I’ve said this before and I’ll say it again: Seed of Chucky is the best Child’s Play movie by John Waters that he never directed.
Easily one of the more thought-provoking horror movies to get a wide release in some time, Gore Verbinski’s A Cure for Wellness arrives in theaters this weekend courtesy of 20th Century Fox. Not one to shy away from an ambitious directorial challenge, during our interview, Verbinski discussed bringing the unknown back to big screen horror, what fueled his desire to tackle a wholly unique story after years of bringing popular properties to life, and how A Cure for Wellness is his own twisted version of a fairy tale.
Hello, readers! Welcome back for the another installment of one our featured columns here at Daily Dead, Deadly Dialogue: A Conversation on Cinema, in which we catch up with notable folks—both in front of and behind the camera—from the horror and sci-fi genres, to discuss the films that inspired them to become the artists they are today.
Undoubtedly one of the more thought-provoking horror movies to receive a major studio push in quite some time, Gore Verbinski’s A Cure for Wellness arrives in theaters this weekend courtesy of 20th Century Fox. The film follows Dane DeHaan’s character Lockhart as he arrives at a wellness retreat in Switzerland to retrieve the CEO of the financial firm he works for, only to find himself unable to leave after getting mixed up in the mysteries of the facility.
Hitting DirecTV exclusively on February 16th is Osgood Perkins’ The Blackcoat’s Daughter, an atmospheric thriller about demonic possession and the emotional aftermath that follows an attack at a private school. The film stars Emma Roberts, Kiernan Shipka, and Lucy Boynton, who all deliver incredible performances.
For the brand new anthology XX, which recently premiered at the 2017 Sundance Film Festival, four female directors—Jovanka Vuckovic, Karyn Kusama, Roxanne Benjamin, and Annie Clark—came together to deliver a quartet of sinister cinematic stories, with Sofia Carrillo creating the wraparound interstitial segments that feature stunning use of stop-motion animation.
In theaters this weekend is Gore Verbinski’s A Cure For Wellness. In the film, while trapped at a remote wellness center in Switzerland, Dane DeHaan’s character Lockhart crosses paths with a mysterious young woman named Hannah (played by Mia Goth), who undergoes her own awakening the deeper Lockhart delves into the mystery of just what is “the cure.”
[Hello, readers! To celebrate Valentine's Day, the Daily Dead team thought it would be fun to do things a little differently this year. We're putting the spotlight on our favorite horror-loving characters from genre cinema—people who have represented our own fandom on screen and, in many cases, helped bring our passion for horror into the mainstream. Be sure to check here for more of our tributes to some of the greatest horror fans to ever grace the big screen.]
As a kid, while I loved every possible monster out there, I was a total vampire nerd through and through.
There is a level of audacity to Gore Verbinski’s A Cure for Wellness that I can’t help but admire. On paper, it’s not the type of film that generally gets a big studio push in this day and age, but yet, 20th Century Fox is going all out for Verbinski’s weirdly surreal exploration of the one thing none of us can escape—our mortality—and I dig that he once again takes an avant-garde route to give us a grandiose, epic gothic horror movie that wears its influences on its sleeves, yet at times feels like nothing we’ve ever experienced before.
While at the 2017 Sundance Film Festival, I had the opportunity to check out a few films that were just a bit outside the horror realm, including Cary Murnion and Jonathan Milott’s sociopolitical actioner Bushwick, Marianna Palka’s bleak comedy Bitch, and David Lowery’s unforgettable A Ghost Story, and you can read my reviews for these on-the-fringe-of-horror titles right here in one place.
I have been a fan of Nacho Vigalondo’s ever since seeing Timecrimes back in 2008, and to be perfectly honest, while he’s been at the helm of several other impressive projects, nothing had tickled my cinematic fancies quite like his time travel horror/science fiction mash-up. That is, until I saw Colossal, which is easily Vigalondo’s most ambitious effort to date. A thoughtful and ingenious creature feature that raises the bar for modern monster movies, Colossal is now an early front-runner for one of my favorite films of the year.
Earlier this week, Irish filmmaker Chris Baugh celebrated the world premiere of his crime thriller Bad Day for the Cut at the 2017 Sundance Film Festival’s Midnight program. While in Park City, Daily Dead caught up with Baugh, as well as co-writer/producer Brendan Mullin and Bad Day star Nigel O’Neill, to hear more about their collaboration, the way they focused on the characters instead of just giving viewers mindless violence, and their thoughts on working with Susan Lynch (who portrays the film’s big bad, Frankie Pierce).
Over the last several months, writer/director Julia Ducournau’s Raw has been finding a lot of success on the festival circuit, and recently, her feature film debut played as part of the Spotlight program at the 2017 Sundance Film Festival.
While in Park City, Daily Dead was thrilled for the opportunity to sit down and speak with Ducournau in-depth about her approach to Raw (which rocked me when I saw it last year during Fantastic Fest). The filmmaker discussed how her cinematic story was her own way of exploring the trivialities of the human body, the often tumultuous nature of sibling rivalry, and more.
Over the weekend, filmmakers Jonathan Milott and Cary Murnion, the team behind the horror comedy Cooties, celebrated the world premiere of their action thriller Bushwick at the 2017 Sundance Film Festival. While in Park City, Daily Dead sat down with the duo to talk about the long road to getting Bushwick made, working with co-stars Dave Bautista and Brittany Snow, and more.
As far as franchise finales go, Resident Evil: The Final Chapter is an ambitious, action-packed, and wholly satisfying conclusion for fans of the series that have been waiting to see what the Umbrella Corporation and the Red Queen’s endgame would be ever since the original Resident Evil film premiered in 2002.