a technology not just of wires and circuits, but of bodies and politics. There’s nothing anti-human about technology: the smartphone that you rub and take to bed is a technology of flesh." Nathan Jurgenson writes about Videodrome (previously) as a way of understanding our present social media technologies for Omni Magazine (previously).
If you rented VHS horror and sci-fi in the late eighties and early nineties, then you’ll recognize the name of Charles Band. [more inside]
Comic artist Chris Weston unilaterally declares it Kurt Russell week and produces a triptych of posters for Escape from New York, The Thing and Big Trouble in little China. These are just the roughs.
At the dawn of the millennium, Japanese society has suffered a severe economic collapse, leading to widespread youth apathy and 800,000 students boycotting school. Adult society sought to reassert their authority by passing the Millennium Education Reform Act, otherwise known as the BR Act. - a look at Kinji Fukasaku's Battle Royale.
A month after its release, Naughty Dog's sweeping interactive epic The Last of Us is being hailed as one of the best games of all time, with perfect scores even from notoriously demanding critics. Inspired by an eerily beautiful segment from the BBC's Planet Earth, the game portrays an America twenty years after a pandemic of the zombiefying Cordyceps fungus (previously), leaving behind lush wastelands of elegant decay teeming with monsters and beset by vicious bandits, a brutal military, and the revolutionary Fireflies. Into this bleak vision of desperate violence journey Joel, a gruffly stoic Texan with a painful past, and his ward Ellie, a precocious teenager who may hold the key to mankind's future. Boasting tense, immersive gameplay, compelling performances from a diverse cast, a movingly minimalist score from Oscar-winning Gustavo Santaolalla, and an array of influences from Alfonso Cuarón's Children of Men to Cormac McCarthy's The Road, it's already being slotted alongside BioShock Infinite and Half-Life 2 as one of modern gaming's crowning achievements. And while it's hard to disentangle plot from action, you don't have to buy a PS3 to experience it -- YouTube offers many filmic edits of the game, including this three-hour version of all relevant passages. And don't miss the 84-minute documentary exploring every facet of its production. [more inside]
It's debatable whether the troubled World War Z signals the end of the ongoing zombie craze, but the film that started it all is much more clear: Danny Boyle's bleak, artful cult horror-drama 28 Days Later, which saw its US premiere ten years ago this weekend. From its iconic opening shots of an eerily abandoned London (set to Godspeed You! Black Emperor's brooding post-rock epic "East Hastings") to the frenzied chaos of its climax, Boyle's film -- a dark yet humanist tale of a world eviscerated by a frighteningly contagious epidemic of murderous rage -- reinvented and reinvigorated the genre that Romero built (though many insist its rabid, sprinting berserkers don't really count). And while sequel 28 Weeks Later with its heavyhanded Iraq War allusions failed to live up to the original (despite boasting one of the most viscerally terrifying opening sequences in modern horror), and 28 Months looks increasingly unlikely, there remains a small universe of side content from the film, including music, short films, comics, and inspired-by games. [more inside]
"I think a major change in zombie behavior in this was if something were to bite you, well, you're still fresh, you're still able to move quickly. But now you don't think about yourself. You only think about where's my next bite, where's my next takedown. And you will run as fast as you can because you're still healthy, and you'll lead with your teeth to take the next human down..." says Scott Farrar, visual effects supervisor of World War Z, on the fast moving and swarming zombies in the movie. [more inside]
When it comes to unappealing couples that have been featured on Mystery Science Theater 3000, Arch Hall Jr. and Marilyn Manning are near the top of the heap. Their appearance in Eegah provided rich fodder for Joel and the bots. And yet, only one year after the release of Eegah, Hall and Manning would find themselves together again in radically different roles. [more inside]
We Have Such Films To Show You - Damned souls cortex and griphus have been condemned to the infernal torment of watching all 10 Hellraiser movies, and wish to share their explorations of the further realms of experience with you in their new podcast. [via mefi projects]
Mamá. The sphincter-tightening short film by Andres Muschietti that inspired the movie of the same name, with an introduction by producer Guillermo del Toro.
The Snipist - a post-apocalyptic nightmare set in a post-rabies Britain (warning: absolutely bleak). A Gun For George - a short film about crime-writer Terry Finch, author of the 70s Kentish fiction masterpieces The Reprisalizer. [more inside]
Between Peter Jackson’s penchant for cartoonish unserious gore and Bob McCarron’s off-screen makeup effects manipulations, Braindead achieves something that approaches inspired genius in the heretofore unknown artform of human carnage. The film is filled with moments of joyous slapstick tableaux... And then there is that moment where Braindead finally breaks through to achieve a transcendentally surreal glory of excess where Tim Balme wades into battle against the zombies armed with a lawnmower, drenching an entire room in showers of blood. (Braindead holds the record for the greatest amount of artificial blood ever used in a film). The film is a work of perverse genius. - Richard Scheib
Return of the Living Dead (NSFW) is one of the greatest zombie movies ever made. Not only does it have loads of great looking zombies in it, it's one of the few zombie movies, besides its sequel, that has a perfect blend of humor and horror.
"What is a cult film? A cult film is one that has a passionate following, but does not appeal to everyone. James Bond movies are not cult films, but chainsaw movies are. Just because a film has become a cult movie does not automatically guarantee quality. Some are very bad; others are very, very good. Some make an awful lot of money at the box office; others make no money at all. Some are considered quality films; others are exploitation movies. One thing cult movies do have in common is that they are all genre films - for example gangster films or westerns. They also have a tendency to slosh over from one genre into another, so that a science fiction film might also be a detective movie, or vice versa. They share common themes as well, themes that are found in all drama: love, murder and greed." - of the British TV film slots accompanied by an introduction perhaps the most celebrated is Moviedrome, running between 1988 and 2000 and presented first by Repo Man director Alex Cox and then film critic Mark Cousins. [more inside]
Alex Pappademas and Sean Witzke over at Grantland have a long, detailed, super geeky film-nerd discussion of the Alien franchise. "It's important to note here that this is a nuke-it-from-space kind of conversation in which just about every aspect of the original "Alien Quadrilogy" is spoiled, as are some fairly crucial plot points from Prometheus. The Alien vs. Predator movies are neither spoiled nor discussed, because that would mean acknowledging their existence. Some people will undoubtedly view this as curatorial negligence on our part, but we welcome their scorn. "
Brad Pitt's Zombie Nightmare: Inside the Troubled 'World War Z' Production The Hollywood Reporter sorts through the problems causing the release of the film version of Max Brooks' post-apocalyptic UN report to be delayed until next June. Via the A.V. Club, which adds links to previous stories about the filming.
Spoilers at every link and below the fold: What is really lurking underneath the film The Cabin in the Woods? [more inside]
... it’s no exaggeration to say that LIFEFORCE tosses everything in but the kitchen in an attempt to entertain you. Actually, scratch that, it tosses everything including the kitchen sink. By the time the movie is complete, you may have to watch it again just to verify that you actually saw what you just saw. The movie is a mess of enormous proportions which I absolutely loved.
* (previously) [more inside]
ALIEN age 11 - an adaptation created by an underage artist based on the Alan Dean Foster novelization and a few stills, without having seen the actual film.