Tonight, New Line Cinema and Warner Bros. unleashed some brand new footage at SXSW from two of their highly anticipated horror movies—IT by Andrés Muschietti (Mama) and Annabelle 2 from David F. Sandberg (Lights Out)—and while I really try to go into movies knowing as little as I possibly can, I could not pass up the opportunity to see what both films have cooked up for fans.
For many people, Alien (1979) is the yardstick by which all “creature on a spaceship” films are measured. However, the first few inches on that stick are occupied by It! The Terror from Beyond Space (1958), an effective low budget shocker that helped write the template still used in sci-fi and horror today. Climb aboard for a 69 minute rocket ride to Mars and back with an unwanted passenger. And no, I don’t mean (insert name or political affiliate you hate here).
Children these days are so selfish. While I can't really speak to the experience of being pregnant myself, I've vicariously lived through dozens of friends who have become mothers over the years, and the one thing I learned from all of them is that for nine months (technically ten), you have barely any control over what's going on with your own body, and for some women, that can be an intensely terrifying experience. It's those horrors, as well as the pain of grief, that Alice Lowe explores in Prevenge, in which the only way her character can cope with the loss of her boyfriend is to destroy those responsible for his untimely demise, all while being prodded on by the voice of her unborn child.
Kong is king! And since 1933, Kong has been one of the iconic movie monsters. For over 80 years in numerous films, the giant ape has gone from a stop-motion puppet to a spectacle of computer-generated effects. But Kong isn’t the only super-charged element in director Jordan Vogt-Roberts' new monster movie, Kong: Skull Island, a rather fun and never-too-serious action adventure film.
This weekend, co-writer/director Karen Skloss celebrates the world premiere of her latest project, The Honor Farm, which will play during the 2017 SXSW Film Festival as part of the Midnighters slate. Daily Dead caught up with the Austin native, who has worked extensively in the world of documentary projects and has a lot of editing experience under her belt, to discss making the leap in the realm of narrative filmmaking, how rewarding it felt to have The Honor Farm chosen to be a part of the prestigious fest, finding her core cast members, and more.
Out in limited theaters today is writer/director Olivier Assayas’ atmospheric supernatural thriller, Personal Shopper, which stars Kristen Stewart and celebrated its premiere last year during the 2016 Cannes Film Festival. The film follows Stewart’s character, Maureen, as she navigates her way through the demands of her high-pressure profession—assistant to a well-known actress—all while coping with the lingering grief over the recent death of her twin brother.
In Kong: Skull Island, director Jordan Vogt-Roberts transports audiences to a mysterious land brimming with creatures both friendly and deadly, and ruled over by one of cinema’s most iconic monsters of all time: King Kong.
In theaters this weekend from Legendary and Warner Bros. is Kong: Skull Island, and during the recent press day for the film, Daily Dead had the opportunity to join several other journalists in speaking with two of the movie’s co-stars, John Goodman and Brie Larson, about their experiences working on the adventurous project, the parallels between the story of Skull Island and the Vietnam War, and the allure of working within the realm of a cinematic universe, both in this film and others.
“He wants YOU for a best friend,” reads the bright yellow box adorned with images of a smiling, red-haired boy named Chucky. Nothing about this wide-eyed boy screams, “I’m going to kill you,” but what lies inside this box that Sideshow Collectibles sent our way is another story, one that is wonderfully rendered, expertly crafted, and, of course, downright sinister: Mezco Toyz’s Talking, Sneering Chucky doll (released by Sideshow), who has traded his “Good Guys” innocence for a knife.
Over the years, he’s battled the Avengers, a love-sick sister, and his fellow neighbors in a swanky apartment complex, but Tom Hiddleston has never faced anything in cinema quite like Skull Island’s most iconic resident, King Kong.
Seeking proof of life after death, a man puts out a newspaper ad with a $30,000 reward for anyone who can show him that the afterlife truly exists in We Go On. A horror film with a lot on its mind, We Go On is now available to watch on the streaming service Shudder, and we recently caught up with the film's directors, Jesse Holland and Andy Mitton, for our latest Q&A feature.
With Kong: Skull Island stomping its way into theaters this weekend from Legendary and Warner Bros., Daily Dead had the opportunity to join several other journalists on the movie’s press day to catch up with one of the film’s co-stars, Samuel L. Jackson, who chatted about what drives his character, Lt. Colonel Packard.
It starts with the music, which rises as the screen fades from black to reveal the sinister orange glow of the credits and a leering jack o’ lantern. The rapid, staccato piano notes indicating an oppressive force at work; relentless and unforgiving. John Carpenter’s Halloween (1978) is about all of these sensations and more; concrete vibrations that have echoed through the halls of horror, resounding from time to time to remind audiences of its lasting influence and potency.
Throughout a career of playing diverse characters on screen, Dolph Lundgren has gone up against Rocky Balboa, an alien drug dealer, and an army of enemies, but in his latest film, Don't Kill It, Lundgren fights what is possibly his most dangerous opponent yet: a demon that thrives on death. With Don't Kill It now out in select theaters and on VOD, I had the great pleasure of speaking with Lundgren and director Mike Mendez about balancing vicious violence with blood-drenched humor, sequel possibilities, and much more.
The grotesque appeal of carnivals, their inherent and attractive darkness, are long-established motifs of horror. Sideshow acts are full of the lurid and uncanny—humans whose appearances or movements aren’t “normal,” showcased behind heavy curtains or glass as objects of hideous wonder. Few can capture this fascination better than Ray Bradbury, who, along with Tod Browning and Diane Arbus, has solidified these images into our public consciousness.