Filmmakers Behind ‘Spring’ and ‘Resolution’ Return for Sci-fi Thriller ‘Synchronic’

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Via Digital Spy

Deadline reports that celebrated filmmakers Justin Benson and Aaron Moorhead are already working on their next project–the sci-fi thriller Synchronic.

The team has already enjoyed success in the indie-horror realm with Resolution (2012), Spring (2014), their V/H/S: Viral segment “Bonestorm” and this year’s The Endless.

Anthony Mackie (Captain America: Civil War) and Jamie Dornan (Fifty Shades of Grey) are in negotiations to star in Synchronic.

In a statement by Benson and Moorhead:

“Being huge fans of the nuanced, brilliant work of Anthony and Jamie, this is a filmmaker’s wildest dream come true. They each possess an extraordinary depth of personal experiences, humor, and pathos that brings a massive wellspring of humanity to the battle-scarred partnership being portrayed. We’ve found the perfect collaborators to tell a bold, frightening, heartstrings-tugging story.” 

The film centers on, “a pair of New Orleans paramedics, whose lives are ripped apart after encountering a series of horrific deaths linked to a designer drug with bizarre, otherworldly effects.”

David Lawson Jr., producer of The Endless, is back to produce Synchronic alongside Benson and Moorhead for Rustic Films with a script by Benson.


William Gibson’s Ambitious Alien 3 Script is Coming to Fruition Through Dark Horse

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Via TheVerge

In an exclusive by CBR, Dark Horse announced yesterday that an adaptation of William Gibson’s unproduced script for Alien 3 is coming this fall, and will be crafted by artist and writer Johnnie Christmas (pretty sweet name if you ask me).

Synopsis for Gibson’s Alien 3

“Following the deadly events of Aliens, the Union of Progressive Peoples intercepts the spaceship carrying the hibernating bodies of Ripley, Hicks, Newt, and Bishop. But unbeknownst to them, they have also picked up another deadly passenger whose discovery will unleash a race between two governments to weaponize the Xenomorph in this horrifying and poignant Cold War-themed thriller.”

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Via The Verge

As-per-usual, there is the ever present struggle between characters in this universe: to maintain their humanity in the face of overwhelming adversity from aliens (and HUMANS) alike, while others are only concerned with corporate interests–particularly within the bio-weapons division, and personal wealth (anyone else is expendable).

The key difference between previous installments is the prospect of opposing governments seeking the Xenomorph (not unlike the Cold War between the United States and Russia) rather than the same old song-and-dance against the Weyland-Yutani corporation.

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Via Vox

Alien 3 has a troubled history, many fans (including myself) appreciate the film. But as a follow-up to James Cameron’s Aliens–not to mention killing off fan favorites like Hicks, Newt, and Bishop–it was a massive disappointment.

But, It sounds like us alien-fanatics will be getting the completion to the trilogy we’ve always wanted.

All-thanks to Gibson, Christmas, and Dark Horse Comics.

Fans will be treated to a new (albeit old) journey of terror with the Sulaco and her crew. Resurrecting characters like Hicks, Newt, Bishop (and Ripley) of course.

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Via The Unheard Nerd

Exclusive statement by Gibson to CBR

When your first contracted screenplay (or screenplay of any kind, in my case) isn’t produced, but the film is eventually made with a different screenplay, retaining nothing of yours but a barcode tattoo on the back of a character’s neck, the last thing you ever expect is to see yours beautifully adapted and realized, decades later, in a different medium, by an artist of Johnnie Christmas’ caliber, It’s a wonderful experience, and I have no doubt that Johnnie’s version, which adheres almost entirely to the script, delivers more of my material to the audience than any feature film would have been likely to do.”
Bishop is expected to play an important role–potentially bigger than in Aliens, which is fine by me.
He’s one of my favorite characters!
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Via MovieWeb

“As for my screenplay, I’d like to point out that I worked from a treatment provide by the film’s three producers, so it wasn’t my idea, at all, to jettison Ripley,” Gibson said. “Unhappy with that, as a fan of the previous two films, I went for a multiple helping of Bishop, my second favorite human character in the first film.”
Additional artists behind this project include: Tamra Bonvillain is the colorist. Paolo Rivera, Christian Ward, Daniel Warren Johnson, Tradd Moore, and James Harren provide each issues variant colors.
Alien 3 issue #1 will be available on November 7th.

AMC Officially Orders a Second Season of ‘The Terror’ Set During World War II

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Once the first season of The Terror concluded, I was reluctant to the possibility of a second season. Not because it wasn’t good (on the contrary) it was magnificent!

The first season was an adaptation of the novel of the same name by Dan Simmons, a piece of historical fiction concerning the doomed expedition of the HMS Erebus and the HMS Terror–two real Navy British Royal ships that disappeared searching for the Northwest Passage during the 1840’s.

The series came to a brilliant and definitive end. An ending which answered the questions concerning the missing sailors: what killed them? Were there any survivors?

I became reluctant, because there was no story left to tell (I just assumed it was a one-shot miniseries).

But thankfully I was wrong, as I just discovered The Terror would become an anthology series! Each season will be a new story of historical/horror fiction.

Season Two

The network announced today about the prospects of the renewed series:

“will be set during World War II and center on an uncanny specter that menaces a Japanese-American community from its home in Southern California to the internment camps to the war in the Pacific.”

Season Two is the brainchild of Alexander Woo (of True Blood) and Max Borenstein (of Kong: Skull Island) who will also serve as executive producers. Woo is expected to also serve as showrunner.

The Terror season two is expected to air on AMC in 2019, and will once again consist of 10 episodes.

I’m deeply honored to be telling a story set in this extraordinary period,” said Woo. “We hope to convey the abject terror of the historical experience in a way that feels modern and relevant to the present moment. And the prospect of doing so with a majority Asian and Asian-American cast is both thrilling and humbling.”

I can’t imagine a more relevant topic for the true horrors afflicting this country.


Late to the Party: Wes Craven’s ‘New Nightmare’ (1994)

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“Miss me?”

I’m glad I waited this long to finally watch Wes Craven’s New Nightmare. Listening to movie podcasts (specifically those that focus on horror) for the last few years, has helped me approach cinema with an analytical edge that I never had before.

I wouldn’t have been able to comprehend a meta-horror film such as this or others, like the Scream franchise (also directed by Craven) or The Cabin in the Woods by Joss Whedon properly.

I had to watch this movie four times within the last month just to be able to process the heavy material.

At least with Scream and others, the characters are aware of horror films as well as the rules or cliches that define them.

But, they’re unaware of the fact that their reality is governed by these rules (except for Randy) or that these rules can be twisted and even broken.

In New Nightmare, the characters are the actors (playing themselves) so not only do they have access to the horror genre and the rules–but the rules and the tropes that are unique or specific for their own franchise (A Nightmare on Elm Street) in a world that is basically our own, albeit a little more movie manufactured.

This knowledge grants the characters potential foresight, while in turn, dismantling whatever conventions or expectations the audience may have.

It’s essentially Inception, a movie–within a movie

That being said, Scream is arguably the quintessential meta-horror series in cinematic history.

A series that not only: revamped the slasher genre for a new generation and for many generations to come–bringing the sub-genre out of obscurity and into the mainstream (much like Halloween did in 1978), and unwittingly created a horror movement that would carry through the 90’s and well into the millennium.

Strangely enough, New Nightmare predates Scream by two years, but no one ever talks about it or the radical ambition behind this unique feature and the monumental impact it had on the genre.

It stands alone in terms of its concepts and execution. Craven essentially treated this feature as a blank canvas for this experimentation in film making, witnessing firsthand what works and what doesn’t in terms of metafiction.

As a result, by the time Scream came along Craven and Kevin Williamson were able to nearly perfect the idea.

Neither of these films are the first to go meta–that title probably belongs to Peeping Tom, which is also the first slasher I believe (it’s debatable).

But, without them we wouldn’t have any of the self aware brilliance that has come along since they first terrorized our feeble minds on the big screen.

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Via Metro

The Story for Wes Craven’s New Nightmare

“Reality and fantasy meet in unsettling ways in this installment of the long-running horror series, which finds director Wes Craven and actors Heather Langenkamp and Robert Englund all portraying themselves. As Heather (Heather Langenkamp) considers making another film with Craven, her son, Dylan (Miko Hughes), falls under the spell of the iconic disfigured villain Freddy Krueger (Robert Englund). Eventually, Langenkamp must confront Freddy’s demonic spirit to save the soul of Dylan.”

The Review

New Nightmare is a great film and truly unique, but it’s not perfect by any stretch. Craven appeared to write himself into a corner with his extensive and ambitious concepts.

I had a difficult time discerning Freddy’s abilities in the real world. He could obviously effect his victims in the same way in which he did in previous films (if you die in your dreams, you die for real).

He could also appear when the characters were awake, like in the scene where he comes out of Heather’s closet (an awesome sequence) and slashes her arm.

But retreats when an earthquake begins to shake the house–this earthquake however, turns out to be isolated to Heather’s house.

Where did he go? Does Freddy have limited amount of time while in the real world? It’s safe to assume that he wasn’t frightened by the quake.

Shortly after that scene, her son Dylan is given a shot from a nurse to “help” him sleep. Despite his babysitter Julie’s best efforts to keep him awake, he dozes off for a second and Freddy is able to manifest and brutally murder her.

But, nobody can see him, as if all of this is taking place within a dream (a dream that Julie would have to be in) for this to make sense.

Following Julie’s death, Heather claims that Dylan sleepwalks and can easily leave the hospital on his own accord.

Does this mean that as long as he (or any of them) are asleep, Freddy can treat the entire world as his playground with unlimited power?

As brilliant and mind bending as these scenes are, they leave much to be desired in terms of explanation and reason.

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Via Screen Slate

Elm Street Continuity

This is something that I have noticed throughout the Nightmare franchise: directors or screenwriters have a difficult time keeping up with continuity and establishing concrete rules for the dreamworld as well as “reality” and the complex relationship between the two.

I believe the logistics get tossed aside in favor of keeping profound or groundbreaking scenes and effects or just simply getting lost in the shuffle.

It’s a bit of a catch-22, if hard science was applied we may not have these iconic scenes from this franchise: Tina getting dragged up the wall and gutted, Freddy’s glove breaking the bathtub water, etc. but they lose a bit of credibility and points with critics due to their lack of continuity or coherence.

To be fair to critics, the glove should have vanished instantly when Nancy woke up instead of retreating below the depths whence it came.

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Via Filmgrab

Noteworthy Moments

I greatly appreciated Craven’s thought to include a scene with Robert Englund in Freddy’s classic makeup and attire, so that when the real Freddy shows up we can visually discern the major differences between the two different iterations.

The new and improved Freddy is: bulkier, with clean and sleek clothing–including a black trench coat, black military boots (and leather pants).

His makeup is significantly different, resembling an anatomy dummy of a human’s muscular structure, his glove has become a part of him and includes a fifth bladed appendage.

I adore his new look, he is very intimidating. Its a shame that the rest of the franchise doesn’t include this variant–maybe in a future remake, reboot, re-imagining or what have you.

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Via Stillcrew

The cameos were a nice touch: Bob Shaye, Wes Craven, Lin Shaye, Robert Englund. They helped ground the audience into the reality.

But they were undermined or undercut by some pretty poor performances and some super cheesy and on-the-nose dialogue.

The ending setting was brilliant, Heather accepts that she is going to play Nancy one last time (the new nightmare film) Freddy’s dream lair was like hell.

A bleak and smoldering cathedral of nihilism, very aesthetically pleasing.

Although I did appreciate the setting, the way that Freddy “dies” is super confusing and I think pretty lazy.

One of the recurring rules throughout this franchise is that Freddy cannot be harmed whilst in the dreamworld, but in New Nightmare: he gets stabbed and carries a limp, and burns to death (again) in his own world. It just seemed rushed, and pretty unsatisfying.

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Via Horror Geek Life

This movie is definitely worth the watch, it is criminally underrated as an Elm Street film, a horror film, and as metafiction.

It used to be on Netflix for the longest time, but now you may have to rent it at places like Amazon for three bucks–its worth the cost.



A Bunch Of Jason’s Murder Each Other in Epic JJ Harrison Art

Via Friday the 13th: The Franchise

Strangely enough, before today, I had never imagined various forms of the titular slasher from the Friday the 13th franchise going head to head to head in a brutal fight to the death. But, fortunately for the horror community, artist JJ Harrison has considered this concept and made it a reality.

Read the full story at ihorror.com


First Look Into Syfy’s Upcoming Retro Series ‘Deadly Class’

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“Welcome to King’s Dominion” – Saya

The creative duo of Anthony and Joe Russo – directors of this little gem called Avengers: Infinity War (you may have heard of it) – are set to be executive producers for Syfy’s adaptation of the critically acclaimed action/horror comic book series Deadly Class.

Deadly Class was written and created by Rick Remender for Image Comics with illustrator and artist Wesley Craig. The series’ first issue was released on January 22nd, 2014 and continues to produce new material on a monthly basis.

Read the full story at ihorror.com



‘Bone Tomahawk’ (2015) – Review

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Via Den of Geek

Bone Tomahawk was S. Craig Zahler’s directorial debut, and only second feature to his credit at the time of its release. Zahler is the primary screenwriter for his films and was even the composer for three of them.

I didn’t get around to watching this movie until about a year after it was released, which is strange for me considering I love westerns and I (obviously) love horror. Bone Tomahawkhas received nearly universal acclaim for its acting, story, and direction. Even winning multiple awards such as the critics award for “Best Picture” and “Best Director” upon many others.

Read the full story at ihorror.com


Andy Bean and ‘Sinister’ James Ransone Confirmed for ‘It: Chapter 2’

It: Chapter 2

Via ScreenWeek

Sinister and Tangerine star James Ransone is just the latest name confirmed for It: Chapter Two alongside Jessica Chastain as adult Beverly Marsh–formerly played by Sophia Lillis. Ransone is set to play the adult version of Eddie Kaspbrak, previously played by Jack Dylan Grazer in the original 2017 film.

Read the full story at ihorror.com


‘Channel Zero: The Dream Door’ Syfy Unveils Cast and Crew

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Via Syfy

Syfy has revealed that season four of the acclaimed horror anthology, inspired by original “Creepypastas” will be titled “Channel Zero: The Dream Door” based on Charlotte Bywater’s short story “Hidden Door”.

Synopsis for The Dream Door:

The latest season stars Brandon Scott (Channel Zero: Butcher’s Block) and Maria Sten (Straight Outta Compton) as newlyweds and childhood friends, Tom and Jillian. The pair return to Tom’s childhood home, with the desire to remake it into their new dream house. But, there appears to be many troubling secrets beneath the surface, and following the discovery of a secret door in the basement, these secrets might destroy their lives.

Supporting cast includes Steven Robertson (Elementary) as Ian, Tom and Jillian’s neighbor and psychology grad student. Due to Ian’s curiosity, he becomes involved with his neighbors and the horrors surrounding the secret door in their basement.

Steven Weber (Dracula: Dead and Loving it) stars as Abel Carnacki, Jillian’s therapist with questionable motives. Jillian confides in Dr. Carnacki about her relationship with Tom and the secret door, but grows frustrated due to his cold demeanor.

Nick Antosca, the creator of the Channel Zero series, will return as executive producer, showrunner, and writer. Evan Katz (of the brilliant, Cheap Thrills) will be directing this time around.

If you haven’t seen any of the previous seasons of Channel Zero: Butcher’s Block, No-end House or Candle Cove. They are definitely worth the watch, especially if you are an avid reader of “Creepypastas” and enjoy unconventional–thoughtful horror. You’re doing yourself a disservice, if you have been avoiding this series.

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Butcher’s Block Via JoBlo

“The story of a young woman named Alice who moves to a new city and learns about a series of disappearances that may be connected to a baffling rumor about mysterious staircases in the city’s worst neighborhoods. With help from her sister, they discover that something is preying on the city’s residents.”

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No-End House Via Horror Freak News

“The story of a young woman whose life is forever changed after she visits a bizarre house of horrors that consists of a series of increasingly disturbing rooms.”

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Candle Cove Via JoBlo

“One man’s obsessive recollections of a mysterious children’s TV show from the 1980’s. Returning to his hometown after 30 years, Mike Painter tries to determine if his brother’s disappearance is somehow connected to a series of similar incidents that happened in the past—and to the bizarre children’s television show that seems to be on the air again.”

You can stream them all on Syfy… but only with the appropriate provider (figures). That being said, each season of Channel Zero is unique, creepy as hell and beautifully shot and scored. If you get the opportunity to watch them, I highly recommend it.

Channel Zero: The Dream Door premieres later this year on Syfy.