Movies
Watch the Winning ‘ABCs of Death 2’ Short, “M Is For Masticate”!
Producers Ant Timpson, Tim League, and Magnet Releasing have announced the winner of ABCs of Death 2’s “Search for the 26th Director” – Robert Boocheck’s riotous “M Is For Masticate”, which we’ve embedded below!
The original ABCs of Death, comprised of 26 alphabet-themed ways to die from the biggest names in horror, invited filmmakers from around the world to submit their own T-themed deaths – with one exceptional entry being chosen to appear in the final film. The tradition of selecting the 26th Director proudly continued in the 2014 sequel, this time using the letter “M.”
In addition to winning a $5000 cash prize, Boocheck’s M Is For Masticate will officially become ABCs of Death 2’s “M” segment.
Additionally, the production team has also announced ABCs OF DEATH 1.5: THE 26TH DIRECTOR EDITION, a feature-length anthology showcasing the finest entries in this year’s competition, chosen exclusively by the film’s producers. Drafthouse Films will digitally release the spin-off anthology during first quarter 2014.
ABCs of Death 2’s other attached directors are an eclectic, acclaimed group, consisting of Julian Barratt of The Mighty Boosh; Israel’s Aharon Keshales and Navot Papushado (BIG BAD WOLVES, RABIES); Japan’s arthouse provocateur Sion Sono (COLD FISH, SUICIDE CLUB); Academy Award-nominated animator Bill Plympton; ROOM 237 mastermind Rodney Ascher; Filipino icon – and Director’s Fortnight inductee – Erik Matti (ON THE JOB, MAGIC TEMPLE); Lithuania’s Kristina Buozyte and Bruno Samper (VANISHING WAVES); SPLICE and CUBE’s Vincenzo Natali; indie horror icon Larry Fessenden (THE LAST WINTER, HABIT); THE STATION’s Marvin Kren; Todd Rohal (THE CATECHISM CATALYSM); Canada’s king of lo-fi, Steven Kostanski (MANBORG); Cuba’s Alejandro Brugués (JUAN OF THE DEAD); acclaimed UK commercial director Jim Hosking; Japanese monster-maker Hajime Ohata (HENGE); Canadian short film wizard Chris Nash (SKINFECTIONS); France’s Julien Maury and Alexandre Bustillo (INSIDE, LIVID); E.L. Katz (director of the SXSW breakout hit CHEAP THRILLS); twin auteurs Jen and Sylvia Soska (AMERICAN MARY, DEAD HOOKER IN A TRUNK); A LONELY PLACE TO DIE’s Julian Gilbey; Brazil’s most controversial filmmaker Dennison Ramalho (NINJAS and LOVE FOR MOTHER ONLY); the founder of Nigerian “Nollywood” cinema Lancelot Imasuen; THE LEGEND OF BEAVER DAM and the upcoming STAGEFRIGHT’s Jerome Sable; and animator Robert Morgan – creator of the BAFTA Award nominated short BOBBY YEAH.
Movies
‘Abigail’ on Track for a Better Opening Weekend Than Universal’s Previous Two Vampire Attempts
In the wake of Leigh Whannell’s Invisible Man back in 2020, Universal has been struggling to achieve further box office success with their Universal Monsters brand. Even in the early days of the pandemic, Invisible Man scared up $144 million at the worldwide box office, while last year’s Universal Monsters: Dracula movies The Last Voyage of the Demeter and Renfield didn’t even approach that number when you COMBINE their individual box office hauls.
The horror-comedy Renfield came along first in April 2023, ending its run with just $26 million. The period piece Last Voyage of the Demeter ended its own run with a mere $21 million.
But Universal is trying again with their ballerina vampire movie Abigail this weekend, the latest bloodbath directed by the filmmakers known as Radio Silence (Ready or Not, Scream).
Unlike Demeter and Renfield, the early reviews for Abigail are incredibly strong, with our own Meagan Navarro calling the film “savagely inventive in terms of its vampiric gore,” ultimately “offering a thrill ride with sharp, pointy teeth.” Read her full review here.
That early buzz – coupled with some excellent trailers – should drive Abigail to moderate box office success, the film already scaring up $1 million in Thursday previews last night. Variety notes that Abigail is currently on track to enjoy a $12 million – $15 million opening weekend, which would smash Renfield ($8 million) and Demeter’s ($6 million) opening weekends.
Working to Abigail‘s advantage is the film’s reported $28 million production budget, making it a more affordable box office bet for Universal than the two aforementioned movies.
Stay tuned for more box office reporting in the coming days.
In Abigail, “After a group of would-be criminals kidnap the 12-year-old ballerina daughter of a powerful underworld figure, all they have to do to collect a $50 million ransom is watch the girl overnight. In an isolated mansion, the captors start to dwindle, one by one, and they discover, to their mounting horror, that they’re locked inside with no normal little girl.”
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