Daily Dead https://dailydead.com - Zombies and Horror News, Reviews, Features, Videos, and Interviews. Sun, 21 Jan 2018 22:55:03 +0000 en-US hourly 1 https://wordpress.org/?v=4.9.2 Corpse Club is the official DailyDead.com podcast! Featuring a mix of Daily Dead staff and special guests, each episode of Corpse Club will dive into the world of horror entertainment. Welcome to the Corpse Club! Daily Dead clean Daily Dead jonathan007@gmail.com jonathan007@gmail.com (Daily Dead) A horror podcast presented by Daily Dead! Daily Dead https://dailydead.com/wp-content/uploads/powerpress/Corpse_Club_Announcement_1400x1400_RED.jpg https://dailydead.com Sundance 2018 Review: MANDY is a Psychedelic Powder Keg of Cinematic Insanity https://dailydead.com/sundance-2018-review-mandy-psychedelic-powder-keg-cinematic-insanity/ https://dailydead.com/sundance-2018-review-mandy-psychedelic-powder-keg-cinematic-insanity/#respond Sun, 21 Jan 2018 22:55:03 +0000 https://dailydead.com/?p=223904 In 2010, filmmaker Panos Cosmatos came out guns blazing with his feature film debut, Beyond the Black Rainbow, and his follow-up project, Mandy, proved to be well worth the wait for those of us who have patiently waited to see just what the boundary-pushing director would do next. Like a powder keg of cinematic insanity […]

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In 2010, filmmaker Panos Cosmatos came out guns blazing with his feature film debut, Beyond the Black Rainbow, and his follow-up project, Mandy, proved to be well worth the wait for those of us who have patiently waited to see just what the boundary-pushing director would do next. Like a powder keg of cinematic insanity ready to blow at any given moment (and when it does, man, the results are glorious), Mandy makes for a stunning companion piece to Black Rainbow in many ways, and yet still feels like a wholly unique step forward from Cosmatos. It’s hard to believe that he’s only two films into his career, but just based on his track record so far, Panos is now poised to become one of the boldest filmmaking voices of his generation.

At its core, Mandy is a story of revenge, as we watch in horror while Red Miller’s (Nicolas Cage) wife (Andrea Riseborough) is mercilessly slaughtered by a demented cult leader named Jeremiah (Linus Roache), putting Cage’s character on a quest for vengeance that pushes him to some very dark places after losing the love of his life. But the thing is, Mandy is so much more than just another revenge flick—it’s a mash-up of brutal terror and trippy LSD-fueled cult horror that also manages to evoke something of a rock opera feeling as well (this writer got some serious Tommy and Phantom of the Paradise vibes at one point). The most important aspect to Mandy’s story, though, is that Cosmatos has crafted a beautifully simple romance between Red and Mandy that grounds all the larger-than-life elements of his visual descent into madness, making Cage’s badass journey towards avenging the loss of his wife emotionally satisfying to boot (translation: I cried a little). Cosmatos gives us a reason for the chaos that drives the narrative of Mandy in the latter half, and to strike that perfect balance of exhilarating exploitative action and gut-wrenching loss is a tough feat to pull off successfully. But Mandy just nails it.

Something else that really struck me about Mandy is that even though Cosmatos sets the film during 1983, his wonderfully demented exploration about the damaging effects of the male ego feels so very relevant today. The reason for all this carnage is because of Jeremiah’s ego, and his “need” for Mandy’s affection, and when she doesn’t reciprocate interest, we see how his fragile psyche is unable to cope with her dismissal of him, and everything that he and his cult believe in.

In terms of the performances, both Cage and Riseborough are astonishingly great in Mandy, with their characters’ affection for each other palpable in every scene. The first half of the film has a bit more of a dreamy approach to it, with Cosmatos playing up the tranquil locale of Red and Mandy’s home and the modest nature of their relationship. Their happiness comes from just spending time together, whether it’s boating around on an idyllic lake, or sharing dinner together over a coffee table as they watch old cult movies on their TV. Their very existences are rooted in their deep-seated love for each other, so when Mandy is ripped away from him, Red is forced to confront this new existence without his lady love, as Mandy transforms into something of a mythical muse to her grieving husband (where Cosmatos utilizes some wicked cool animation that feels like Frank Franzetta-meets-Metalocalypse). And for as much fun as it is to watch “unhinged Cage” run around and destroy his enemies left and right (and holy crap, is it ever fun), I think the earlier stuff in Mandy where he’s just a normal guy living his life with Riseborough is his strongest work in the film. Between this and Mom and Dad, I’m very much enjoying how Cage is getting back into unconventional roles again, because I think that’s where he shines the most.

And if you haven’t been paying attention to Riseborough’s career so far (Oblivion, Birdman, Nocturnal Animals, and the upcoming comedy The Death of Stalin, in which she plays Stalin’s daughter, Svetlana, and is absolutely hilarious), get ready for her to take over in 2018, because this is definitely going to be her year.

There are so many reasons why I loved Mandy, and I feel like I’ve barely scratched the surface here, but to be honest, so many of those things were genuine surprises for me as I was watching it, and I feel like that’s the best way for anyone to see it. Suffice to say, if you’re into unabashedly experimental genre filmmaking that features weird cult stories, chainsaw fights, a Cenobite-esque biker gang that would no doubt leave Clive Barker smiling, copious amounts of bloodshed, and strong supporting performances from the likes of Bill Duke (Predator) and Richard Brake (31, Ray Donovan), you’re going to want to take a trip into hell with the latest from Cosmatos. Also, consider this a friendly reminder that if you’ve been sleeping on Beyond the Black Rainbow for the last seven years or so, now is as good a time as any to catch up.

Movie Score: 5/5

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Drive-In Dust Offs: TIME AFTER TIME (1979) https://dailydead.com/drive-dust-offs-time-time-1979/ https://dailydead.com/drive-dust-offs-time-time-1979/#respond Sat, 20 Jan 2018 18:07:51 +0000 https://dailydead.com/?p=223888 As a child, the notion of romance to me was distant and adult, and frankly I wanted no part of it – especially in movies; I was the comedy and horror kid, with the occasional foray into fantasy. (Okay, I kissed Bev Peters on the cheek under the schoolyard tire when I was seven, but […]

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As a child, the notion of romance to me was distant and adult, and frankly I wanted no part of it – especially in movies; I was the comedy and horror kid, with the occasional foray into fantasy. (Okay, I kissed Bev Peters on the cheek under the schoolyard tire when I was seven, but that fizzled out quickly.) I did however make my way to my small town’s Orpheum theatre at the age of nine to see what looked like a promising horror/sci-fi blend, Nicholas Meyer’s Time After Time (1979), and stumbled out into the darkness with a new understanding of what romance meant to me.

An Orion/Warner Bros. co-production, Time After Time was released late September to good reviews and receipts, bringing in $13 million at the box office. Variety called it “an entertaining trifle” and Janet Maslin said “Time After Time is every bit as magical as the trick around which it revolves”. I definitely lean towards the Maslin camp on this one, as it weaves a charming (you’ll be reading this word a lot) spell from first frame to last.

The “trick”, or conceit, that Ms. Maslin is referring to is this: in 1893, Author and futurist H.G. Wells (Malcolm McDowell – A Clockwork Orange) creates an actual time machine. Too timid to use it, he instead shows it to his circle of friends, including Dr. Stevenson (David Warner – Time Bandits), who also happens to be London’s infamous Jack the Ripper. Cornered by the coppers at Wells’ home, Stevenson absconds with the device. When it rematerializes, Wells gives chase to the same location (and time) as Stevenson – modern day San Francisco. Upon his arrival, he meets and falls for banker Amy Robbins (Mary Steenburgen – Dead of Winter), who acts not only as his conduit to the new world, but provides a link to Stevenson, who finds that Jack the Ripper is very much made for this decadent age…

To my nine year old sensibilities, Time After Time immediately appealed  with its Marvel Comics’ “What If?” motif, the special issues where they supposed their heroes in alternate realities (“What If…The Hulk became a podiatrist?”);  so the “trick” worked on young and old alike – for the kids, a mash-up of the real and fantastic (most of my friends had heard of both Wells and Jack, at least in passing), and for the adults, the dismantling of Wells’ Utopian visions through a very amusing fish out of water yarn.

Of course, as a burgeoning horror fiend the hook for me was Jack the Ripper transplanted to the modern era; the trailer promised such and delivered unto me my favorite interpretation of the character by the charmingly brutal performance of David Warner. All three leads were new to me; but every good story needs a great villain, his chilling take on Saucy Jack made a lifetime impression, and I would find out through watching him in innumerable roles that an ever-so-dry wit was ever-so-present.

Okay, so he’s great, but is it horror? You’re damn right it is, among other things. By no means graphic, Time After Time uses the implied brutality of the Ripper as the narrative thrust for the love story between Herbert and Amy, as well as any social gleanings one takes away from it. And there is a moment involving Stevenson and a young Patti D’arbanville (Big Wednesday) that gut punches as well as anything from Halloween the previous year, implied or not.

Meyer’s script does allow for suspense then, even if a good portion of the middle is given over to Wells’ humorous fascination with the evolution of technology and his dread at what he sees is a decline in values that can’t be charted. But it can be charted, as Stevenson exclaims to Wells, “Ninety years ago I was a freak. Today I’m an amateur.” The Ripper is excited to be a part of this New Morality, especially at it bleeds through the Woman’s Liberation Movement and lands him in a time where independence doesn’t always offer survival. (Plus, the sight of Warner in Travolta disco garb is *chef’s kiss*.) Meyer’s vision of our modern day is, to put it mildly, bleak. Oppressive, too. So what saves it from being a “things were better” treatise? Well, the romance, naturally.

As I’ve said, this was my first experience with all the leads, and to learn that McDowell and Steenburgen fell in love while making this film only adds to the (wait for it) charm, and boy does it show; every exchange is charged and knowing, an unforced chemistry that announced them both as instant stars (she was already on her way up, and he was making his American debut). Steenburgen really stood out to me at the time as a quirky and strong presence that has only been reinforced through decades of memorable turns. I fell in love a little bit that night.

As for McDowell, I fell in love a lot that night; his bespectacled Wells turning out to be one of my favorite performances in film, period. Every gesture, every reaction to his new surroundings (watch his body language as he grapples with this new world), his frantic pleas to the police and Stevenson in regards to Amy, his childlike wonder butting up against sudden horror, every second he was on screen I was mesmerized. He immediately wins the audience over as this man out of time, and made a lifetime fan out of me, regardless of the quality of the venture.

Meyer has made a career out of romance; his best work involves the romance of time and space travel, as proven in his credited (and uncredited) screenplay work in my favorite Star Trek films, II, IV, and VI (which he also directed). Time After Time lovingly displays his affection for the Hollywood of old as well; it’s there in the antiquated Warner Bros. logo he demanded be used and the cobblestoned back lots of the legendary studio for the London scenes. His romance for film is infectious.

And so it was for me as I left the theatre that night; I felt a new appreciation for rousing adventure, for suspense from a terrifying historical figure, a giddiness at a fabled author being thrust into a tale as fantastical as any he would create, and an endearing union between two people (and actors) that not only crossed stars but centuries. Time After Time redefined romance for me in so many ways, and I’ll be eternally grateful to Meyer et al for providing me dreams beyond a sweet, stolen kiss under that schoolyard tire.

Time After Time is available on Blu-ray from the Warner Archive Collection.

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Jessica Rothe Comments on Potential HAPPY DEATH DAY Sequel https://dailydead.com/jessica-rothe-comments-on-potential-happy-death-day-sequel/ https://dailydead.com/jessica-rothe-comments-on-potential-happy-death-day-sequel/#respond Sat, 20 Jan 2018 17:20:17 +0000 https://dailydead.com/?p=223890 On Friday the 13th in 2017, we may not have gotten a new Jason Voorhees film, but many moviegoers were pleased with another new horror film released that October: Happy Death Day. The overall positive reception for the Groundhog Day-esque slasher may have some horror fans wondering if a sequel could be in the works, […]

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On Friday the 13th in 2017, we may not have gotten a new Jason Voorhees film, but many moviegoers were pleased with another new horror film released that October: Happy Death Day. The overall positive reception for the Groundhog Day-esque slasher may have some horror fans wondering if a sequel could be in the works, and while no follow-up film has officially been announced, in a recent interview lead actress Jessica Rothe shared some intriguing details and hopes for a potential sequel.

In an interview with Collider, Rothe, who in Happy Death Day plays college student Tree Gelbman, a character who relives her death on her birthday over and over again, spoke enthusiastically about director Christopher Landon's idea for a sequel to the horror comedy, saying that this time around, the story would have a Back to the Future vibe that would take place immediately after the first film:

"Chris has done this incredible thing where the sequel, the way he described it to me, elevates the movie from being a horror movie – and I wouldn’t even say it’s just a horror movie because it’s a horror, comedy, rom-com drama – into a Back to the Future type of genre film where the sequel joins us right from where we left off, it explains a lot of things in the first one that didn’t get explained, and it elevates everything. I was really pleased to know that we weren’t just gonna be pushing all the buttons that people loved the first time, over and over again, ’cause I think that gets old. I’m really excited to see if it comes to fruition and, if it does, what the final product looks like. I hope we get to do it! I had a ball!"

Again, there's no word yet on if a Happy Death Day sequel will happen, but Rothe seems to be game for it, and the box office success of the heartfelt horror comedy (it brought in over $55 million in the US and over $100 million worldwide) has to at least pique the interest of Blumhouse and Universal.

With Paranormal Activity: The Marked Ones, Scouts Guide to the Zombie Apocalypse, and now Happy Death Day, director Christopher Landon has proven that he can compellingly tell a wide variety of horror stories on the big screen. While it remains to be seen if he'll return to the world of Happy Death Day, he did express interest in doing a sequel in an interview with The Hollywood Reporter last October:

"I will say that if we are lucky, and people like the movie and we get to do another one, I do have a sequel ready in my head, and it's definitely not what anyone is expecting, but it will make a lot of sense. And it will answer a lot of questions that may pop up in the first movie for people. But that's only if I get to do it. If I don't, I'm probably just taking it to my grave."

We'll be sure to keep you updated on any official news regarding another Happy Death Day film. In the meantime, do you want to see a Happy Death Day sequel, or would you prefer that Tree's time loop adventure stay confined to one film? Let us know in the comments below, and head over to Collider for the full interview with Rothe.

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Funko’s New JURASSIC PARK Pop! Vinyl Figures Feature Injured Dr. Ian Malcolm, Dr. Alan Grant & More! https://dailydead.com/funkos-new-jurassic-park-pop-vinyl-figures-feature-injured-dr-ian-malcolm-dr-alan-grant-more/ https://dailydead.com/funkos-new-jurassic-park-pop-vinyl-figures-feature-injured-dr-ian-malcolm-dr-alan-grant-more/#respond Fri, 19 Jan 2018 23:52:29 +0000 https://dailydead.com/?p=223864 With a new Jurassic World movie on the horizon and the 25th anniversary of the first Jurassic Park film lurking around the corner like a crafty Velociraptor, Funko is celebrating the characters from the original movie with new Pop! vinyl figures. Slated to come out this February, you can view the new Jurassic Park Pop! vinyl figures below, […]

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With a new Jurassic World movie on the horizon and the 25th anniversary of the first Jurassic Park film lurking around the corner like a crafty Velociraptor, Funko is celebrating the characters from the original movie with new Pop! vinyl figures.

Slated to come out this February, you can view the new Jurassic Park Pop! vinyl figures below, including a Target-exclusive Dr. Ian Malcolm figure that shows the iconic Jeff Goldblum character after he was injured during an encounter with a Tyrannosaurus rex. Will you be adding these Pop! vinyl figures to your collection?

From Funko: "Jurassic Park fans, get excited! To celebrate the 25th anniversary of the iconic film’s appearance on the silver screen, Jurassic Park is coming to Pop!

Pop! Movies: Jurassic Park

This series of Pop! features paleontologist Dr. Grant, Jurassic Park CEO John Hammond, mathematician Dr. Malcolm, and embryo-smuggler Dennis Nedry!

We couldn’t forget the Jurassic Park dinosaurs! Featured in this line are the great T.rex, Velociraptor, and Dilophsaurus!

Look for the Dilophosaurus chase! A rarity of 1-in-6.

Be on the lookout for exclusives! At Target you can find a wounded Dr. Malcolm.

Dennis Nedry and Dilophosaurus 2-pack is available only at Entertainment Earth.

Coming in February!

Dr. Ellie Sattler in Pop! Rides coming soon!

Images from Funko, Entertainment Earth, and Funko Pop Hunters:

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Slamdance 2018 Interview: Director Trevor Stevens Takes Us Into the World of ROCK STEADY ROW https://dailydead.com/slamdance-2018-interview-director-trevor-stevens-takes-us-into-the-world-of-rock-steady-row/ https://dailydead.com/slamdance-2018-interview-director-trevor-stevens-takes-us-into-the-world-of-rock-steady-row/#respond Fri, 19 Jan 2018 20:55:50 +0000 https://dailydead.com/?p=223855 For Rock Steady Row, first-time feature filmmaker Trevor Stevens utilizes a collegiate setting for his post-apocalyptic mash-up that follows a freshman on his first day of school at Rock Steady University, where society has broken down and two fraternities wield all the power over both the student body as well as RSU’s shrewd Dean (played […]

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For Rock Steady Row, first-time feature filmmaker Trevor Stevens utilizes a collegiate setting for his post-apocalyptic mash-up that follows a freshman on his first day of school at Rock Steady University, where society has broken down and two fraternities wield all the power over both the student body as well as RSU’s shrewd Dean (played by veteran comedic actor Larry Miller).

Rock Steady Row is set to debut today at the 2018 Slamdance Film Festival (which is being held in Park City, Utah, along with the Sundance Film Festival), and Daily Dead was thrilled to speak with director Stevens about taking his debut to the prestigious fest, how his entire cast and crew came together to support his wild vision for the project, and the thrill of collaborating with legendary funny man Miller.

Congrats on Slamdance, Trevor. I'm sure nerves are kind of settling in a little bit now, but I think you guys should have a lot of fun with this one at the fest. I know I had a blast.

Trevor Stevens: I'm glad to hear that. Everything related to getting here has been absolutely crazy. And we have a huge group that's coming out, too, something like over 40 people from the film are coming up. It's unheard of [laughs]. So we're really excited about that.

There are a lot of aspects that are really fun about Rock Steady Row, but it also feels very socio-politically relevant right now in terms of where things are with the current state of gender issues and stuff like that. How conscientious were you of infusing that into this project? And how did you come to collaborate with Bomani [Story] on it?

Trevor Stevens: Actually, Bomani and I have been friends for a long time, and this is actually an idea that we worked on together for a while. I had the idea to do a spaghetti western, and originally, it was going to be in a high school setting, but we ended up transferring it to college just to change it up a little bit based on a lot of things that we both experienced in college.

I went to Chapman University, and he went to USC, and while he was at USC, he actually had his bike stolen on campus, and he thought that was funny. He had done some research at USC and on other campuses, and discovered a lot of people are always getting their bikes stolen, and they never could find the culprit, like it was this underground bike ring or something.

And then, anybody who's been to college knows about all the problems with student debt, and we saw how relevant that is, so we wanted to create this very bizarro Mad Max reality out of the types of films that we love. We both grew up loving samurai films and spaghetti westerns, but we wanted to put them in a setting that turns those types of films on their head, so instead of these gun-toting gangs, you have fraternities that act the same way. Instead of a sharpened blade, you have pencils, and hidden knives inside of the glasses. The idea was to be very tongue and cheek about it, and to be very exaggerated, very metaphorical about what we're doing.

The Brock Turner situation happened right before we got to the writers' room, so we were aware of that, and we knew that we wanted that to be an element here, too, but we could not have predicted the things that were going to happen in the past year, in terms of the political climate, as we went into production. You have to understand that we filmed this in October 2016, and then our whole political culture changed the following month in November, so things happened very quickly.

This film is really ambitious, where you're using different visual styles at times, and you are working with a pretty fairly large cast, too, using a very specific locale. What were some of the challenges that came along with pulling Rock Steady Row together?

Trevor Stevens: If I'm going to add one thing on top of that, it’s that this was also my first feature, and it was also done for a micro-budget, too. I can't go into the details about the exactness of the budget, but I can tell you that we had to pull favors left and right, and the fact of the matter was this would not have been achievable if it were not for the heart and spirit of this cast and crew. I think the biggest evidence of how invested everyone has been in this project is that we have 40 people coming up, and I didn't have to pull anyone's hand to get here.

The fact that it happened is nothing short of a miracle, but because of that, we were able to pull off things that I want to say no one else would, just because I don't think anyone else would be able to look at us and think that's rational or we should do this movie. And that was what was cool. Everyone was like, "What you're doing is crazy, absolutely crazy." I knew that, but I also knew it was going to be a hell of a lot of fun, even if it was going to be very challenging for everyone. And considering what we had to work with, it's incredible. Everybody really wanted to see this work and were there to make it happen. That was from the top head producer, to the producing team, to every single member of the cast and crew.

Making any kind of art is such a transformative process. Looking back at this experience of making Rock Steady Row, what would you say is the thing that you took away from this experience that perhaps changed you a little bit? Whether it was something that affected you personally, or professionally, or maybe it was a combo of both aspects?

Trevor Stevens: That's a really good question. I feel like there are a lot of things, and if you were to ask me this on a different day, I'd probably tell you something different [laughs]. I do know one of the most important things I learned on this project is to never lose sight of trusting your gut on something, and also being very aware of the people around you and the quality they bring to your work. Something I always did in my shorts in school, that I always wanted to keep with me, is to always listen to your collaborators and make them a part of the project. Because when everyone puts their hands in the pot together, everyone works that much harder, and you have something much more unique. Also, you never want to get stuck in your own head.

Oh, before we go, I wanted to ask about Larry Miller, because I'm a big fan of his. How did you pitch this to him to get him on board for the dean role? One of my favorite movies from when I was a teenager was Necessary Roughness, where he plays another evil dean-type character, so when I saw him pop up in this, I got very excited.

Trevor Stevens: We knew that the dean was going to be a tough one because we had to have someone who could give that right sauciness, that right amount of sarcasm and wit, someone who was very funny, but at the same time could bring in the corruption aspects of what is happening in Rock Steady Row. I also grew up with Larry Miller, whether it be through Seinfeld or Best in Show, so I was a huge fan of him. To ask him to be part of this project was a personal ask, and we wrote him a letter, telling him what the film was about. I didn't even realize until I looked up his podcast and blog that he himself is actually a bit of a spaghetti western fan, which was cool.

Getting to work with him was fantastic, though. He brought so much to this, and we had a whole day just where we were playing with stuff, and it was fantastic. He brought his skills as an improv actor to this, which meant he was able to make up stuff that was completely unique on the spot. And with almost all of his lines, Larry brought in something that was totally from himself, too.

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Listen to the CORPSE CLUB Discuss Horror Resolutions and January Movies on a New Episode of Daily Dead’s Podcast https://dailydead.com/listen-to-the-corpse-club-discuss-horror-resolutions-and-january-movies-on-a-new-episode-of-daily-deads-podcast/ https://dailydead.com/listen-to-the-corpse-club-discuss-horror-resolutions-and-january-movies-on-a-new-episode-of-daily-deads-podcast/#respond Fri, 19 Jan 2018 19:09:24 +0000 https://dailydead.com/?p=223831 Halloween may not be until October, but the first month of the year is a horror hub all its own, and on a new "Horrigins" episode of Daily Dead's podcast, the Corpse Club co-hosts look back at the horror releases of January over the years and share some very special resolutions for 2018. On a special "Horrigins" […]

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Halloween may not be until October, but the first month of the year is a horror hub all its own, and on a new "Horrigins" episode of Daily Dead's podcast, the Corpse Club co-hosts look back at the horror releases of January over the years and share some very special resolutions for 2018.

On a special "Horrigins" episode of Corpse Club, co-hosts Patrick Bromley and Heather Wixson celebrate the new year by discussing their horror-themed resolutions for 2018, including watching The X-Files in its entirety, having monthly viewings of giallo movies, reading more horror fiction, and much more. They also reflect on horror films released in January, discussing a wide range of titles from Daybreakers and Mama to The Boy and the Underworld movies. So sit back, take a break from your own resolutions, and enjoy another episode of Daily Dead's official podcast!

You can listen to the 35th episode of Corpse Club right now on iTunes, Google Play, iHeartRadioSoundCloud, Stitcher, and TuneIn, and look for our next episode to be summoned soon!

As a special treat for Daily Dead readers, we officially launched our Corpse Club website and memberships. Not only can you view past episodes, but you can also sign up to be an official Corpse Club member to enjoy a wide range of rewards, including a shirt and pin that are to die for, access to future bonus content, the ability to suggest an episode topic, and more!

Missed out on our previous 34 episodes? The cemetery gate is always open. Come in (if you dare) and listen now!

Our Episode 35 Online Player:


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Robert Englund Discusses a Dangerous Game in Exclusive Clip from THE MIDNIGHT MAN https://dailydead.com/robert-englund-warns-of-a-dangerous-game-in-exclusive-clip-from-the-midnight-man/ https://dailydead.com/robert-englund-warns-of-a-dangerous-game-in-exclusive-clip-from-the-midnight-man/#respond Fri, 19 Jan 2018 17:09:24 +0000 https://dailydead.com/?p=223847 In past movies when Robert Englund emerged from the shadows, it usually meant certain doom for teenagers who called Elm Street home, but in our exclusive clip from The Midnight Man (out today from IFC Midnight), Englund's character could be the only hope for teenagers trapped in a deadly game featuring its own boogeyman. Directed […]

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In past movies when Robert Englund emerged from the shadows, it usually meant certain doom for teenagers who called Elm Street home, but in our exclusive clip from The Midnight Man (out today from IFC Midnight), Englund's character could be the only hope for teenagers trapped in a deadly game featuring its own boogeyman.

Directed by Travis Zariwny, The Midnight Man stars Logan Creran, Robert Englund, Grayson Gabriel, Emily Haine, and Gabrielle Haugh. The new horror film is now in select theaters and on VOD platforms from IFC Midnight.

Watch horror icon Robert Englund in our exclusive clip from The Midnight Man below, and we also have the trailer and synopsis with full details on the new horror film. Will you be watching it this weekend?

Synopsis: "It was supposed to be just an urban legend… On a snowy night in her grandmother’s sprawling mansion, teenage Alex (Gabrielle Haugh) and her best friend Miles (Grayson Gabriel) discover a mysterious box hidden away in the attic. Inside are instructions for The Midnight Game, an ancient Pagan ritual said to summon the players’ greatest fears. It all seems like harmless fun—until they unleash the terrifying spirit of The Midnight Man, an unholy force who pits them against their darkest demons and dares them to survive. Horror legends Robert Englund and Lin Shaye (A Nightmare on Elm Street) costar in this terrifying, supernatural game of cat and mouse. Play at your own risk…"

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Horror Highlights: YOU WERE NEVER REALLY HERE Poster, WARHAMMER: VERMINTIDE 2, HANGMAN https://dailydead.com/horror-highlights-you-were-never-really-here-poster-warhammer-the-end-times-vermintide-hangman/ https://dailydead.com/horror-highlights-you-were-never-really-here-poster-warhammer-the-end-times-vermintide-hangman/#respond Fri, 19 Jan 2018 16:28:10 +0000 https://dailydead.com/?p=223839 Joaquin Phoenix tops today's Horror Highlights with a new poster for You Were Never Really Here, making its American premiere this month at the Sundance Film Festival, and we also have new information on the soundtrack for Warhammer: Vermintide 2 and home media release details for the serial killer thriller Hangman, starring Al Pacino. You Were Never […]

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Joaquin Phoenix tops today's Horror Highlights with a new poster for You Were Never Really Here, making its American premiere this month at the Sundance Film Festival, and we also have new information on the soundtrack for Warhammer: Vermintide 2 and home media release details for the serial killer thriller Hangman, starring Al Pacino.

You Were Never Really Here Sundance Poster: "You Were Never Really Here premiered at the 70th Cannes Film Festival in competition, where Lynne Ramsay won the Best Screenplay award and Joaquin Phoenix won the award for Best Actor. Acclaimed director Lynne Ramsay returns to the 2018 Sundance Film Festival with the film’s American debut.

Amazon Studios will release You Were Never Really Here in select theaters April 6, 2018

A traumatized veteran, unafraid of violence, tracks down missing girls for a living. When a job spins out of control, Joe's nightmares overtake him as a conspiracy is uncovered leading to what may be his death trip or his awakening."

Written and directed by Lynne Ramsay, You Were Never Really Here stars Joaquin Phoenix, Judith Roberts, Ekaterina Samsonov, John Doman, Alex Manette, Dante Pereira-Olsen, and Alessandro Nivola.

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Warhammer: Vermintide 2 - Press Release: "Stockholm, Sweden (January 18, 2018) – Independent Swedish developer Fatshark today revealed that BAFTA award-winning Danish composer Jesper Kyd (www.jesperkyd.com) is returning to compose an original soundtrack for the sequel to the first-person melee/shooter Warhammer: The End Times - Vermintide, based on Games Workshop’s popular Warhammer Fantasy Battles world. Vermintide 2 introduces the dark, bloody and twisted Norse tribe ‘Chaos’ as an enemy faction and is headed to PC and consoles in early 2018.

Inspired by Norse mythology, Jesper Kyd’s original score for Vermintide 2 explores ancient tribal music and dark magic fantasy elements as well as evolving the raw acoustic soundscape he developed for the first game. Kyd channels his Scandinavian roots, blending Viking and Norse-inspired vocals, ritualistic percussion styles and new custom-made instruments built specifically for Vermintide 2, to create another unique soundtrack experience.

Developed by independent games studio Fatshark in Sweden, Vermintide 2 is a visually stunning and groundbreaking melee action game pushing the boundaries of the first person co-op genre. For more information visit www.vermintide.com."

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Hangman Home Media Release Details: Press Release: "Step into a serial killer’s twisted world when the dark crime thriller, Hangman, arrives on Blu-ray™ (plus Digital), DVD, and Digital February 27 from Lionsgate.

Street Date: 2/27/18

Blu-ray™ SRP: $21.99

DVD SRP: $19.98

PROGRAM DESCRIPTION

Step into a serial killer’s twisted world when the dark crime thriller, Hangman, arrives on Blu-ray™ (plus Digital), DVD, and Digital February 27 from Lionsgate. The film is currently available On Demand. Academy Award® winner Al Pacino (Best Actor, Scent of a Woman, 1992) stars as a homicide detective on the hunt to catch a psychotic and ruthless serial killer who is playing a deadly version of the hangman game. The film’s all-star cast also includes Karl Urban and Brittany Snow. From the producer of Live Free or Die Hard and Lord of War, director Johnny Martin, and writers Michael Caissie and Charles Huttinger, the Hangman Blu-ray and DVD includes two insightful featurettes and will be available for the suggested retail price of $21.99 and $19.98, respectively.

OFFICIAL SYNOPSIS

Decorated homicide detective Ray Archer (Al Pacino) partners with criminal profiler Will Ruiney (Karl Urban) to catch one of the city's notoriously vicious serial killers, who is playing a twisted version of the child’s game hangman, while journalist Christi Davies (Brittany Snow) reports on the crime spree, shadowing the detectives.

BLU-RAY/DVD/DIGITAL SPECIAL FEATURES

  • “Al Pacino: Insight from a Hollywood Legend” Featurette
  • Hangman: In Their Own Words” Featurette

CAST

Al Pacino                     The Godfather, Scarface, Heat

Karl Urban                   Dredd, Star Trek franchise

Brittany Snow             Pitch Perfect franchise, Hairspray

PROGRAM INFORMATION

Year of Production: 2017

Title Copyright:  © 2017 Hangman Productions LLC. All Rights Reserved.

Type: Theatrical Release

Rating: R for violent content, bloody images, and language

Genre: Thriller

Closed-Captioned: N/A

Subtitles: Spanish, English SDH

Feature Run Time: 99 minutes

Blu-ray Format: 1080p High Definition 16x9 Widescreen 2.40:1 Presentation

DVD Format: 16x9 Widescreen 2.40:1 Presentation

Blu-ray Audio: English 5.1 DTS-HD Master AudioTM

DVD Audio: English 5.1 Dolby Digital Audio"

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Zombie Snowman Featured in New Installment of Jeff Fuller’s Living Dead Comic Strip ZOMICS https://dailydead.com/zombie-snowman-featured-in-new-installment-of-jeff-fullers-living-dead-comic-strip-zomics/ https://dailydead.com/zombie-snowman-featured-in-new-installment-of-jeff-fullers-living-dead-comic-strip-zomics/#respond Fri, 19 Jan 2018 00:51:08 +0000 https://dailydead.com/?p=223795 In the living dead apocalypse, not every snowman has a "jolly, happy soul." Since the first panels premiered on Daily Dead during Comic-Con, we've been excited to showcase artist Jeff Fuller's living dead comic strip Zomics, which finds the macabre humor in the everyday horrors of a zombie apocalypse. We release a new installment of […]

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In the living dead apocalypse, not every snowman has a "jolly, happy soul." Since the first panels premiered on Daily Dead during Comic-Con, we've been excited to showcase artist Jeff Fuller's living dead comic strip Zomics, which finds the macabre humor in the everyday horrors of a zombie apocalypse. We release a new installment of Zomics every Thursday, and we're excited to share another panel with Daily Dead readers today!

This week's Zomics is a reminder that when the living dead roam the winter wonderlands, you can get really creative when you build a snowman... as long as you aren't afraid of being bit by your own creation!

In case you missed Fuller's previous Zomics panels, you can check out all of them in the gallery below, and stay tuned to Daily Dead next Thursday for another installment!

Influenced by Dr. Seuss and The Addams Family creator Charles Addams, Fuller has worked as an award-winning art director for nearly a quarter of a century, garnering multiple Emmy and BDA awards. He turned his artistic talents to zombies when he started thinking about the comedic qualities that would live on in a zombified world:

"The origin of Zomics: While camping with my wife and kids we stared discussing what life would be like if there really were zombies. We decided that it would be a little scary, a little gross and a lot of funny. This was the birth of the single panel zombie comic strip, or ZOMICS for short."

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Scream Factory Blu-ray Reviews: THE POUGHKEEPSIE TAPES, JACKALS, THE DEVIL’S CANDY https://dailydead.com/scream-factory-blu-ray-reviews-the-poughkeepsie-tapes-jackals-the-devils-candy/ https://dailydead.com/scream-factory-blu-ray-reviews-the-poughkeepsie-tapes-jackals-the-devils-candy/#respond Thu, 18 Jan 2018 23:17:27 +0000 https://dailydead.com/?p=223788 Besides releasing a number of our favorite classic horror films and the occasional cult oddity, the good folks at Scream Factory are also releasing a number of contemporary horror films and giving them a home on Blu-ray. Here’s a look at three of their recent efforts: Ten years after it was slated for release, The […]

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Besides releasing a number of our favorite classic horror films and the occasional cult oddity, the good folks at Scream Factory are also releasing a number of contemporary horror films and giving them a home on Blu-ray. Here’s a look at three of their recent efforts:

Ten years after it was slated for release, The Poughkeepsie Tapes is finally available on Blu-ray thanks to Scream Factory. Would that it had remained buried. A found-footage “documentary”-style horror film, it chronicles a serial killer who has videotaped all of his crimes. The film is pieced together through interviews with people familiar with the case, as well as footage taken by the killer himself. Imagine the video camera scene from Henry: Portrait of a Serial Killer, only stretched to feature length and repellant for totally different reasons.

The sequence in Henry works because the film has earned that moment and because director John McNaughton is a gifted filmmaker with a point of view on the awfulness that transpires in that movie. Unfortunately, the Dowdle brothers do not. This is the work of filmmakers who fill a movie with transgressive images because they think it’s “edgy,” but which lack any kind of soul, meaning they do not earn the horrors they put on screen. There comes a certain responsibility with doing the kinds of things The Poughkeepsie Tapes tries to do, but the movie shirks that responsibility at every turn. It’s just gross.

Some of this could be overlooked if The Poughkeepsie Tapes was at least well made, but it’s not. I do not fault the Dowdles for this, as the movie was one of their first and they’re clearly trying something somewhat ambitious despite still being green. At the same time, there’s nothing convincing about any of the performances (save, perhaps, for Stacy Chbosky as one of the main victims), and every choice the filmmakers make to disguise The Poughkeepsie Tapes as something “real” only highlight its artificiality. Nowhere is this truer than in the killer’s own footage, which has been digitally distorted in an attempt to make it seem creepier. Instead, it just comes off as another empty attempt at being edgy—the dressing of something disturbing with nothing underneath.

Truth be told, the story behind the release of The Poughkeepsie Tapes is more compelling than the movie itself. That’s why it’s good news that Scream Factory has included a nearly 30-minute interview with the Dowdles, who discuss how the movie came together and just what happened in those 10 years between when it was made and when it was finally made widely available. Also interviewed is Stacy Chbosky, who has a major role in the film and is married to the director. She talks about how she came to get the part (it’s not because of her relationship to one of the Dowdles) and her experience making the movie. A trailer is also included.

The Poughkeepsie Tapes Movie Score: 1/5, Disc Score: 2.5/5

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Faring considerably better in terms of contemporary horror is last year’s Jackals, a film picked up by the distribution end of Scream Factory and released under the company’s own label. Directed by Kevin Greutert (Saw VI) and written by Jared Rivet, Jackals finds Stephen Dorff playing a cult deprogrammer who kidnaps a man to bring him back to his family—including his wife and new baby—and get him out of the cult for good. Unfortunately, the cult members aren’t willing to let him go so easily and arrive at the family home to bring him back… by any means necessary.

While the “home invasion” subgenre is one of my least favorite in horror—not because it’s bad, per se, but because it touches me in a way I find almost too unpleasant—there is something to be said about the primal fears that these types of films exploit. Jackals is one such movie. Rivet’s screenplay strips down most of the plot to a basic premise: a “family” on the outside wants something from the family on the inside. It’s a dynamic we recognize from movies like Wes Craven’s The Hills Have Eyes and the great survivalist horror of the 1970s, updated here with echoes of contemporary home invasion films like The Strangers and The Purge. That’s not to say Jackals is imitating any of those films—the script has existed for years, having begun life as a Tobe Hooper movie—but rather that there are visual and stylistic cues that give Jackals the look of a modern horror movie but the feel of something old school and gritty. It’s an effective combination.

And though Jackals is a good deal more bleak, humorless, and brutal than I traditionally like my horror, there’s no denying that it does those things very well. It’s a movie with the ability to surprise, up to and including who lives and who dies and in what order. Like many of the best indie horror movies being made these days, there’s nothing about Jackals that feels safe. Sometimes, that’s just what the genre needs.

Scream Factory’s Blu-ray of Jackals includes a nice-looking high-def 1080p transfer that does right by the movie’s dark photography, seeing as much of it takes place at night and in fairly low light. There’s a lengthy making-of featurette that includes interviews with most of the major participants, as well as a chatty and informative commentary track with director Greutert and screenwriter Rivet. Two trailers are also included.

Jackals Movie Score: 3.5/5, Disc Score: 3/5

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Finally, there’s The Devil’s Candy, an IFC Midnight title brought to Blu-ray by Scream Factory and director Sean Byrne’s long-awaited follow-up to the great The Loved Ones from several years back. Ethan Embry turns in what might be a career-best performance as an artist who moves into a new house with his wife and teenage daughter, only to find themselves the target of a disturbed man (Pruitt Taylor Vince) who hears voices and plays metal guitar. Judging by the voices that Embry is starting to hear, maybe they’re being targeted by something even more sinister.

Clocking in at a tight 80 minutes, The Devil’s Candy is another strong example of the modern indie horror scene and one of the best heavy metal horror movies of the last 30 years. On the one side, there’s Ethan Embry’s metalhead: passionate artist, loving husband, cool dad, and all-around good person. He’s who metal fans really are. On the other side is Pruitt Taylor Vince, who plays his music too loud and hears voices telling him to kill. He’s who the moral majority has always feared metal fans to be. I would say their showdown is central to The Devil’s Candy, but the film is actually a really beautiful story about the love between a father and a daughter. That it happens to involve murder, loud guitar, and a great deal of fire only makes it that much better for us genre fans.

The HD transfer on Scream Factory’s Blu-ray looks generally decent, while sometimes betraying the movie’s digital roots. The audio fares better, as this is a movie that makes the most of its sound design. Byrne sits down for a solo commentary and goes over the background of making the film, but pairing him with another speaker may have helped move some of the discussion along or given him someone to bounce off of. There’s a brief featurette on the movie’s effects, a music video for the Goya song “Blackfire” set to clips from the film, an art gallery of the paintings done by Embry’s character, a collection of trailers, and, best of all, Sean Byrne’s 2007 short film, “Advantage Satan.” It’s a good collection of extras that creatively highlight different aspects of the movie.

The Devil’s Candy Movie Score: 3/5, Disc Score: 3.5/5

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