Sound off in the comments.
3/19/11
3/17/11
Happy Saint Patrick's Day
Even though honestly I have no idea why I am going out tonight to celebrate the occasion. I look awful in green and I am neither religious nor I am Irish. Though I remain certain that my as of yet unmet second husband, Callum Oisin O'Brian , will be. Possessing not only fiery red, moppy locks but a thick Irish brogue in addition to naturally pale, freckled skin that smells of the sea, seeing as he works on a fishing vessel right off the small, cobblestoned Irish village we reside in and...oh hell, I could go on. Anyway, I suppose I'll be getting wasted tonight for no other reason other than today is (blessedly) the day where it is acceptable to start drinking at 9am. Three cheers to that. We here at The October Country hope you, dear readers, have a happy and safe holiday. Drink responsibly and for fuck's sake get a designated driver.In personal news, an apology that we've been so bereft of updates this week. The past few days have been spent with my husband and mother-in-law who just concluded her visit with us. It's been three whopping years since Daniel has seen not only her but anyone from his country, friend or family alike. Their parting last night was bittersweet and hard, full of smiles and too many tears. Additionally, the next couple of days are going to be spent being there for him, so we are likely to remain sparse in the posting department but we'll be back in business when things return to normality around here.
3/14/11
99 Coffins
"Vampires, real vampires, didn't nibble on the necks of nubile young virgins. They tore people to pieces and sucked the blood out of the chunks. "
3/13/11
All The Colors Of The Dark
From The Comic Vaults
Originally presented in the June 1952 issue of Uncanny Tales #1.
Originally presented in the June 1952 issue of Uncanny Tales #1.
3/11/11
K & B Radio News Bulletin
With Your Host Stevie Wayne
Talk about a slow week in horror related news. Not that we here at The October Country consider ourselves your premiere source of news related material mind you (we cherry pick the stories that have us most excited). Its just that....well, we're procrastinating really. We've got this epic laundry list of items that need worked on for the site sat before us right now and truth be told dear readers, we're just too distracted by other, personal obligations in life to get to them. Thus, a brief news bulletin is in order to keep us distracted for those real world duties as well.
---Circle The Wagons - Regardless of whether people loved, or hated Srdjan Spasojevic’s A Serbian Film, all across the blogospehere this week, supporters of freedom of expression have been sticking their necks out and lending their voices to the battle cry over the ridiculous mess that Sitges Film Festival and its director Angel Sala have found themselves in over last year's screening of the film. There hasn't been any breaking news on the matter since we brought it to your attention a couple of days ago, however we feel it is pertinent to remind you (in case you missed our update) that you too can and should open your mouth and throw down with these mislead tyrants waging a war of censorship against not only the genre, but a genuine work of art and a relatively blameless man caught in the middle. Today, Shawn over at The Bloodsprayer is the latest to speak up about this unjust turn of events. You can read all about it here.
Lastly, all this controversy and hoopla is made all the more interesting this week (of all weeks), as it has been reported today that A Serbian Film's American premiere release dates have finally been set. Picked up for US distribution by the admittedly brave Invincible Pictures, it's been reported that Film will play select theaters across North America May 13—albeit in an edited version. The unrated Serbian Film will be released exclusively via digital media distribution outfit FlixFling the same day. Sadly, there was no news of an impending DVD or BluRay release. FlixFling's CEO Tom Ashley did have this say “This is an excellent opportunity for FlixFling to offer something totally exclusive to our growing community. It was always our intention to release this film uncut, but given the recent charges against Sitges director Angel Sala, we have decided to release an edited version. We believe this film deserves to be seen as the filmmakers originally intended and hope to be able to release A Serbian Film uncut in the future.” Though we personally believe that screening A Serbian Film cut in any way, completely misses the entire point of the film, it is heartening to know that North American audiences will have the opportunity to see this instantly classic shocker in a format other than the screener bootleg copies that have been circulating our shores for the better part of a year. Also, as its name inevitably gains wider recognition in the US's mainstream media, time will tell if A Serbian Film will meet a similar, controversial fate in the States.
---Silent No More - You may be hard pressed to find a bigger Silent Hill fan than I dear readers. Long gone are hours of my life that I will never get back because I was too damn busy attempting to gather every medipack scattered about those fog enshrouded streets, or exploring every conceivable nook and cranny of that terrifyingly haunted town (not to speak of the time spent on Silent Hill message boards, reading hours upon hours of fan theories dissecting the franchise's plethora of obscure meanings and myriad mysteries). However having said that, I'll admit that as of late, the series has lost some of it's gleam for me. Silent Hill: Origins was a cornucopia of missed opportunities (go ahead and ask me how I would do that theater bound level, really, go ahead) and badly ported graphics. Homecoming, as every fan knows, was too reliant on combat and suffered from a bizarre issue where the franchise's world (oft-favored for exploratory nosing around), was shrunk down to a meager few streets. Shattered Memories (attention to character aside), was a blasphemous, limp re-imagining of the game's history with next to no replay value. It's a commonly held belief that ever since the original four entries' "Team Silent" (the series' creators) departed the franchise, the bloom has definitely been off the rose (missed more than anything by yours truly, is their unique ability to insert completely nonsensical, surreal visual Easter eggs into nearly every environment). Then came Christophe Gan's major studio film adaptation, which despite all my excitement and built-in fanboy love for it, arrived only to disappointment and frankly, suck. It was gorgeous eye candy yes. It was crazy atmospheric too. However, in the end, it was a colossal letdown that effectively killed any enthusiasm on my part for a sequel. Now, after 5 years of stops and starts and behind the scenes legal troubles for the original's scripter Roger Avary, Tri Star Pictures is finally lensing the long gestating followup. With news that the sequel, Silent Hill: Revelations (at this point the overused "revelations" should officially be retired from being a film's secondary title ever again) currently filming in Toronto, I was a bit shocked that not even a hint of geeky passion was ignited within me. That was, until I read about Miss Awesomesauce's vivacious anticipation for the second installment over at her Final Girl website. For a brief moment, I hesitated, suspecting that she may in fact be a plant by Samael himself, but quickly discounted this notion. She's excited and now I am excited, and if you visit her here, you may be excited too.
---Say It Ain't So - I truly try not to think too much about Leisure Books retiring their genre printing arm last year and going completely digital. It still hurts to much. Either the authors frequently published through them are going to have to jump ship to another imprint, or I guess I'm not going to be reading any of their future output anymore. I flippin' refuse to buy a Kendle. Actually, pretending that I have a choice in the matter is just pretense. I couldn't afford to buy one if I wanted to. Which is part of my problem with them. Literature (especially in this day and age) shouldn't be bound up in a super expensive piece of technology that only a handful of affluent citizens can afford. Literature, the greatest source of all of mankind's ideas and imagination, should remain relatively affordable and available to all. Which just makes the discontinuation of horror fiction's only major publishing outfit, in print form, all the more harder to grapple with. Today one of my favorite websites, Retro Slashers, lamented this sad state of affairs and what it could possibly mean for the future of the genre's written word. Recommended.
---Speaking Of Books - Spurned by the relative success of the CW's The Vampire Diaries, Kevin Williamson (Scream) is again turning to the supernatural works of author L.J. Smith and adapting her teen-witches-in-modern-day-Salem trilogy The Secret Circle, into a hoped for hit for the aforementioned network. It took me a second to put two and two together and effectively jog my memory that I had read these young adult novels when I was in the 5th grade. I vaguely remember being altogether addicted to them in the spring of that year, shucking homework in favor of sitting on the porch swing in the front of house and pouring through them one after the other. However, I'm not so certain how I feel about the television effort. Admittedly, the CW isn't exactly what I would think of as a network that produces anything that would be of interest to me. Additionally, though I am a fan of Williamson's big screen work, he has yet to produce a single frame for anything in the realm of TV that doesn't make me puke a little in my mouth (Dawson's Creek was...gag...I just can't continue that sentence). If there was anything about this project that was to pique my interest, it would be that future genre vet Thomas Dekker (Terminator: The Sarah Connor Chronicles, All About Evil and Kaboom to name but a few) has been cast as a member of the witches' circle. Yes, he off the smoldering eyes and lusciously mackable face. Due to Dekker's involvement and depending on what advance footage looks like, I suppose I'll consider giving this project a go. If for nothing else, to study Dekker's...er, uh....performance. I mean seriously, does this boy set off anybody elses gaydar?
---First There Was Jaws, Now There Is Claws...Again - I secretly kind of want Scott Weinberg's job over at Twitch Films. What a lucky man, amirite dear readers? One reason of many would be that he recently reviewed the legendary workprint of Grizzly 2. Yes, Grizzly 2, the seldom seen film which has often be cited as nothing more than an urban legend (surely there is a horror movie itself somewhere in that story).
The first Grizzly has a special place in your host's heart. After catching an afternoon showing of it on TBS when I couldn't have been any older than 7 (astoundingly rated G, and full to the brim with flying severed limbs, devoured children and flesh wounds aplenty, bless it) it became the very first horror film I ever bought when inexplicably the next day, I discovered a copy of it on VHS in the department store I was shopping at with my then stepmother Cindy (herself a closet horror nut). Curious as to what Grizzly 2 had in store for Mr. Weinberg? Well then hop on over to Twitch and read his review here.
---Speaking Of Urban Legends - Brittney Colangelo who runs the excellent Day of the Woman, has posted an illuminating piece about the web's very own urban legend, The Slender Man. I'd acquaint you with him, but truth be told, he creeps me out to damn much (fabricated or not, I get chills whenever I stumble upon one of his photos). However, his very existence, and the collective building up of it on internet forums, is cool beyond the telling of it. So what are you waiting for? Dig in.
---Failing To Support These Films Robs You Of Your Right To Bitch About Hollywood Ever Again - I'm not the biggest fan of Bloody-Disgusting even though at times I find it to be an invaluable source of up-to-the-minute, breaking genre news. Too often have I stumbled upon glaring journalistic errors that no matter how many times the site is alerted to them, they remain uncorrected. The comments sections are a hotbed of pimply, immature brats that like to say "faggot"...a lot. There are other issues, but I'll shut up and get on to the matter at hand, which is this; Despite my misgivings about certain aspects surrounding Bloody-Disgusting, I am certainly going to show up and support their latest business venture 100%. It was just announced yesterday that Bloody-Disgusting is officially entering into the film distribution arena and they are doing so with an array of challenging, unique lineup of films. First up? Sion Sono's critically acclaimed Cold Fish which will be hitting theaters screens in 32 US markets (word has it that in addition to Rammbock and Yellowbrickroad, the unannounced titles are very good too). This a very ballsy, very risky undertaking and I think it's safe to say that after all our online bitching about what does and doesn't garner theatrical distribution in this country (hell, I was just bitching about it yesterday) we owe it to the genre, not to mention ourselves, to put our money where our mouth is and show up in support of this release.
The Collective, Bloody Disgusting and AMC Theatres®
Launch Film Series:
BLOODY DISGUSTING SELECTS
LOS ANGELES — March 10, 2010 — The Collective, a full-service entertainment management and content company, along with AMC Theatres (AMC), a leading theatrical and exhibition company, and popular horror website BloodyDisgusting.com, announce today a film distribution partnership dedicated to acquiring and marketing the best horror and thriller titles from the festival and international markets.
The Collective has acquired the rights to several films out of horror- and genre-heavy festivals such as the Toronto International Film Festival, the Berlin International Film Festival, Slamdance, Sitges Film Festival and Fantastic Fest, and plans on releasing the films across multiple platforms.
AMC will show a new title in the series each month, at least twice a week, across 32 key markets, including a special Friday midnight show, beginning in May. After their theatrical exhibition at AMC, films from the series will be available to fans of the genre in DVD, Video on Demand (VOD), online and television. Released though The Collective’s home-video partnership with Vivendi Universal, DVDs for titles in the Bloody Disgusting series will feature unrated content, bonus features and special packaging for each title.
The AMC showings will introduce audiences to top horror and thriller films they would not otherwise see, as well as feature short films, contests and premiere content from the genre’s heavy hitters, offering a new platform for how films can be experienced.
"There’s a huge market for niche horror films — both independent and foreign — that isn’t being met in the current environment," said Gary Binkow, a partner at the Collective. "We’re extremely excited to be working with AMC, a company that is forward-thinking in their approach to distribution and community outreach, and willing to work with us to bring the fans into theatres to experience quality horror films in high definition video and audio. Together, we will build up a series around what those fans really want. And it only makes sense to have the trusted tastemakers of the genre from the world’s number one entertainment source for horror, Bloody Disgusting, pick the titles that they think deserve to be seen by a wider audience."
"In many of AMC’s major-market theatres, horror films are very popular, but we have lacked a steady supply of quality titles," said Nikkole Denson-Randolph, vice president of alternative and specialty content at AMC. "We are pleased to offer our guests this innovative film series, one that will entice them to return month after month for programming selected especially for them."
"We see a lot of horror films that never make it to the consumer here in the States," said Brad Miska, Bloody Disgusting co-head. "We hope to change that by releasing only films we personally love and think the horror community will embrace. Horror movies are a social experience. The success of Bloody Disgusting and other horror communities proves that concept. Bloody Disgusting represents a society of hardcore fans and we plan to activate them through these screenings, bringing the conversation off of the blogs and into the theater itself, while creating a unique experience for each filmgoer that motivates them to come back every month for the experience itself, not just the films."
The first films to be released under this venture are:
• Cold Fish — From Sion Sono, the director of LOVE EXPOSURE and SUICIDE CLUB and based on a true story, it came as no surprise that Sono’s brutal serial killer film COLD FISH received international acclaim on the festival circuit, playing Toronto, Venice, Pusan, Fantastic Fest, and others. When Shamoto’s teenage daughter was caught stealing, a generous middle-aged man helps to resolve the situation. The man and his wife offer to have Shamoto’s daughter work at their fish store. Shamoto soon discovers the horrific truth of the seemingly perfect couple…who force him to get his hands dirty in their brutal business. Inspired by a true events, COLD FISH is a bloodcurdling suspense drama that unveils the underlying insanity of an ordinary man.
• Rammbock — Produced by Melanie Berke and Sigrid Hoerner, written by Benjamin Hessler and directed by Marvin Kren, the Fantastic Fest favorite marks the first German foray into the zombie genre. Kren’s short but action packed feature follows a group of strangers attempting to fight off a horde of infected zombies in a Berlin apartment complex.
• Yellowbrickroad — Produced by Eric Hungerford and directed and written by Andy Mitton and Jesse Holland and starring Cassidy Freeman (SMALLVILLE), Anessa Ramsey (THE SIGNAL), and Lee Wilkof (BEFORE THE DEVIL KNOWS YOUʼRE DEAD) In the Fall of 1940, the entire population of Friar, NH abandoned their homes and walked up an ancient trail, never to be seen alive again. Their fates have remained a mystery for over 70 years, until a team of researchers discover the trailhead and attempt to track the path the doomed citizens of Friar took.
For more information, please visit: www.bloodydisgustingselects.com (coming soon)
About The Collective: The Collective is a full-service Management and Production Company. Formed in 2005, The Collective’s vision was to create a single company with a 360-degree solution for maximizing their clients’ careers, endeavors and opportunities across a multitude of media platforms. Based in Beverly Hills, The Collective employs a staff of more than forty-five employees and sixteen top industry executives who support the company‘s five distinct, yet unified, divisions.
About AMC Entertainment Inc. AMC Entertainment Inc. delivers distinctive and affordable movie-going experiences in 361 theatres with 5,203 screens across the United States and Canada. The company operates 24 of the 50 highest grossing theatres in the country, including the top three. AMC has propelled industry innovation and continues today by delivering premium sight and sound, enhanced food and beverage and diverse content. www.AMCTheatres.com.
About BloodyDisgusting.com: With over 2 million unique visitors and 25 million page views per month, BloodyDisgusting.com is the world's number one entertainment source for horror. Bloody Disgusting also boasts a robust fan community across both the Bloody Disgusting and Myspace Horror platforms, with a combined community of over 800,000 members. From video games to comics, music and movie reviews to podcasts, BloodyDisgusting.com is the most trafficked horror website in the world.
Contact:
Jonathan Bing
Bing Communications Group
O: (310) 310 – 3561
C: (323) 839 – 7284
Jbing@bingcommunications.net
---So There Is This Little Film Making Some (Sort Of) Big Noise - A film, which up until last month, I had heard next to nothing about. The movie in question would be Gregg Holtgrewe's Dawning (in addition to many of the film's other related aspects, I love that title, so simple yet so evocative). Though truthfully, for a film that has played as many festivals as it has and has made quite a few respectable 2010 Top Ten lists, news in relation to its existence have remained frustratingly elusive. We do know this from the film's official synopsis; Dawning takes place at a Northern Minnesota lake cabin where a brother and sister visit their father and step-mom. As the first night unfolds with uncomfortable small-talk and tension, tragedy strikes as the beloved family dog is found mortally wounded. Almost immediately a stranger, potentially under the spell of some un-seen “presence”, appears in the cabin and tells the family that he has come to save them…but from what? The man’s arrival upsets what at best was only a tentative balance and the pretense at civility begins to crumble. Soon, their lack of trust in each other and their inability to cope with any new pressure exposes their weaknesses and what the stranger has started, whatever is waiting in the dark may finish.
It was announced recently that Dawning has finally found a distributor in Breaking Glass Pictures, who plan on releasing the film sometime this June. Color me intrigued as hopefully you are as well dear readers. If not, then feast your eyes upon these absolutely stunning posters for the film, which I'll admit are not only the most beautiful works of advertisement I have seen in ages, but are also what initially got me to sit up and pay attention in the first place. As far as successful marketing tools are concerned, you knocked this one outta the park guys, bravo.
To learn more about Dawning, you may visit the film's official site here.
This has been a K & B Radio news bulletin. We now return to our regularly scheduled broadcast.
Talk about a slow week in horror related news. Not that we here at The October Country consider ourselves your premiere source of news related material mind you (we cherry pick the stories that have us most excited). Its just that....well, we're procrastinating really. We've got this epic laundry list of items that need worked on for the site sat before us right now and truth be told dear readers, we're just too distracted by other, personal obligations in life to get to them. Thus, a brief news bulletin is in order to keep us distracted for those real world duties as well.
---Circle The Wagons - Regardless of whether people loved, or hated Srdjan Spasojevic’s A Serbian Film, all across the blogospehere this week, supporters of freedom of expression have been sticking their necks out and lending their voices to the battle cry over the ridiculous mess that Sitges Film Festival and its director Angel Sala have found themselves in over last year's screening of the film. There hasn't been any breaking news on the matter since we brought it to your attention a couple of days ago, however we feel it is pertinent to remind you (in case you missed our update) that you too can and should open your mouth and throw down with these mislead tyrants waging a war of censorship against not only the genre, but a genuine work of art and a relatively blameless man caught in the middle. Today, Shawn over at The Bloodsprayer is the latest to speak up about this unjust turn of events. You can read all about it here.Lastly, all this controversy and hoopla is made all the more interesting this week (of all weeks), as it has been reported today that A Serbian Film's American premiere release dates have finally been set. Picked up for US distribution by the admittedly brave Invincible Pictures, it's been reported that Film will play select theaters across North America May 13—albeit in an edited version. The unrated Serbian Film will be released exclusively via digital media distribution outfit FlixFling the same day. Sadly, there was no news of an impending DVD or BluRay release. FlixFling's CEO Tom Ashley did have this say “This is an excellent opportunity for FlixFling to offer something totally exclusive to our growing community. It was always our intention to release this film uncut, but given the recent charges against Sitges director Angel Sala, we have decided to release an edited version. We believe this film deserves to be seen as the filmmakers originally intended and hope to be able to release A Serbian Film uncut in the future.” Though we personally believe that screening A Serbian Film cut in any way, completely misses the entire point of the film, it is heartening to know that North American audiences will have the opportunity to see this instantly classic shocker in a format other than the screener bootleg copies that have been circulating our shores for the better part of a year. Also, as its name inevitably gains wider recognition in the US's mainstream media, time will tell if A Serbian Film will meet a similar, controversial fate in the States.
---Silent No More - You may be hard pressed to find a bigger Silent Hill fan than I dear readers. Long gone are hours of my life that I will never get back because I was too damn busy attempting to gather every medipack scattered about those fog enshrouded streets, or exploring every conceivable nook and cranny of that terrifyingly haunted town (not to speak of the time spent on Silent Hill message boards, reading hours upon hours of fan theories dissecting the franchise's plethora of obscure meanings and myriad mysteries). However having said that, I'll admit that as of late, the series has lost some of it's gleam for me. Silent Hill: Origins was a cornucopia of missed opportunities (go ahead and ask me how I would do that theater bound level, really, go ahead) and badly ported graphics. Homecoming, as every fan knows, was too reliant on combat and suffered from a bizarre issue where the franchise's world (oft-favored for exploratory nosing around), was shrunk down to a meager few streets. Shattered Memories (attention to character aside), was a blasphemous, limp re-imagining of the game's history with next to no replay value. It's a commonly held belief that ever since the original four entries' "Team Silent" (the series' creators) departed the franchise, the bloom has definitely been off the rose (missed more than anything by yours truly, is their unique ability to insert completely nonsensical, surreal visual Easter eggs into nearly every environment). Then came Christophe Gan's major studio film adaptation, which despite all my excitement and built-in fanboy love for it, arrived only to disappointment and frankly, suck. It was gorgeous eye candy yes. It was crazy atmospheric too. However, in the end, it was a colossal letdown that effectively killed any enthusiasm on my part for a sequel. Now, after 5 years of stops and starts and behind the scenes legal troubles for the original's scripter Roger Avary, Tri Star Pictures is finally lensing the long gestating followup. With news that the sequel, Silent Hill: Revelations (at this point the overused "revelations" should officially be retired from being a film's secondary title ever again) currently filming in Toronto, I was a bit shocked that not even a hint of geeky passion was ignited within me. That was, until I read about Miss Awesomesauce's vivacious anticipation for the second installment over at her Final Girl website. For a brief moment, I hesitated, suspecting that she may in fact be a plant by Samael himself, but quickly discounted this notion. She's excited and now I am excited, and if you visit her here, you may be excited too.---Say It Ain't So - I truly try not to think too much about Leisure Books retiring their genre printing arm last year and going completely digital. It still hurts to much. Either the authors frequently published through them are going to have to jump ship to another imprint, or I guess I'm not going to be reading any of their future output anymore. I flippin' refuse to buy a Kendle. Actually, pretending that I have a choice in the matter is just pretense. I couldn't afford to buy one if I wanted to. Which is part of my problem with them. Literature (especially in this day and age) shouldn't be bound up in a super expensive piece of technology that only a handful of affluent citizens can afford. Literature, the greatest source of all of mankind's ideas and imagination, should remain relatively affordable and available to all. Which just makes the discontinuation of horror fiction's only major publishing outfit, in print form, all the more harder to grapple with. Today one of my favorite websites, Retro Slashers, lamented this sad state of affairs and what it could possibly mean for the future of the genre's written word. Recommended.
---Speaking Of Books - Spurned by the relative success of the CW's The Vampire Diaries, Kevin Williamson (Scream) is again turning to the supernatural works of author L.J. Smith and adapting her teen-witches-in-modern-day-Salem trilogy The Secret Circle, into a hoped for hit for the aforementioned network. It took me a second to put two and two together and effectively jog my memory that I had read these young adult novels when I was in the 5th grade. I vaguely remember being altogether addicted to them in the spring of that year, shucking homework in favor of sitting on the porch swing in the front of house and pouring through them one after the other. However, I'm not so certain how I feel about the television effort. Admittedly, the CW isn't exactly what I would think of as a network that produces anything that would be of interest to me. Additionally, though I am a fan of Williamson's big screen work, he has yet to produce a single frame for anything in the realm of TV that doesn't make me puke a little in my mouth (Dawson's Creek was...gag...I just can't continue that sentence). If there was anything about this project that was to pique my interest, it would be that future genre vet Thomas Dekker (Terminator: The Sarah Connor Chronicles, All About Evil and Kaboom to name but a few) has been cast as a member of the witches' circle. Yes, he off the smoldering eyes and lusciously mackable face. Due to Dekker's involvement and depending on what advance footage looks like, I suppose I'll consider giving this project a go. If for nothing else, to study Dekker's...er, uh....performance. I mean seriously, does this boy set off anybody elses gaydar?
---First There Was Jaws, Now There Is Claws...Again - I secretly kind of want Scott Weinberg's job over at Twitch Films. What a lucky man, amirite dear readers? One reason of many would be that he recently reviewed the legendary workprint of Grizzly 2. Yes, Grizzly 2, the seldom seen film which has often be cited as nothing more than an urban legend (surely there is a horror movie itself somewhere in that story).The first Grizzly has a special place in your host's heart. After catching an afternoon showing of it on TBS when I couldn't have been any older than 7 (astoundingly rated G, and full to the brim with flying severed limbs, devoured children and flesh wounds aplenty, bless it) it became the very first horror film I ever bought when inexplicably the next day, I discovered a copy of it on VHS in the department store I was shopping at with my then stepmother Cindy (herself a closet horror nut). Curious as to what Grizzly 2 had in store for Mr. Weinberg? Well then hop on over to Twitch and read his review here.
---Speaking Of Urban Legends - Brittney Colangelo who runs the excellent Day of the Woman, has posted an illuminating piece about the web's very own urban legend, The Slender Man. I'd acquaint you with him, but truth be told, he creeps me out to damn much (fabricated or not, I get chills whenever I stumble upon one of his photos). However, his very existence, and the collective building up of it on internet forums, is cool beyond the telling of it. So what are you waiting for? Dig in.
---Failing To Support These Films Robs You Of Your Right To Bitch About Hollywood Ever Again - I'm not the biggest fan of Bloody-Disgusting even though at times I find it to be an invaluable source of up-to-the-minute, breaking genre news. Too often have I stumbled upon glaring journalistic errors that no matter how many times the site is alerted to them, they remain uncorrected. The comments sections are a hotbed of pimply, immature brats that like to say "faggot"...a lot. There are other issues, but I'll shut up and get on to the matter at hand, which is this; Despite my misgivings about certain aspects surrounding Bloody-Disgusting, I am certainly going to show up and support their latest business venture 100%. It was just announced yesterday that Bloody-Disgusting is officially entering into the film distribution arena and they are doing so with an array of challenging, unique lineup of films. First up? Sion Sono's critically acclaimed Cold Fish which will be hitting theaters screens in 32 US markets (word has it that in addition to Rammbock and Yellowbrickroad, the unannounced titles are very good too). This a very ballsy, very risky undertaking and I think it's safe to say that after all our online bitching about what does and doesn't garner theatrical distribution in this country (hell, I was just bitching about it yesterday) we owe it to the genre, not to mention ourselves, to put our money where our mouth is and show up in support of this release.Launch Film Series:
BLOODY DISGUSTING SELECTS
LOS ANGELES — March 10, 2010 — The Collective, a full-service entertainment management and content company, along with AMC Theatres (AMC), a leading theatrical and exhibition company, and popular horror website BloodyDisgusting.com, announce today a film distribution partnership dedicated to acquiring and marketing the best horror and thriller titles from the festival and international markets.
The Collective has acquired the rights to several films out of horror- and genre-heavy festivals such as the Toronto International Film Festival, the Berlin International Film Festival, Slamdance, Sitges Film Festival and Fantastic Fest, and plans on releasing the films across multiple platforms.
AMC will show a new title in the series each month, at least twice a week, across 32 key markets, including a special Friday midnight show, beginning in May. After their theatrical exhibition at AMC, films from the series will be available to fans of the genre in DVD, Video on Demand (VOD), online and television. Released though The Collective’s home-video partnership with Vivendi Universal, DVDs for titles in the Bloody Disgusting series will feature unrated content, bonus features and special packaging for each title.
The AMC showings will introduce audiences to top horror and thriller films they would not otherwise see, as well as feature short films, contests and premiere content from the genre’s heavy hitters, offering a new platform for how films can be experienced.
"There’s a huge market for niche horror films — both independent and foreign — that isn’t being met in the current environment," said Gary Binkow, a partner at the Collective. "We’re extremely excited to be working with AMC, a company that is forward-thinking in their approach to distribution and community outreach, and willing to work with us to bring the fans into theatres to experience quality horror films in high definition video and audio. Together, we will build up a series around what those fans really want. And it only makes sense to have the trusted tastemakers of the genre from the world’s number one entertainment source for horror, Bloody Disgusting, pick the titles that they think deserve to be seen by a wider audience."
"In many of AMC’s major-market theatres, horror films are very popular, but we have lacked a steady supply of quality titles," said Nikkole Denson-Randolph, vice president of alternative and specialty content at AMC. "We are pleased to offer our guests this innovative film series, one that will entice them to return month after month for programming selected especially for them."
"We see a lot of horror films that never make it to the consumer here in the States," said Brad Miska, Bloody Disgusting co-head. "We hope to change that by releasing only films we personally love and think the horror community will embrace. Horror movies are a social experience. The success of Bloody Disgusting and other horror communities proves that concept. Bloody Disgusting represents a society of hardcore fans and we plan to activate them through these screenings, bringing the conversation off of the blogs and into the theater itself, while creating a unique experience for each filmgoer that motivates them to come back every month for the experience itself, not just the films."
The first films to be released under this venture are:
• Cold Fish — From Sion Sono, the director of LOVE EXPOSURE and SUICIDE CLUB and based on a true story, it came as no surprise that Sono’s brutal serial killer film COLD FISH received international acclaim on the festival circuit, playing Toronto, Venice, Pusan, Fantastic Fest, and others. When Shamoto’s teenage daughter was caught stealing, a generous middle-aged man helps to resolve the situation. The man and his wife offer to have Shamoto’s daughter work at their fish store. Shamoto soon discovers the horrific truth of the seemingly perfect couple…who force him to get his hands dirty in their brutal business. Inspired by a true events, COLD FISH is a bloodcurdling suspense drama that unveils the underlying insanity of an ordinary man.
• Rammbock — Produced by Melanie Berke and Sigrid Hoerner, written by Benjamin Hessler and directed by Marvin Kren, the Fantastic Fest favorite marks the first German foray into the zombie genre. Kren’s short but action packed feature follows a group of strangers attempting to fight off a horde of infected zombies in a Berlin apartment complex.
• Yellowbrickroad — Produced by Eric Hungerford and directed and written by Andy Mitton and Jesse Holland and starring Cassidy Freeman (SMALLVILLE), Anessa Ramsey (THE SIGNAL), and Lee Wilkof (BEFORE THE DEVIL KNOWS YOUʼRE DEAD) In the Fall of 1940, the entire population of Friar, NH abandoned their homes and walked up an ancient trail, never to be seen alive again. Their fates have remained a mystery for over 70 years, until a team of researchers discover the trailhead and attempt to track the path the doomed citizens of Friar took.
For more information, please visit: www.bloodydisgustingselects.com (coming soon)
About The Collective: The Collective is a full-service Management and Production Company. Formed in 2005, The Collective’s vision was to create a single company with a 360-degree solution for maximizing their clients’ careers, endeavors and opportunities across a multitude of media platforms. Based in Beverly Hills, The Collective employs a staff of more than forty-five employees and sixteen top industry executives who support the company‘s five distinct, yet unified, divisions.
About AMC Entertainment Inc. AMC Entertainment Inc. delivers distinctive and affordable movie-going experiences in 361 theatres with 5,203 screens across the United States and Canada. The company operates 24 of the 50 highest grossing theatres in the country, including the top three. AMC has propelled industry innovation and continues today by delivering premium sight and sound, enhanced food and beverage and diverse content. www.AMCTheatres.com.
About BloodyDisgusting.com: With over 2 million unique visitors and 25 million page views per month, BloodyDisgusting.com is the world's number one entertainment source for horror. Bloody Disgusting also boasts a robust fan community across both the Bloody Disgusting and Myspace Horror platforms, with a combined community of over 800,000 members. From video games to comics, music and movie reviews to podcasts, BloodyDisgusting.com is the most trafficked horror website in the world.
Contact:
Jonathan Bing
Bing Communications Group
O: (310) 310 – 3561
C: (323) 839 – 7284
Jbing@bingcommunications.net
---So There Is This Little Film Making Some (Sort Of) Big Noise - A film, which up until last month, I had heard next to nothing about. The movie in question would be Gregg Holtgrewe's Dawning (in addition to many of the film's other related aspects, I love that title, so simple yet so evocative). Though truthfully, for a film that has played as many festivals as it has and has made quite a few respectable 2010 Top Ten lists, news in relation to its existence have remained frustratingly elusive. We do know this from the film's official synopsis; Dawning takes place at a Northern Minnesota lake cabin where a brother and sister visit their father and step-mom. As the first night unfolds with uncomfortable small-talk and tension, tragedy strikes as the beloved family dog is found mortally wounded. Almost immediately a stranger, potentially under the spell of some un-seen “presence”, appears in the cabin and tells the family that he has come to save them…but from what? The man’s arrival upsets what at best was only a tentative balance and the pretense at civility begins to crumble. Soon, their lack of trust in each other and their inability to cope with any new pressure exposes their weaknesses and what the stranger has started, whatever is waiting in the dark may finish.It was announced recently that Dawning has finally found a distributor in Breaking Glass Pictures, who plan on releasing the film sometime this June. Color me intrigued as hopefully you are as well dear readers. If not, then feast your eyes upon these absolutely stunning posters for the film, which I'll admit are not only the most beautiful works of advertisement I have seen in ages, but are also what initially got me to sit up and pay attention in the first place. As far as successful marketing tools are concerned, you knocked this one outta the park guys, bravo.
To learn more about Dawning, you may visit the film's official site here.
This has been a K & B Radio news bulletin. We now return to our regularly scheduled broadcast.
3/10/11
Maaarsha...Maaarsha...
"Marsha White in her normal and natural state…But it makes you wonder, doesn't it? Just how normal are we? Just who are the people we nod our hellos to as we pass on the street? A rather good question to ask, particularly in the Twilight Zone."
Could Red Riding Hood Be...A Bomb? Here's Hoping.
From the desk of S.R. Grapes.
Question: is it wrong of me to barely be able to hide my delight that Catherine Hardwicke's Red Riding Hood is currently (as of this writing) scoring a 0% on Rotten Tomatoes' review aggregator? It is isn't it? Damn. See, here's the thing; I know that I shouldn't wish any ill will on any genre picture garnering itself a theatrical release. This, especially after the discouraging year that was 2010's horror box office. It's not news that horror took a big hit in theaters last year and as 2011 gets off the ground, it could use a serious boost in ticket sales. The kind of boost that subjugates studio head's concerns and reticence to further finance genre films in the first place (though, truth be told, they shot themselves in their own damn foot with the particular scripts they green lit). Horror films need to be financially viable in order for studios to continue to make them, we all know this. For instance, after audiences had had enough of the slasher boom in the 1980s, and the genre's box office dwindled to nothing, studios ceased to put anything with a body count and the red stuff into production (and no, citing the system's other flourishing cinematic madmen, Steven Seagal, Jean Claude Van Damme and their ilk, doesn't count). I'm still not too old to forget, nor was I too young to have missed, the bone dry desert that was the genre's output in the early 90s. Remember those days? When the likes of Man's Best Friend and Warlock: The Armageddon were the most prominent horror tickets in town? I do and I still remember how damn empty their screenings were (and this on premier night). As horror's viability in cineplexes continues to wane, I can't help but think back to that dark wasteland in our genre's history and get a little shudder down my spine at the prospect that it could return.
So you ask, what gives? Why would you be waiting with bated breath to see one of your own take it between the eyes at theaters this weekend? Quite simply, because I believe that these water-downed, horror lite, chaste, teen romance genre films are harming their brand every bit as much as the remake trend that still hasn't relented (and for the record, I'm not opposed to PG or PG-13 rated horror either, when they're done right). Temporary, financially viable, yet done to death trends, can spell death to the horror genre too after all. A painfully slow death, but death all the same. For example, out of the many dyed-in-the-wool horror fans that I count as friends, I can't remember the last time any one of them made the effort to see a scary movie in the theater. These are men and women who count amongst their many prized personal possessions, autographs from horror luminaries of every stripe, enough pictures on DVD and VHS to open their own video stores, framed film posters of movies like Popcorn and House in lieu of the more conventionally mainstream art that adorn most homes. My point? They're fans and they're in it to win it. However, faced with the underwhelming genre choices mainstream Hollywood provides them, they opt to stay home every time and they continue to stay home.
It honestly pains me to desire failure for Red Riding Hood. It has major talent on screen in Amanda Seyfried (who I adored weekly on HBO's Big Love for four years) and Shiloh Fernandez (who greatly impressed me in 2008's Deadgirl) not to mention Gary Oldman, Julie Christie and Virginia Madsen, whose presence in anything nearly drives me to the point of spitting, I love her so much. I was even initially excited to see Red Riding Hood (way waaaay back when it was just in pre-production) seeing as it concerns the oft-neglected melding of fairy tales and modern horror cinema sensibilities. It's a personal favorite sub-genre of mine, whose ranks are criminally bereft of worthwhile material. Also, add to this that Hollywood is in seriously short supply of working female directors, let alone ones bringing their unique voice to our beloved genre. This knowledge of course only further instigates the sinking feeling that I am somehow betraying my feminist sensibilities by crossing my fingers for a bomb. But then, then I remember that Hardwicke betrayed them first by filming an adaptation of a story that essentially encourages girls and young women to not only deny that they too are human, sexual creatures (really, abstinence only propaganda by way of a devout Mormon housewife) but that the only way they're going to be truly happy is to be completely self-involved and utterly reliant on dominating, stalkerish young men. I wish I could say that I am behind Hardwicke and this venture of hers. I wish I could forgive her Twilight and say "Okay, show us what else you got." However, I'm no fool. Despite all it's early promise, fur in place of fangs and the talent both onscreen and off, Hardwicke has apparently made that same damn movie again and my groan (and disappointment) couldn't have been any louder when the realization of such, hit home after viewing Red Riding Hood's trailer for the first time (also I'm also fairly certain that they didn't have mamby pamby hair gel in medieval villages, but I digress). Alas, that lovely little 0% isn't likely to stay that low forever. Inevitably some critic (or two) a helluva lot more charitable than I will come along and call it a guilty pleasure, or praise Hardwicke for how much "she's naturally grown as a film maker" or some such nonsense and boost Red Riding Hood's score. Additionally, bad critical reception has never spelled box office disaster in the good 'ol US of A. We here in the land of the free like our movies big, bigger, very loud and very dumb. So in keeping with our national tradition, I'm certain that the Twihards will be out in full force this weekend, buying up every available theater seat in the country and then some.
So, where does that leave us real horror movie fans? Could Red Riding Hood single-handedly be the death knell for the horror genre? Of course not. Do I believe it is one more nail in the coffin? Absolutely and it is for this reason that I pray we have yet another misfired bomb on our hands. After all, they say it's better to die with honor and dignity than to go down in shame. As for me? I'll be staying in this weekend and watching something made with actual respect for the genre. May I recommend Neil Jordan's The Company of Wolves to anyone else doing the same; a snarling, real retelling of the Red Riding Hood fable that is not only intelligent, deeply felt and genuinely horrific, but also is not afraid of a female's empowered sexuality. To the contrary, it celebrates it (take that Stephanie Meyers). Also, as far as hairy beasts in the moonlight go, I'm fairly certain that Wolves would tear Hardwicke's little pup to bloody, gloriously gory shreds.
Oh....gag.
Question: is it wrong of me to barely be able to hide my delight that Catherine Hardwicke's Red Riding Hood is currently (as of this writing) scoring a 0% on Rotten Tomatoes' review aggregator? It is isn't it? Damn. See, here's the thing; I know that I shouldn't wish any ill will on any genre picture garnering itself a theatrical release. This, especially after the discouraging year that was 2010's horror box office. It's not news that horror took a big hit in theaters last year and as 2011 gets off the ground, it could use a serious boost in ticket sales. The kind of boost that subjugates studio head's concerns and reticence to further finance genre films in the first place (though, truth be told, they shot themselves in their own damn foot with the particular scripts they green lit). Horror films need to be financially viable in order for studios to continue to make them, we all know this. For instance, after audiences had had enough of the slasher boom in the 1980s, and the genre's box office dwindled to nothing, studios ceased to put anything with a body count and the red stuff into production (and no, citing the system's other flourishing cinematic madmen, Steven Seagal, Jean Claude Van Damme and their ilk, doesn't count). I'm still not too old to forget, nor was I too young to have missed, the bone dry desert that was the genre's output in the early 90s. Remember those days? When the likes of Man's Best Friend and Warlock: The Armageddon were the most prominent horror tickets in town? I do and I still remember how damn empty their screenings were (and this on premier night). As horror's viability in cineplexes continues to wane, I can't help but think back to that dark wasteland in our genre's history and get a little shudder down my spine at the prospect that it could return.So you ask, what gives? Why would you be waiting with bated breath to see one of your own take it between the eyes at theaters this weekend? Quite simply, because I believe that these water-downed, horror lite, chaste, teen romance genre films are harming their brand every bit as much as the remake trend that still hasn't relented (and for the record, I'm not opposed to PG or PG-13 rated horror either, when they're done right). Temporary, financially viable, yet done to death trends, can spell death to the horror genre too after all. A painfully slow death, but death all the same. For example, out of the many dyed-in-the-wool horror fans that I count as friends, I can't remember the last time any one of them made the effort to see a scary movie in the theater. These are men and women who count amongst their many prized personal possessions, autographs from horror luminaries of every stripe, enough pictures on DVD and VHS to open their own video stores, framed film posters of movies like Popcorn and House in lieu of the more conventionally mainstream art that adorn most homes. My point? They're fans and they're in it to win it. However, faced with the underwhelming genre choices mainstream Hollywood provides them, they opt to stay home every time and they continue to stay home.
It honestly pains me to desire failure for Red Riding Hood. It has major talent on screen in Amanda Seyfried (who I adored weekly on HBO's Big Love for four years) and Shiloh Fernandez (who greatly impressed me in 2008's Deadgirl) not to mention Gary Oldman, Julie Christie and Virginia Madsen, whose presence in anything nearly drives me to the point of spitting, I love her so much. I was even initially excited to see Red Riding Hood (way waaaay back when it was just in pre-production) seeing as it concerns the oft-neglected melding of fairy tales and modern horror cinema sensibilities. It's a personal favorite sub-genre of mine, whose ranks are criminally bereft of worthwhile material. Also, add to this that Hollywood is in seriously short supply of working female directors, let alone ones bringing their unique voice to our beloved genre. This knowledge of course only further instigates the sinking feeling that I am somehow betraying my feminist sensibilities by crossing my fingers for a bomb. But then, then I remember that Hardwicke betrayed them first by filming an adaptation of a story that essentially encourages girls and young women to not only deny that they too are human, sexual creatures (really, abstinence only propaganda by way of a devout Mormon housewife) but that the only way they're going to be truly happy is to be completely self-involved and utterly reliant on dominating, stalkerish young men. I wish I could say that I am behind Hardwicke and this venture of hers. I wish I could forgive her Twilight and say "Okay, show us what else you got." However, I'm no fool. Despite all it's early promise, fur in place of fangs and the talent both onscreen and off, Hardwicke has apparently made that same damn movie again and my groan (and disappointment) couldn't have been any louder when the realization of such, hit home after viewing Red Riding Hood's trailer for the first time (also I'm also fairly certain that they didn't have mamby pamby hair gel in medieval villages, but I digress). Alas, that lovely little 0% isn't likely to stay that low forever. Inevitably some critic (or two) a helluva lot more charitable than I will come along and call it a guilty pleasure, or praise Hardwicke for how much "she's naturally grown as a film maker" or some such nonsense and boost Red Riding Hood's score. Additionally, bad critical reception has never spelled box office disaster in the good 'ol US of A. We here in the land of the free like our movies big, bigger, very loud and very dumb. So in keeping with our national tradition, I'm certain that the Twihards will be out in full force this weekend, buying up every available theater seat in the country and then some.
So, where does that leave us real horror movie fans? Could Red Riding Hood single-handedly be the death knell for the horror genre? Of course not. Do I believe it is one more nail in the coffin? Absolutely and it is for this reason that I pray we have yet another misfired bomb on our hands. After all, they say it's better to die with honor and dignity than to go down in shame. As for me? I'll be staying in this weekend and watching something made with actual respect for the genre. May I recommend Neil Jordan's The Company of Wolves to anyone else doing the same; a snarling, real retelling of the Red Riding Hood fable that is not only intelligent, deeply felt and genuinely horrific, but also is not afraid of a female's empowered sexuality. To the contrary, it celebrates it (take that Stephanie Meyers). Also, as far as hairy beasts in the moonlight go, I'm fairly certain that Wolves would tear Hardwicke's little pup to bloody, gloriously gory shreds.
Oh....gag.UPDATE:
Just when I thought we could possibly have another Troll 2 situation on our hands, some asshole at the Boston Phoenix went and spoiled the fun, elevating Red Riding Hood's Rotten Tomatoes' score to a very healthy 8%.
Sigh.
Just when I thought we could possibly have another Troll 2 situation on our hands, some asshole at the Boston Phoenix went and spoiled the fun, elevating Red Riding Hood's Rotten Tomatoes' score to a very healthy 8%.
Sigh.
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