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    In the "no surprises here" category, FX has picked up American Horror Story for a third season (or "cycle," as the network is calling it to differentiate it as a "miniseries" as opposed to a "TV series.")

    The announcement follows suit with previous seasons: details are kept deeply under wraps. We don't even get a subtitle yet. To be fair, with season two still underway (and far exceeding season one), as well as several other shows in their purview, creators Ryan Murphy and Brad Falchuk probably haven't started truly fleshing out a season three.

    What they have revealed is that they will continue the tradition of bringing back actors from seasons past, and putting them into new roles. Series star Jessica Lange is one of the actors who has been confirmed to return. Shooting will begin this summer, with an airdate set for Halloween 2013.

    Source: Deadline

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    Described by band members Chris Zeischegg and Chad Fjerstad as a reflection on “sex, death, and the unknown,” the music of LA-based duo Chiildren (yes, it's spelled with two i's) is hard to nail down, but they describe it as a fusion of “the automation of modern electronica with post-industrial drone, while taking inspiration from grim black metal, splatter-punk fiction, and minimal film scores.” Frankly, that sentence alone was enough for me to get immediately on the horn with the band's management for more info on these cats... because between that warped concept and their completely batshit insane music video debut (which you can watch at the end of this review if you're brave enough), I was all the way in. I was soon rewarded with a copy of their five-track debut EP The Other People, which turns out to be one of the most memorable electro-metal releases I've heard this year.
    The record opens with “Girl in the Dirt,” the band's first single – which, along with that bizarro video I mentioned, got my undivided attention in the first place. This track sneaks up on you, opening with a long, slow stretch of dramatic piano and synth strikes, then layering in distorted guitar chords which give way to industrial chugs and clanging metallic loops before finally charging headlong into alt-metal madness with screamed vocals. The patterns are simple, but stack up and alternate to create serious horror-movie dynamics. A bouncier electro rhythm kicks off the title cut “Other People,” which then introduces deeper, heavier guitar riffs and snarling black metal vocals, adding cathedral bells, monotonic chants and a shit-ton of reverb for an even more apocalyptic atmosphere. “Milos” is carried by a sparser, glitch-driven rhythm with a pensive piano accompaniment and a distinct Skinny Puppy feel before the guitars slowly burn through. 
    The synth foundation goes deeper, slower and much darker for the mega-creepy “My Gods,” which takes on a kind of cybernetic doom-metal vibe; all soaring chords, screams and blastbeat outbursts, it's definitely the scariest track on the EP, and my personal favorite, 'cuz I'm just evil like that. You probably can't dance to it, but you'd definitely freak out your friends if you tried (be sure to send us a video of yourself if you do). “Post Misogyny” closes the record on a more upbeat cyber-tribal groove, with less heavy guitar and the only real prominent passages of melodic vocals, which are clean but emotionally strained and urgent... until, of course, they finally give way to manic, desperate screams. 
    At only 20 minutes in length, The Other People still has the power to chill, rattle and strangely excite your senses, while you become more and more convinced you're in the clutches of a pair of madmen bent on hideously mutating your musical cortex. Oh, and if you're familiar with my tastes at all, you'll know that's a glowing recommendation. The EP is out now on Bit Riot Records, and you can pick up a digital copy from the FiXT Music store (the physical CD will arrive early 2013 with some bonus tracks and remixes). But now it's time for that video of “Girl in the Dirt,” which I'm afraid I just can't explain at at all, other than to say it's the most awesomely creepy thing I've seen all month... and I still have no idea what he's doing to that pig's head. You'll just have to sort it out for yourself.

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    As I'm sure you devoted FEARnet followers know, every 3 days we swap out our free web movies and today we've got a really, really cool flick making its debut on our website that's definitely worth checking out; the zombie horror/comedy Fido! Timmy Robinson's best friend in the whole wide world is a six-foot tall rotting zombie named Fido. But when Fido eats the next-door neighbor, Mom and Dad hit the roof, and Timmy has to go to the ends of the earth to keep Fido a part of the family. A boy-and-his-dog movie for grown ups, Fido will rip your heart out! Starring Billy Connolly and Carrie-Anne Moss, you can watch Fido streaming free on our website right now! Enjoy!


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    I guess The Last Exorcism wasn't really the last. A sequel to the Eli Roth-produced fright flick is on its way to theaters next year. Roth returns as producer, and star Ashley Bell reprises her role as Nell Sweetzer. Directing this outing is Ed Gass-Donnelly (Small Town Murder Songs.)

    Official synopsis: Continuing where the first film left off, Nell Sweetzer (Ashley Bell) is found alone and terrified in the woods.  Back in the relative safety of civilization, Nell realizes that she can't remember entire portions of the previous months only that she is the last surviving member of her family.  Just as Nell begins the difficult process of starting a new life, the evil force that once possessed her is back with other, unimaginably horrific plans that mean herlast exorcism was just the beginning.

    The Last Exorcism II is due in theaters March 1, 2013.

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    Legendary makeup FX artist Rick Baker will be honored with a star on Hollywood's Walk of Fame. The renowned special effects makeup artist, whose long list of over 100 projects includes An American Werewolf in London, The Frighteners, The Ring, Ed Wood and the Men in Black movies, will be honored on November 30th at 11:30am PT. The ceremony will take place in front of the Guinness World Record museum at the corner of Hollywood and Highland. During the ceremony, Baker will also receive two Guinness Record acknowledgements, for being nominated for and winning the most Oscars for Best Makeup.

    If you can't make it out to Hollywood, the entire ceremony will stream live at

    Source: Fangoria

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    Warner Bros. seems to be one step closer to locking in Tim Burton and Robert Downey Jr. to Pinocchio.

    With an initial draft by Bryan Fuller (Mockingbird Lane), Warner Bros. has brought in screenwriter Jane Goldman (The Woman in Black, Kick-Ass) to write the next pass. Goldman will incorporate Downey Jr.'s notes into her draft with the idea that Downey Jr. and Burton will both sign on the dotted line.

    Completely separate from Guillermo del Toro's Pinocchio, Burton's film would see Downey Jr. as Gepetto, "the woodcarver who creates a puppet who dreams of becoming a real boy and whose nose grows when he tells a lie. 

    Source: Halloween Reporter

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    Looking back in movie history, November 16 isn’t the greatest day for horror movies. 1984's ultra-stupid, valley girl-meets-walking dead cult favorite, Night of the Comet doesn’t deliver on story, but it does deliver on utter ridiculousness, flashy headwear. and shopping montages.

    Title: Night of the Comet
    Released: 1984
    Tagline: It was the last thing on earth they ever expected.

    November 13 was a far better day for theater goers and boasts two '90s favorites which opened within a year of each other. Both are re-imaginings of older genre classics.

    Title:Cape Fear
    Released: 1991
    Tagline: Sam Bowden has always provided for his family's future. But the past is coming back to haunt them.

    Title: Bram Stoker’s Dracula
    Released: 1992
    Tagline: Love never dies.


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    New comic book Wednesday has come and gone. The dust at your local comic shop has settled. An eerie silence descends as you finish reading your last superhero book of the week. Now it's time for something a little more sinister. Welcome to Bagged and Boarded: comic reviews of the sick, spooky, twisted and terrifying!

    Hack/Slash No. 20
    Cassie Hack and Vlad are doing what they do best, hunting slashers, when Vlad stumbles upon Cassie making out with a guy. Jealous and confused, the two get into a blow-up, friend-breaking argument. Cassie storms off, finds out some terrible facts about herself, and attempts to destroy herself. I'm not sure where this comic is heading, but I'm on board.

    Bag it or board it up?
    This whole comic has a mournful, sad air to it. The subtitle for the comic, "Final" points to a possible end to the series. This story is perhaps at one of it's most poignant moments ever. With no slasher-chasing, to gutting and killing, just good, exciting character drama. Well done, tastefully done. Creator Tim Seeley has once again crafted a masterful 22 pages of serious comic.

    Chasing The Dead No. 1
    This new horror thriller, based on the novel by Joe Schreiber, follows a woman named Sue in a terrifying quest to save her daughter. We start off by seeing a trauma in her childhood, and then immediately cut to the present. Sue is a successful real estate agent, and comes home late one night to find her Nanny and daughter missing. A mysterious caller now leads her on a wild goose chase and threatens to kill her daughter if she disobeys any of his particular orders.

    Bag it or board it up?
    The early action and exposition in this comic feels clunky. The children fighting in the beginning look ridiculous, and the storytelling is flat. But as soon as Sue gets on the phone with her antagonist, it becomes a taught, scary, pulse-pounding comic. What a 360!

    Ex-Sanguine No. 2
    The plot thickens as our protagonist, Adams, evades police questioning in a series of coded murders. After getting sprung from custody by an alibi from a friend, he and his new best girl break into a hermit's penthouse apartment and viscously attack. Then he turns into a monster and has sex with her. Another normal, boring day, right?

    Bag it or board it up?
    This issue has really nice pacing. The artwork, as always, is crisp and stylized. The design for Adams' Vampiric look is monstrous and bold. And the storyline has me interested enough to want to read on to issue 3.

    Courtney Crumrin No. 7
    Courtney, the youngest in a line of witches and sorcerers, is on the run from her nasty family members. She takes shelter with an old witch in a bog, who animates dolls and constructs from wood and fabric. As her uncle tracks her down a magical battle ensues.

    Bag it or board it up?
    It's a shame that there's so little going on in this comic and so little info to explain what already is going on. It's beautifully, dynamically illustrated. The characters are equal parts cute and sinister. Still, all the wonderful illustration in the world won't do much for a comic without a story.

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    Everyone wants to be Mondo. They pretty much have the market conered here in the States, so FrightFest has stepped in in the UK. The people who run the UK film fest have launched FrightFest Originals. Much like Mondo, FrightFest Originals offers limited-edition, artist-created screen print posters. And yes, FFO ships internationally.

    Currently, FrightFest Originals is in stock on five posters, including Zombie Flesh Eaters by Nat Marsh, and Nightbreed by Aniheads.

    To purchase, visit


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    If you're like me, then once you see something even remotely cool that has to do with something you love, you'll almost always impulse buy it. Case in point, I love Showtime's Dexter. I also love shots of alcohol. So, I was thrilled when I caught this promotion on Showtime's website which combines both of those things. (Hell, I needed a new set of shot glasses anyways.) Right now, you can pick up a set of 4 shot glasses that feature the infamous blood splat and 'Dexter' logo. Normally, the sale price for these babies is $24.95, but today only (as in Friday, November 16th) you can get 30 percent off that price if you enter the code SHOT30 at the checkout screen. That brings it to $19.46 before shipping costs. Take advantage of this now as the discount only lasts until midnight PT!

    $19.46 after promotion on Showtime's website


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    The Eli Roth-produced film Clown has started production in Ottowa, Canada. We first told you about Clown a couple months ago, when Dimension picked up the film for distribution at TIFF, along with Aftershock, an earthquake thriller.

    Clown is based on a fan-made trailer written by Jon Watts and C.D. Ford, about a father who puts on a clown suit to save his son's birthday party when the hired clown doesn't show. It soon becomes apparent that the clown suit comes with a curse - one even worse than just being a clown. Watts will direct the feature, which has cast Andy Powers (Oz, The Taken) as the doomed dad; Laura Allen (The 4400, From Within) as his wife, and Peter Stormare (Fargo, The Big Lebowski, 2001 Maniacs) as a clown expert (I had no idea there was such a thing.)

    Check out the original short below.

    Source: Hollywood Reporter

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    Twinkies have long been considered the perfect food for an apocalypse. "They have no ingredients that a human can pronounce, so they don't leave you with that heavy 'food' feeling in your stomach," quipped Xander in an early episode of Buffy the Vampire Slayer. An early "what-if" episode of Family Guy saw the world come to an end after Y2K and the Griffin family on a search to find the Twinkie factory so they would have a lifetime supply of food. And of course, Tallahassee makes his search for Twinkies the driving force behind his survival:

    Well, kiss your back-up apocalypse plans goodbye. The Twinkie is no more.

    Hostess, the company that makes Twinkies, Ho-Hos, Snowballs, Wonder Bread, and other nutritionally-deficient foods, announced today that it is filing for bankruptcy protection and closing its operations nationwide, effective immediately. Hostess has had financial difficulties in the last decade, filing for bankruptcy twice since 2004, including this past January. Hostess blames a nationwide strike of its bakers (yes, apparently real people bake those treats) after contract negotiations stalled. Clearly, though, Hostess has been in trouble for a long time.

    If the company gets the court's approval for the filing, the assets will be auctioned off, so Twinkies could live again if another company buys the brand. There is no estimation for when that might happen, so for now, you may want to buy up all the Twinkies you can find to fill your emergency kits.

    (Fun fact: Twinkies, while they do have an inordinately long shelf life for baked goods, they will not "last forever." The Twinkie company suggests they will last 7-10 days, but we all know that is a lowball estimate. Twinkies in their package can easily last a month or more.)

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  • 11/16/12--16:30: ABC Evicts '666 Park Avenue'
  • ABC has officially given the axe to supernatural soap 666 Park Avenue. This likely comes as a surprise to no one. The series started flat and stayed that way. The network will air the remaining six episodes of the 13-episode order in its usual Sunday night 10pm time slot. The network ordered a couple additional scripts about a month ago but declined to go into production on them.

    Because of this cancelation, I will be suspending my 666 Park Avenue recaps. But I am still planning an autopsy on the abbreviated season - and unless the last few episodes change dramatically, I will be eviscerating the series. So you have that to look forward to.

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    The stakes have never been higher on Fringe. Peter, Olivia and Walter are stuck in a post-apocalyptic, Observer-run future. Peter and Olivia’s daughter, Etta, was killed by an Observer. In desperation, Peter has inserted strange Observer technology into his system. And perhaps most devastating of all, the Fringe TV series will conclude on January 18, 2013.  It’s all a lot to take in. Executive producer Joel Wyman spoke exclusively to me about Fringe’s past, present and future.

    The Observers could have overrun the planet in present day. Story-wise, what does moving that conflict into the future allow you to do?

    The future scenario gives something very important to me, which is it sets up that we lost. And it sets up the importance of hope. And it sets up a condition that needs to be overcome. It creates a visually stimulating palette where you don’t know what is around the corner. There’s some really interesting things to look at. It gives it a needed jolt of energy where I can tell stories about the human condition, but in a way that’s compelling and interesting to look at. If you hadn’t lost anything, you can’t come back in the game. Keep in mind, there’s only 13 episodes this year; it’s not another 22-episode season. This is the end. It couldn’t be “We were just invaded. We have to beat them now.” We don’t know what oppression feels like, so unless we can imagine and see what oppression is.... 

    I don’t think it’s very subtle, but the reason why I used a dandelion in that episode and the flashbacks, is I had to grasp an image or metaphor for how indomitable I think the human spirit is. It’s a dandelion. They can’t be eradicated. That’s the whole idea, that even though the human spirit has been basically snuffed out here, there are still a few embers, and those embers will catch fire and rage again. I could tell that story much better in the future where I could depict that evil and cautionary tale of what happens when the human race becomes too evolved.

    And here we thought it was just to create a new verb like “ambering.”

    That was a happy accident. A lot of people say, “Did you know on the bus in season one...” We’re like, “Nope.” The truth is there’s so many things you come up with and you’re like, “That could spin into something cool,” and it becomes much more important than it was originally conceived to be. “Ambering” is a good one.

    We finally had the family all together this season. What purpose did Etta’s death serve?

    I think it’s going to become clear. Off the bat, I said that I was trying to tell a story that is real and has a real emotion. Her death is instrumental. It’s about destiny fulfilled and being an enemy of fate and accepting life. For me, the show is a weekly metaphor for what we all go through on a daily basis. It is important to me as an artist to show that the world, if you look in the wrong places, is a very dark place and can overwhelm you sometimes. It’s hard to find beauty and inspiration. What I’m really sort of saying is that hope is so crucial and beauty can come from the ashes. You have to work hard and commit to those around you. Life is defined by the connections you make and you have to find those moments of beauty and live and hold your family close by. Those are things that mean something to me as an artist, so of course it’s going to be reflected in my work.

    And here are these people on their odyssey and I’ve said that there’s three different odysseys going on. I looked at the season as three separate acts, like it’s a large feature film. It’s a realization that you are a piece in a larger part of the puzzle, that there are mysteries still in the world. There are things that are unknown. There’s no mistake with the line “You don’t even know what you don’t know.” That’s key. 

    Given that loss, is Peter spiralling out of control or doing whatever is necessary at this point?

    I think it’s evident Peter will do whatever it takes. It’s very frustrating going up against an enemy you cannot beat. Pain, anger... these are things Peter and viewers are feeling. In the past, so many of the good things we’ve done, and we’ve taken missteps as well, but there’s been a lack of consistency at times where you really couldn’t follow people’s emotional stories. That’s the nature of a type of network television. Every week, there’s a new dilemma for Olivia when really people connect with... people and it’s a long haul. I’m really interested in knowing that person and how she’s going to deal with stuff. When these scary monsters are sort of thrown at her and these twists and turns in life, I want to feel like I’m going through it with her. I want to watch her react. Therein lies the key to her character and how I watch her. In the past, one week she was upset how Peter talked to her and the next week, she has a blemish on her arm and what was that? There was always a different thing. This year, we wanted it to be a continuous emotion. Peter’s is a logical continuation. 

    When he feels so helpless, and willing to do what he did for vengeance, you have to watch him and see what happens. Essentially, I’m drawing parallels between him and Walter with Walter’s original sin of what he did. And Peter is sort of doing the same thing, isn’t he? This is all for the want and lust of love, and wanting to make things right.

    Now that Peter has attached this alien technology to his body, what does a journey into “Observerville” entail?

    You’re talking about a completely evolved version of us. That’s a dangerous thing. Anything can happen. That’s what we wanted to propose. Again, cautionary tale. We’re made the way we’re made for a reason. The one thing we do have, and we do possess, is a healthy understanding of that. How much knowledge is too much knowledge? And when do you cross that line and get into the domain of God? Is that hubris that brings you there and makes you make that mistake? So Peter is essentially living that mistake and he’ll have to deal with what’s coming up.

    It’s about time Joshua Jackson and Peter got some juicy material.

    Josh was involved in early conversations. He was sort of thrilled with this character arc because I think he, and rightly so, had some moments of wishing that his character would do more. As a performer or artist, you’re always going to want to stretch and grow. Playing the same character for five years gets tedious. When Josh heard what the plan was, he was like, “Wow. That’s going to challenge me.” I must say, he’s doing the best work I’ve ever seen him do. You’re going to flip. Josh is so funny. He never forgets a line. He is always in a good mood. He shows up like a pro and never complains. Anything we’ve thrown at him, he’s handled with incredible talent and professionalism and the will to do better.

    We haven’t seen Nina or Massive Dynamics this season. Are there plans for them?

    Yes! Nina is such a quintessential part of Fringe. So is Broyles. They have not been forgotten at all. Different people have different favorite episodes so far. That’s the nature of the beast. When you look at all 13 when we’re finished, you’ll say, “I know why he told that. I know why Nina came in now and how she fits into the grand scheme of things.” You have to pick and choose your moments when you only have 13 episodes. The main people I’m really obsessed with are Olivia, Walter and Peter, of course. That’s what everybody demands and wants to see. People love Nina and she should, and does, have a very important part. It’s just not as much screen time as our three heroes.

    Walter is the heart and soul of the series. Was that always the case or did it evolve along the way?

    Even in the pilot, Walter was always an intriguing, well-drawn character. When you get a guy like John Noble and see what he does, you realize instantly you have gold. The second you watch him, it works. You’re sitting there and you’re like, “Oh my God. This guy is touched.” It’s really fun to write for that. Number one, John Noble never bungles anything. Every single intention that you want or dream of on the page, he transcends it and turns it into this delicious, incredible performance. You find yourself doing something in your life, like going to get a coffee, and you start to think of something and chuckle because you’re like, “I can’t wait to write that for Walter.” He’s always in your head. It was always the intention he would be the chewy center everybody loves.

    Can you preview tonight’s episode?

    You’re going to see a lot more of the progression of Peter’s decision to do what he did. It’s really exciting. Going forward now, it’s revelation after revelation after revelation.

    With only a handful of episodes left, is there a difference between crafting a satisfying finale for you, or for the fans, or to better serve the characters?

    The goal is to do all of those things. I had my moments thinking “How is this going to end emotionally and what would I want as a fan of television of I invested so many hours of my life watching these characters I fell in love with? What would I want?” I came up with the following criteria. I would want everything to resolve in a way that is logical and exciting, that makes me feel “Oh my God. I’ve watched this. It’s re-contextualized everything I’ve seen in a cool way. And wow, that was something else.” Number two, I would like to see things happen to all my characters that they have earned, that things have happened in maybe surprising ways, but in ways that I understand as also logical and obvious, that “This is where they belong. This is something that makes incredible sense.” The third and final one is I hate saying goodbye. That one is a biggie. As a person, I don’t like goodbyes. “See you” is different. I would want to sit in my car the day after the final episode and think, “I know it’s over, but I can kind of imagine where everybody is. I can still feel these people I loved. They’re not gone. They are just right next door to me in another universe.”

    To get your own sense of closure, was it important to direct the series finale?

    Yeah, it really was. Directing is a luxury. Showrunners don’t really have a chance to do it because you’re so busy. Literally, you’re making a million decisions a day and everybody is coming through you. You have a responsibility to make sure the scripts are on time and production is running smoothly and post production is going well. There are so many things. It’s a great job, but it’s very time consuming. To direct, you basically have to go for a week to prep and then you have to shoot for a week and then you have to post for a week. That’s three weeks. I cannot disappear for three hours. It was announced I was going to direct a whole bunch of episodes and I kept putting them off because I felt it was irresponsible to go and do it. I kept pushing it off until literally, the crew and everybody said, “No, you have to come and direct this episode, ‘A Short Story About Love.’” It was at a perfect time before Christmas where everything was under control and I could actually leave and do it. Then when we started talking about the finale and I was asked to do it, I thought, “That’s good. I’m telling a very particular story and the way I’m seeing things is so unique.” I don’t know that anybody could get exactly what I’m trying to say the way I could. It would be different. I’m not saying it would be any less engaging, but it would just be very different. I feel it’s a very humbling opportunity to be able to say goodbye to these people on the set with them, and actually go through it, and be the guy to call last cut.

    On that very last day of filming, is there a prop you intend on snagging as a memento?

    Yes, there is and I think it will become clear. I definitely have my eye on what it is going to be. I am going to make out with it quickly in the night.

    Fringe viewers have been extremely passionate and vocal. Any last words to those fans?

    This has been the highlight of my career and I’ve never, ever felt so much love. As a writer, we are working in a vacuum. Honestly, the highlight of my career was walking out onto that stage in Comic-Con and having all those people put up those white tulips. That episode was obviously incredibly important to me personally, but it blew my mind. What that meant to me I can’t even really put into words. It goes straight to my theory about writing and why I write. People can disagree with the way I do a certain plot. I’m not asking everyone to go along with my narrative or every choice I’ve made. What really gets me off is they are concerned about the same things I’m concerned about. They get it. They are people who want to believe in hope and go to another level and dig deeper into human relationships. We’re like-minded people and that to me is really profound. The fact that they thought of so many incredible ways to keep the show on the air is just amazing. I’ve never experienced anything like it and, frankly, I probably won’t again.           

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    Fringe Episode 507
    Written By: Graham Roland
    Directed By: Eagle Egilsson
    Original Airdate: 16 November 2012

    In This Episode...

    Tape #5 sends the Fringe team to the waterfront warehouse that Bell and Walter used to work out of. The building is still there, but it is a pile of rubble, leaving our team to figure out how to get into it. Walter believes the safest, easiest way is to rearrange the rubble’s molecules and go through it. That naturally would have been my first suggestion. While Astrid, Olivia, and Walter go find Nina Sharp, Peter splits off to go meet Anil, leaving Olivia very worried - and very suspicious. (We’ll get to Peter in a minute.)

    Nina - now wheelchair-bound - is elated to see Olivia and Walter and will happily supply them with the tech they need. Nina is worried about Walter. She taught Etta how to implant the bits in his brain because she needed his intelligence to fight the Observers. But she is concerned that he will turn back into the man he used to be. Walter is certain that Peter’s love will keep him grounded. Nina reminds him that she loved Bell, and he her, but it wasn’t enough. Walter coolly tells her that Bell was incapable of loving anyone but himself. So much for Peter keeping him grounded.

    Peter rejoins his friends at the warehouse site as they are finishing setting up the equipment. It works like a charm, turning the solid matter into steam and essentially disintegrating a path into the building. They are looking for two cylinders that are beacons that allow the Observers to move within the space/time continuum. It isn’t in the storage unit, but Walter finds a safe in the back. He knows Bell’s combination - he just can’t remember it. Olivia is getting anxious - the Observers are bound to notice a change in the molecular structure of this area and come swarming in. She wants to go, but Peter takes a different tact, calming Walter and telling him to relax, concentrate, that there is no rush. This worries Olivia, but it works and Walter gets the safe open. Unfortunately the cylinders are not in the safe. All that is in there is a strange silver disc, and a photo of Nina. They take both and hurry out. Liv hands the disc to Peter, and as soon as he touches it, it lights up. The ground rumbles, and suddenly the two cylinders burrow up out of the ground. With no time to ponder the significance, they grab the cylinders and dash out.

    Peter leaves separately from everyone else - another red flag to Olivia. Walter requests as stop on the way home - he wants to give Nina the photo from the safe. It is proof that Bell loved her, even if he wasn’t in love with her. Walter apologizes for the things he said and admits he feels like he is losing himself more and more every day. He wants those bits of his brain re-removed.

    Okay, so the whole Peter thing. The Observer tech in his head is giving him Observer-like powers. He sees things in blue and can predict the immediate future. He has also stopped sleeping, and developed that blank-stare-and-head-tilt that the Observers are so fond of. He has asked Anil to switch briefcases with Observer Royce. Anil tries and fails, which confuses Peter, who thought he “saw” every possible outcome. What he didn’t factor in was a cell phone call that altered history enough that Royce did not forget his briefcase, preventing Anil from making the switch. Peter decides to do it himself, at an Observer restaurant. He checks the briefcase in with the hostess (who has individual cubbies for fedoras and briefcases - it is kind of adorable, and an obsessive-compulsive’s wet dream) and waits for a specific moment. The hostess takes a phone call from an estranged boyfriend, distracting her enough to give Peter the briefcase he points at - not the one he brought.

    Royce then takes Peter’s briefcase, and opens it up in a meeting with a couple other Observers. He opens it, a gas releases, and the Observers’ faces literally melt off. One guy’s jaw just drips away. Peter used some of the flesh eating virus from Walter’s Fringe archives (“Our first Fringe case will be their last.”) This took place while Fringe was desolidifying the rubble, which meant the Observers were too busy to worry about atmospheric anomalies. 

    After dropping off Walter, Astrid, and the cylinders at the lab, Olivia goes home. She is frightened by what she finds. Peter is there, making obsessive color-coded notes on dry erase boards. In a frighteningly flat tone, he explains that he installed Observer tech in his head. He cannot be read, but he knows what they are up to. The timelines are the minute-by-minute habits of Windmark’s top “advisors” - Royce being one of them. This is all revenge for Etta. He took out Royce and a couple others; now his sights are set on Windmark. Olivia is concerned, but when Peter starts repeating her words in precise unison with her, she is positively terrified and slips out of the apartment. Peter is so focused, he barely notices. A throbbing headache causes him to rub his head, and he discovers a large chunk of hair in his hand.

    Dig It or Bury It?

    This episode left me sad and anxious. Maybe it is because I know the end is near. Maybe it is because all the characters are falling apart mentally, and unlike most TV shows, there is no guarantee of a happy ending with Fringe. Maybe it is because Peter is going to go bald - and he has such a nice head of hair. The reveal of the hair was well-executed, but I hope the producers don’t think that this was a shocking reveal. This has been a long time coming.

    Walter Babble

    In the storage unit, Walter makes a shocking discovery: Bell took his David Bowie. Olivia is frustrated as Walter goes on and on about how Bell stole all his records. She drags him away, but he brings the Bowie album back to the lab. It was “The Man Who Sold the World,” in case you were wondering.


    The Observers are on to Peter. Windmark insists that this was all as he “intended.” Olivia is adamant that she won’t lose Peter again.

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    Grimm Episode 212
    “Season of the Hexenbiest”
    Story By: Jim Kouf
    Teleplay By: Jim Kouf and David Greenwalt
    Directed By: Karen Gaviola
    Original Airdate: 16 November 2012

    In This Episode...

    Monroe nervously tells Nick about his encounter with Juliette in the spice shop. Nick is devastated. He goes home to Juliette, who wanted to talk, and she admits that she has feelings for someone else. Nick = crushed. He asks who the other man is, but changes his mind. He doesn’t want to know. He spends the night in his trailer.

    That same night, Hank gets an unexpected visit from Adalind. She is all fake smiles and apologies. Hank wisely sends her on her way, but when he goes back inside with the intention of calling Nick, he is attacked by a pair of Wesen. Nick gets the call in the morning from Wu, and goes straight to Hank, who is in the hospital, badly beaten. He tells Nick that Adalind is back in town and thinks he killed her mom. Nick has to find Adalind. 

    Monroe calls Nick to ‘fess up that Juliette had come over to talk and fallen asleep on his couch. Nick tells him about Adalind and tells him to keep Juliette there, but she already left. Nick calls Juliette, but she is ignoring his calls. She is heading out of the house when she runs into Adalind, and the two women go for coffee. They catch up with what has been going on with each of them (a murdered mom, a coma and a broken relationship) and realize they have both had a rough couple months. Adalind starts drilling Juliette (gently) on what she remembers and where Aunt Marie’s trailer is. Juliette, annoyed that Nick has been calling all afternoon, finally answers her phone. He is relieved to hear she is okay, and warns her that Adalind is in town. She doesn’t want to, but admits that she is with Adalind. Adalind - who doesn’t mind being put in jail because it is safer - invites Nick to come down to the coffee shop. He does - and brings the entire Portland police department with him. Wu arrests Adalind for her mother’s murder and Juliette is furious with Nick.

    It gets a little muddy at this point, as there is a lot of conspiracy going on. Adalind is working for the royal family, and she sent the verrat squad to Hank as an intimidation technique because Renard is taking too long. Basically, Adalind tells Renard he has 48 hours to get the key from Nick, otherwise she will tell him who his captain really is. Monroe has been sniffing around Hank’s house and figures that it was at least two verrat who attacked Hank. He then goes to Adalind’s hotel room, and he sees four verrat in her room when asking for “Leroy.” The verrat chase Monroe into the parking lot. After a quick stop at the trailer for the key and a huge spikey bat, Nick meets Monroe and beats the hell out of the quartet of verrat. He almost gets the dirt from the lone female verrat, but one of her cohorts rips out her throat before she can talk. He sends Monroe home with the murder weapon and their attackers’ cell phones and wallets. Nick goes to Adalind and she makes him a deal similar to the one she gave Renard: give her the key, and she will tell Nick who this trouble-making royal in Portland is.

    Adalind told Renard about Aunt Marie’s trailer. He runs some searches until he finally finds it. He doesn’t have time to go in of course - this has to be a two-parter. But there is one more cliffhanger. Monroe had been debating with himself about showing Nick something, and when Nick moves out of his house and crashes with Monroe, he decides he has to. Monroe plays him a recording of a press conference Renard gave, and shows him to Nick as the man Juliette was smooching in the spice shop. The color drains from Nick’s face, and Monroe, idiotically asks, “Do you know him?” (Dumbest question ever - it says on the screen that he is the head of the Portland homicide division. Monroe knows that Nick is in homicide. Of course Nick knows him.)

    Dig It or Bury It?

    Oooh, I hate “to be continueds.” Especially in this case, because it is getting so good. I think it is safe to say I am officially hooked - and borderline obsessed - with Grimm. It took a little too long to get here (with the whole Renard secret) but the whole Juliette situation was distraction enough, and now it is all converging into one glorious supernova of conspiracy nonsense. I suspect (well, I hope) there will be some epic battle between Nick and Renard. I’m sure that Adalind will “cure” Juliette after tricking Nick into giving up the key, then he and Renard will have to put their differences aside and work together to get the key back from Adalind. Renard will have to choose sides - either his brother or Nick.


    Grimm is on hiatus until next year. Of course - just as it was really getting good.

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    Some people wear hearts or stars or other sweet charms on their necklace. I want to wear Freddy Krueger's glove around my neck. As a necklace, not as a noose.

    $9.50 at Etsy

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    And a child shall eat them …

    Children of the Corn, in my opinion, is a crapfest. The idea is awesome, a cult of kids who murder adults to make their corn crop grow, but the movie goes nowhere.

    Despite it's lack of plot, the kids rule. They look like tiny, angry Mennonites, and they all have names that are back in style for Brooklyn toddlers.  Malachi is the archetypal evil ginger -- yelling phrases that are half-biblical, half-fascist -– and is a dead ringer for that kid in your seventh grade homeroom who spent all his time thinking of ways to bomb the school.

    “Outlander! Outlander! We have your woman!”

    “Make sacrifice unto Him! Bring Him the blood of the outlanders!”

    It’s even funnier when you take into account the actor’s real name is Courtney. Despite the fact that the first Children of the Corn sucked, seven more were made. Seven more. I am thinking some blood sacrifices must have been made to get Children of the Corn 666: Isaac's Return out the door even if it did mark John Franklin’s triumphant return to the series.

    Thankfully, no ritualistic murders of adults are needed to make these delicious corn fritters from our friends at Supper and a Film. They are just in time for Thanksgiving and your turkey will make a prefect stand in for Linda Hamilton as the sacrifice.

    Just like the movie, these fritters aren’t too sweet, but they’re extremely corny.

    Children of the Corn Fritters
    2 1/2 c corn kernels (about 5 ears)
    2 large eggs, yolks and whites separated
    2-3 T AP flour
    1/2 t salt
    1 T sugar
    oil for frying
    If using whole corn, scrape the kernels into a large bowl. If using frozen corn, thaw and pour into a bowl.
    Beat the yolk well, and add yolks, flour, salt, and sugar to the corn. Mix gently.
    Whip the whites until firm but not dry, and fold into the corn mixture.
    Heat about 1 inch oil in a pan. When oil shimmers, add about 1 heaping tablespoon corn mixture and cook for 1-2 minutes or until golden. Flip, and finish cooking. Remove and drain on paper towels. Repeat with remaining batter.

    The folks at Supper and a Film advise that if you use frozen corn make sure to thaw and thoroughly dry them before frying.



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    There is a new poster promoting the upcoming Evil Dead reboot that promises the most "terrifying film you will ever experience."

    Official synopsis: In the much anticipated remake of the 1981 cult-hit horror film, five twenty-something friends become holed up in a remote cabin. When they discover a Book of the Dead, they unwittingly summon up dormant demons living in the nearby …

    Evil Dead is due in theaters April 12th.

    Source: Yahoo

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    The British Board of Film Classification is cinema’s answer to the PMRC. In the 1980s, the organization was responsible for deeming various unsavory and violent titles “video nasties” thereby giving them a certain cache for the horror-minded and making them that much more desirable. Oh, and providing subject matter for The Damned’s best song.

    The BBFC has a long and colorful history of slicing and dicing movies to rid them of the more graphic parts, thereby protecting the British public from what the BBFC considered corrupting images. The Guardian has a fascinating, and NSFW, slideshow chronicling some of the classic films that were cut or censored. Here's a sampling of their slideshow, including Ken Russell’s classic tale of sexy nunnery:

    The Devils, 1971
John Whiting and Aldous Huxley provided the source material for Ken Russell’s incendiary masterpiece – a visceral account of the supposed mass possession of Ursuline nuns in 17th century France. Described by the director as "my most, indeed my only political film", this breathtaking treatise upon "brainwashing" and the unholy marriage of church and state was cut by both the BBFC and Warner, the latter of whom still deems this rarely seen 2004 director’s cut too strong for general release.

    A Clockwork Orange, 1971

    Stanley Kubrick’s most controversial film was adapted from Anthony Burgess’s bestselling dystopian novel about Alex, played by Malcolm McDowell, and his gang of violent “droogs” who get their thrills killing tramps and raping women. Given an X rating by the BBFC, Kubrick himself withdrew the film from British screens in 1973 and his widow has since revealed that he did so on police advice after threats were made to his family.

    The Evil Dead, 1981

    Spider-Man director Sam Raimi describes his legendary first feature as "The Three Stooges with blood and guts for custard pies". Cut for both cinema and video release, the film nevertheless became a cause celebre during the so-called "video nasties" witch-hunt. In the wake of several successful prosecutions (and despite a couple of high-profile acquittals) The Evil Dead was effectively outlawed on video for years. This screening presents the original uncut version in all its limb-lopping gory glory.


    via The Guardian UK


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