Concept art by special effects artist Vlad Taupes below previews Tigger’s new look in the upcoming sequel.

The latest installment in the Twisted Chuildhood Universe is scheduled to enter production in May from Jagged Edge Productions.

Jagged Edge’s Scott Chambers, who produced the first two Blood and Honey films and helmed the recent Peter Pan’s Neverland Nightmare, will take over directing duties from Rhys Frake-Waterfield, who will produce.

Richard Stanley (Color Out of Space, Hardware) wrote the script, which will introduce additional Winnie-the-Pooh characters, including Rabbit, the heffalumps, and the woozles.

Pooh and Piglet were slaughtered, their reign of terror buried deep in the dirt. But something in Hundred Acre Wood refuses to stay dead. The massacre has only just begun. They are coming — bigger, deadlier, and hungrier.

Lewis Santer will reprise the role of Tigger along with Eddy MacKenzie as Piglet and Marcus Massey as Owl. They’ll be joined by newcomers George Drogo as Winnie-the-Pooh and Karol Stanisz as Rabbit.

The cast also includes Shayli Reagan, Lauren Staerck, FiFi Anicah, Zena Donnelly, Kira Reed Lorsch, Belle Taylor, Jon Callaway, Fyn Phoenix, Paul Black, Leo Harris, and Stanley.

Blood and Honey 3 will be followed by the crossover film Poohniverse: Monsters Assemble, slated to shoot this summer.

The post ‘Winnie-the-Pooh: Blood and Honey 3’ Concept Art Previews Tigger’s New Look appeared first on Bloody Disgusting!.

The latest installment in the Poohniverse is set to enter production in early 2026 from Jagged Edge Productions.

Jagged Edge’s Scott Chambers, who produced the first two Blood and Honey films and helmed the recent Peter Pan’s Neverland Nightmare, will take over directing duties from Rhys Frake-Waterfield, who will produce.

“I am wildly excited to be joining Scott Chambers and his creative team as screenwriter on the mind-wrenching third installment of a beloved, blood-soaked saga that has revitalized independent genre film production in the U.K.,” said Stanley. “The Hundred Acre Wood will never be the same again!”

“I’ve always been a huge fan of Color Out of Space and all of Richard’s work,” Chambers added. “Now, with the third installment underway, I can’t wait to see his wild new vision come to life. Work has already begun — and it promises to take everything to an entirely new level.”

Blood and Honey 3 will be equipped with a bigger budget than the previous installments and is expected to introduce more Winnie-the-Pooh characters, including Rabbit, the heffalumps and the woozles.

The most recent entry in the Twisted Childhood Universe, Bambi: The Reckoning, hit theaters last month and will arrive of VOD on August 29. The crossover film Poohniverse: Monsters Assemble is set to start shooting in March.

The post ‘Color Out of Space’ Filmmaker Richard Stanley to Write ‘Winnie-the-Pooh: Blood and Honey 3’ appeared first on Bloody Disgusting!.

This new work is an alchemic exploration of elements that include everything from black metal, trap, noisecore and industrial to forge something astonishingly unique. He has ventured to the extremes and most visceral elements of artistic expression, those which exist shrouded in mystery and darkness, combined it with a hermetic fury steeped in ancient secrets, and has emerged as this guide to that underworld. As we plunge into this black obsidian mirror, the lyrics whisper an intense hope, amidst the chaos and frenetic attack of the churches he continues to build through sound. The experience is at once, absolutely terrifying, shockingly vulnerable and blissfully assuring.

ANTI-ICON uses the negative space in a similar way to horror film creators like Mike Flanagan, with its own hidden ghosts. Each track purposefully loaded with its own scares and unpredictable sonic experiences around every corner. It’s an unsettling and stunning listen.

“I’m obsessed with the juxtaposition between the loudest most abrasive, immersive noise, coupled with digital silence..and those two playing with each other and battling. Neither really wins because they have to coexist -you can’t have one without the other. I don’t believe that you need to wait ’til the end of a song to get that breather. The silence is prepping you for what’s to come. It gives you a moment where you almost feel safe..and then…you’re not. You get a little anxious..then it’s over and it’s like, wow I want more of that. Like a scary movie or a haunted house experience.”

Ghostemane finds his muse in visual art, between the pages of books including hermeticism and occult works – and film.

“David Lynch is my God I think in that respect,” he explains. “Blue Velvet is something that Arthur (Rizk – producer) put me on to while we were recording and then the next day I wrote the track ASMR and it sort of just kind of came right from that – speaking from the viewpoint of that psychopath Frank Booth – something that he would indulge in. David Cronenberg. The Cell is another one that I watched in the album cycle. That is the movie version of what I want my songs to be kind of where it’s just like, trippy, sort of industrial, hellscapes and surrealism all over. Dark City is another one that I watched shortly before writing some of the lyrics. It’s a really underrated film too, definitely one of my favorites.”

He is also a huge fan of Damien Leone’s 2016 slasher, Terrifier.

“Elevated, sorta like 80’s b-movie stuff with no CGI and all practical effects and an awesome score… that’s my recipe for an amazing movie.”

Ghostemane has been instilling an incredibly evolved cinematic approach to his music videos. Most recently, it has found him diving head first into the world of stop motion animation, colliding it with 2D cartoons that look as though they were pulled out of the 1920’s.

“It really gets the message across I think artistically and it just feels more in line with the music. The music isn’t conventional and I don’t think it needs conventional visuals to along with it. AI (video below) was us just kind of wanting it to take it to the next level.” As for plans to open that world up even further, “Absolutely man. There’s more coming already. I don’t know how much I can say about what the next thing is but it’s definitely more expansive and immersive. It’s going to be next level. I’m super happy for how it’s coming along. It’s gonna be great.”

For more with Ghostemane including his admiration of Panos Cosmatos and Richard Stanley, his creative process, astrology, the occult and his new album ANTI-ICON, hang with us on The Boo Crew Podcast Episode 172. Available now on Apple, Spotify and everywhere you get your podcasts!

Follow Ghostemane on:

Instagram: @ghostemane

Follow The Boo Crew:

Instagram: @talesfromtheboocrew
Twitter: @talesfromtheboo

The post [Podcast] Ghostemane Talks ‘Anti-Icon’ and Horror Influences With The Boo Crew appeared first on Bloody Disgusting!.

There are places in this world that seem to exist out of time. Hidden and forgotten countries of wilderness governed by a carnal will so far removed from human relevance that it scarcely seems natural to us. It’s in those places where magic can believably reside, where the strange and unknown can blossom and where imagination ceases to remain fantasy.

Color Out of Space (2019) materializes in such a spot, rooting itself amongst trees which pepper its opening moments, appearing as ancient, interweaving monoliths, almost alien in the foggy dim light. Then a voice resounds, ushering the film forward with the words of H.P. Lovecraft, embedding a sense of preternatural power in the foundation of the narrative before it even begins.

Residing on the vast expanse of country estate are the Gardners. A somewhat stereotypical American unit, they have shed city life in lieu of a quiet existence on an inherited farm. They are imperfect and struggling, but cohesive. Still, it’s a bond predicated on the status quo, their life having recently been upended by Theresa Gardner’s (Joely Richardson) struggle with cancer and the family’s subsequent relocation. The world is uncertain, they are very much on their own and, as a result, their actions have become progressively more and more dictated by their steadily increasing self-doubt.

The titular color strikes at the heart of these insecurities. A neon purple ring in the sky, a shade unlike any other, forms as Theresa and her husband Nathan (Nicolas Cage) make love for the first time since Theresa’s mastectomy six months prior. Their daughter Lavinia (Madeleine Arthur) lies in bed, listening to music, trying to drown out the harsh reality of her mother’s illness and her new rural life as the color invades her space. Their eldest son Benny (Brendan Meyer) stares vacantly at his computer screen and their youngest Jack (Julian Hilliard) cowers in the hall, screaming for his parents as the sight and sound of wildly chromatic particles rush through his body.

The aftermath of the color’s arrival serves as proxy for the emotional dissonance that typically accompanies a shocking trauma. Nathan folds in on himself and pours a bourbon. Theresa resents it, embracing Jack, petrified and wordless, attune to the protective nature of her motherhood above all else. Benny is frightened and Lavinia just wants it to stop. The family drama exhibited here could just as well be about the life disruption caused by Theresa’s diagnosis as it is the arrival of a potentially malicious, otherworldly entity.

Richard Stanley directs with a keen eye and a striking vision. The film is a stunning display of luminosity, the interplay between light and shadow a masterclass on how to make a visual motif into a discernible character with clear motivation. The color interacts with each person on its own terms, dividing them and mining their uncertainties until all that remains is the core of what it is they were always afraid of becoming.

Nicholas Cage is the standout, early on establishing his tumultuous relationship with his “intellectually abusive” father, from whom he inherited the farm. As the color wears him down, physically and emotionally, he gives in to his father’s nasally, exaggerated persona. He adopts the intonation that he used in the film’s opening moments in jest, gradually unhinging himself until he is nothing but a heightened clone of his deceased dad.

And, yet, for all his admittedly hilarious outbursts about Alpacas and his drama-obsessed daughter, there are equally manic eruptions that have the opposite effect of a laugh. Screaming and hammering the dashboard of his battery-drained car and shouting at his wife about the sickening pervasiveness of “Cancer smell” are but a few examples of the other side of that coin. Levity exists in life (Nathan’s embarrassing stint on the local news makes him feel more like a real dad than almost anything else in the film), and its existence here is key to the viability of the fantastical narrative.

Each character is treated to their own descent into madness, shepherded by the burgeoning size and malleability of the all-encompassing color. As their minds slip and their psyches begin to skip, in understanding and in time, nature itself flourishes, imbued with the spirited complexion of the color— not stained but in a sort of blush. Whether it be the small flowers sprouting exponentially or the vivid insects the color births, there’s undeniable beauty present in the change.

But, much like Nathan’s transformation, there is absurdity to evolution. Awe can accompany more than beauty, after all, and the final stage of change often requires an avenue that borders on the grotesque. Emotional regression in the face of a tragedy can have detrimental side effects to any relationship. Even if their bodies weren’t transforming, Nathan’s reliance on bourbon, Theresa’s self-disgust and Lavinia’s dedication to spells and rituals treading toward self-harm could make quick work of eradicating the family unit.

The film actualizes the swirling emotions of grief, repression and pain with the culmination of the color’s efforts. Mutations, surrealistic and perverted visions of characters and animals, take the forefront. Living beings interacting directly with the raw, undiluted force of the color. Much of these abominations are brought to life with a combination of stunning practical effects and CGI overlay, lending a weight and physicality that solidifies the terrifying implications and impact of these creatures in the film’s final act.

When all is said and done, the film finds itself again contemplating the immenseness of that which people do not, will not and cannot understand. The voice that shepherds the film at the end is again the same as it was at the start, that of hydrologist Ward Phillips (Elliot Knight), a young outsider who throughout the film attempts to approach the oddities he encounters scientifically. However, in the end, science as we know it is a human construct. In this case, an ineffective serum against a virus from parts unknown.

Color Out of Space is bombastic, innovative science fiction. A vision of wonder and horror so arresting, from its dazzling color palette to its pulsating soundscape, that the experience of watching it feels more akin to the experience of feeling it. Grounding its characters in real, relatable emotion and mental turmoil, the outlandish events brought about by the interloping being from the stars are made all the more substantial and affecting when viewed through the prism of Richard Stanley’s extraordinary vision.

There are places on this Earth that are foreign to us. Strange, miraculous points of bewilderment and reverence. And if such places can exist where we live, breathe and die, imagine what lies beyond the realms where we can travel. For, when our existence is confined to the muzzled darkness in our own heads, the shine from the sun can be blinding.

Much like an emissary of light from some distant sphere, grief and wonderment can bring equal levels of shock to the system. The undiscovered country isn’t always out there, after all, sometimes it’s a feeling. A thought. A flash.

A color. As numbing and frenzied as H.P. Lovecraft suggested.

The post Richard Stanley’s ‘Color Out of Space’ Offers Wonder, Horror and a Peek into the Iridescent Unknown appeared first on Bloody Disgusting!.

Yes, Broke Horror Fan presents Color Out of Space on officially licensed, fully functional VHS, with both a standard edition ($20) and variant edition ($25) now available.

Both tapes will be housed inside of retro clamshell cases.

• Standard Edition: Art by Matt Taylor, limited to 100 tapes.
• Variant Edition: Art by Stockholm Design, limited to 50 tapes.

Officially licensed from RLJE Films and approved by SpectreVision, each tape includes extras (to be announced). For optimal VHS viewing, the film has been cropped from its original aspect ratio to 4:3 full frame. This title is available in the US only. Limit 1 edition each per customer. You can grab your copy through Witter Entertainment, with shipping set for early March.

In Color Out of Space, written by Richard Stanley and Scarlett Amaris:

After a meteorite lands in the front yard of their farm, Nathan Gardner (Cage) and his family find themselves battling a mutant extraterrestrial organism as it infects their minds and bodies, transforming their quiet rural life into a technicolor nightmare.

The cast includes Nicolas Cage, Joely Richardson, Madeleine Arthur, Brendan Meyer, Julian Hilliard, Elliot Knight with Q’Orianka Kilcher and Tommy Chong.

The post You Can Now Purchase ‘Color Out of Space’ on Officially Licensed, Fully Functional VHS! appeared first on Bloody Disgusting!.

We’ve seen some pretty awesome art for the movie so far, and this week Empire shares the film’s coolest poster to date. It’s the official UK art, courtesy of The Dude Designs.

Take a trip into Lovecraft’s world of cosmic horrors by checking out the art below!

In Color Out of Space, written by Richard Stanley and Scarlett Amaris:

After a meteorite lands in the front yard of their farm, Nathan Gardner (Cage) and his family find themselves battling a mutant extraterrestrial organism as it infects their minds and bodies, transforming their quiet rural life into a technicolor nightmare.

The cast includes Nicolas Cage, Joely Richardson, Madeleine Arthur, Brendan Meyer, Julian Hilliard, Elliot Knight with Q’Orianka Kilcher and Tommy Chong.

The post New Poster for ‘Color Out of Space’ Will Melt Your Mind Like Only Lovecraft Horror Can appeared first on Bloody Disgusting!.

Think Criterion Closet, but sleazy…just the way we like it.

Director Richard Stanley, fresh off the heels of the release of Color Out of Space, steps inside the Cellar on the inaugural episode. There could not be a more perfect guest than Stanley. Not only is he super charming with his South African accent, but he loves genre films and has an interesting story to go with each film he selects. Like the time his copy of Baskin burst into flames.

Stanley also makes for a fitting first entrant given his long history with the company. Severin President David Gregory directed Lost Soul – The Doomed Journey of Richard Stanley’s The Island of Dr. Moreu and served as a co-producer on Color Out of Space. Severin also distributed Stanley’s wild documentary The Otherworld and the now out-of-print limited edition Blu-ray of Hardware.

Be sure to subscribe to the Severin YouTube channel to see more episodes of The Severin Cellar on a semi-regular basis. As for me, I’ll be eagerly checking my mailbox awaiting my invite.

The post [Video] Step Inside ‘The Severin Cellar’ with Richard Stanley appeared first on Bloody Disgusting!.

In partnership with Milan Records, the deluxe vinyl release is selling for $28.

The score is by Grammy Award-wining saxophonist and multi-instrumentalist, song writer and composer Colin Stetson. A highly-coveted collaborator to Bon Iver, Arcade Fire, Tom Waits, LCD Soundsystem, The National and more, Stetson brings with him an expansive body of work that includes both genre-defying, avant-jazz records as well as critically-acclaimed original scores for major film, television and game titles (Ari Aster’s Hereditary, Red Dead Redemption 2).

Directed by Richard Stanley (Hardware, Dust Devil), Color Out of Space is based on the short story by H.P. Lovecraft. After a meteorite lands in the front yard of their farmstead, Nathan Gardner (Nicolas Cage) and his family find themselves battling a mutant extraterrestrial organism as it infects their minds and bodies, transforming their quiet rural life into a technicolor nightmare.

Stetson explains his work on the film, “The question posed initially when conceiving of this score was what exactly is the sonic representation of a cosmic alien color that does not exist in this terrestrial reality? I began trying to answer that by layering the sounds of coral reefs, processing that cacophony and finding the order revealed through harmonic generation of these hyperdensities, and then continued to chase that same concept of ‘transfiguring the natural’ down every path and application I could see. Turns out it’s somewhere between magenta and hot pink.”

Waxwork Records presents the complete soundtrack by Stetson pressed to 180 gram “Cosmic Magenta” swirled vinyl, housed within a heavyweight printed inner sleeve inserted into an old-style tip-on jacket with film laminate gloss coating, and new art by Matt Taylor.

Grab your copy today and expect it to ship on March 17th.

The post ‘Hereditary’ Composer Colin Stetson’s ‘Color Out of Space’ Score Now Available on Vinyl from Waxwork appeared first on Bloody Disgusting!.

It turns out that it’s very personal.

Stanley tells us, “HPL is my mom’s favorite writer. She read me his stuff when I was a child. Then my mom died of cancer very slowly over a period of 10 years. During which time, I read most of Lovecraft’s material back to her and got to see firsthand how different parts of her personality shut down as she mutated and died. Eventually, it stopped hydrating and feeding her. Which is something that’s again reflected in the arc within Color. She knew we were making the film before she died, but a typical Lovecraftian way, she was very skeptical of the whole thing. I wanted to have a posthumous conversation with HPL because obviously it’s been as a sort of negative father figure whose been looking over my shoulder since I was about seven.”

“I’ve been intrigued at how Lovecraft’s more popular now than ever before. What it is about the early 21st century that’s caused this really strange cranky writer from the 1920s to suddenly be as hugely popular as he is, despite the fact he’s a racist, he’s a misogynist, there’s all kinds of terrible things about his personality. Lovecraft’s bigger than ever.” Stanley says, “I think that is partially because we’re all living in a world where we are no longer certain that the humanity really will still be around in a couple of hundred years’ time, or what sort of world our children will be living in.”

Stanley continues, “There’s also something there to do with the slow but irrevocable collapse of mainstream religion. Most people these days are not converting to orthodoxies like Catholicism or Orthodox Judaism, or Orthodox Islam. That raises issues about if something did create us and whether those created deities are human-friendly or whether they created us by accident or whether they’re completely unaware of us; which pushes us into a kind of a Lovecraftian frame of mind.”

Nicolas Cage stars in Color Out of Space as Nathan Gardner, Alpaca farmer and Gardner family patriarch. Interestingly, Cage very nearly appeared in Stanley’s Dust Devil, released back in 1992. It was while working on Mandy that the producers behind SpectreVision handed Cage the script for Color Out of Space, thinking he might be an ideal candidate for the central part. Stanley shares that without this casting, the film would’ve played out very differently.

“In the original draft of the movie, it was a British family set it in France, which is where I’m currently living. So, it was a retired British accountant,” Stanley explains. “His family took over a French farm to try and farm Alpacas and [were] destroyed by the threat from the outer space. There were a lot of gags over them being unable to explain their pain and their problems to their neighbors because of the language barrier. I originally had Hugh Grant in mind, weirdly enough. I thought Hugh Grant would’ve been fun for Nathan. But then once Nic came aboard, the decision was made to move it back to its place of origin – to move it back to new England – which I think was the best decision.”

Fans of Lovecraft should also keep an eye out for the many Easter eggs Stanley strategically placed throughout, such as “the weather forecasts, the brief appearance of the Native American Mayor, the Necronomicon, to show that it’s part of a wider Lovecraftian Universe.” He adds, “I’d love to do another Lovecraft movie further down the pike.”

As for what that would be? “I’m tempted to have a go at the Dunwich Horror. I’d love to do that. I think the Whateley family have been really hard done by, and I’d love to see the Whateley’s carnated on screen properly. Just the idea of some kind of working-class New England backwoods family that have interbred with ultra-dimensional demons from beyond space.”

It looks like Stanley will be getting his wish, as SpectreVision has “basically greenlit” an adaptation of The Dunwich Horror, the director revealed in another interview this week.

Color Out of Space crashes into theaters on January 24, 2020.

The post Richard Stanley on Building a Lovecraft Universe and the Personal Stakes of ‘Color Out of Space’ [Interview] appeared first on Bloody Disgusting!.

The film begins after a meteorite lands in the front yard of the family’s farm where they find themselves battling a mutant extraterrestrial organism as it infects their minds and bodies, transforming their quiet rural life into a technicolor nightmare.

The cast also includes Joely Richardson, Madeleine Arthur, Brendan Meyer, Julian Hilliard, Elliot Knight with Q’Orianka Kilcher and Tommy Chong.

RLJE Films will be releasing the film on January 24, 2020.

Check out the previously released trailer right here.

The post ‘Color Out of Space’ Clip Nearly Sends a Singing Nicolas Cage Crashing Into An Infected Cat [Video] appeared first on Bloody Disgusting!.

Speaking with Rue Morgue ahead of the release of the Nicolas Cage-starring Color Out of Space, Stanley noted just last week that filming on The Dunwich Horror will “hopefully” begin later this year. Furthermore, he confirms that each of his planned Lovecraft adaptations will exist within the same world that kicks off with this year’s Color Out of Space.

“I’m pleased to say that SpectreVision has basically greenlit two more Lovecraft adaptations, and I’m currently prepping my new adaptation of The Dunwich Horror,” he told the site. “It will be set in the same milieu as Color Out of Space, in a near-future, disaster-struck Arkham County. Hopefully, we’ll be able to get that before the cameras this winter.”

Stanley added, “With Dunwich Horror, we’ll go on campus and get back to Miskatonic University for the first time since Re-Animator. We’ll also get to deal with the Necronomicon, the black book at the core of the mythos. So I’m very much looking forward to getting my hands on this.”

Lovecraft’s short story The Dunwich Horror was published in 1929. It centers on a mysterious monster locked in a farmhouse. It grows and grows, and ultimately breaks free.

The post Richard Stanley’s ‘Dunwich Horror’ Will Expand His Lovecraft Universe and Feature the Necronomicon appeared first on Bloody Disgusting!.

Robert John Burke stars as the eponymous Dust Devil. A force of evil that wanders the desert, murdering those in his path. He preys upon the weak, the faithless, and the damned. Chelsea Field stars as Wendy, a woman on the run from her husband, a catalyst for her path to cross with the Dust Devil. Her inner and external struggles for survival take center stage, but in the peripheral is Sgt. Ben Mukurob’s (Zakes Mokae) grudge-fueled search to stop the Dust Devil. In Stanley’s hands, though, the premise isn’t nearly as linear or as lucid as it sounds.

Dust Devil is a patchwork of ideas and inspiration. Stanley drew from his childhood; urban legends of “The Vanishing Hitchhiker” that he learned from his anthropologist mother and school-aged memories were woven into the screenplay. The core concept of the Dust Devil is steeped in South African mysticism and drew from the South African serial killer known as Nhadiep, a killer so elusive that locals came to believe he was supernatural. Spaghetti Westerns were a staple of Stanley’s viewing growing up, which played an evident influence on his film, but so too did Gialli and Andrei Tarkovsky’s Mirror. All of which makes for one fevered dream of a movie.

It likely didn’t help that, upon initial release, Miramax and Palace Pictures weren’t sure what to do with the film. They’d both previously served as producing partners on Hardware, a film intentionally created to be more commercially friendly, and thought Stanley would craft another readily marketable genre movie. Moreover, they thought they were getting a more straightforward serial killer feature in the vein of Silence of the Lambs, and insisted Chelsea Field be cast as Wendy.

Studio pressures to make a product more commercially viable were high, but they were too far removed from the Namibia production to interfere much. That meant they didn’t quite know what to do with the feature they got; Miramax chairman Harvey Weinstein decided the best approach was to trim down Dust Devil from 120 minutes to 87 minutes and release it under the title Demonica. In the UK, Palace Pictures filed for bankruptcy before Dust Devil saw release, and when Polygon acquired it for release, they wound up shelving it instead. Eventually, Stanley invested a lot of money and time to re-edit the feature for Polygon to give the film a brief theatrical release.

The result is a strange film that received a nominal release, making it destined for cult status. It’s a peculiar blend of mysticism, influences, and ideas that lacks mainstream appeal. The difficulties during production and its release, in conjunction with Stanley’s firing from his follow-up project The Island of Dr. Moreau, likely played a vital role in the director’s retreat from the Hollywood system. For nearly three decades, he focused on shorts, anthology segments, and documentaries instead. It makes sense that another personal project like Color Out of Space marks his return this year.

Dust Devil might be marred for many by its lack of rooting interest in a central character, but it also makes for a wholly unpredictable experience. It’s a movie that sums up the visionary and provocative work of Richard Stanley quite well. 

The post The Hitchhiker from Hell: Revisiting Richard Stanley’s ‘Dust Devil’ appeared first on Bloody Disgusting!.

Color Out of Space will be released on all three formats on February 25th!

In Color Out of Space, written by Richard Stanley and Scarlett Amaris:

After a meteorite lands in the front yard of their farm, Nathan Gardner (Cage) and his family find themselves battling a mutant extraterrestrial organism as it infects their minds and bodies, transforming their quiet rural life into a technicolor nightmare.

The cast also includes Joely Richardson, Madeleine Arthur, Brendan Meyer, Julian Hilliard, Elliot Knight with Q’Orianka Kilcher and Tommy Chong.

The post Richard Stanley’s Lovecraft Film ‘Color Out of Space’ Coming to 4K Ultra HD and Blu-ray in February appeared first on Bloody Disgusting!.

In Color Out of Space, written by Stanley and Scarlett Amaris, “After a meteorite lands in the front yard of their farm, Nathan Gardner (Cage) and his family find themselves battling a mutant extraterrestrial organism as it infects their minds and bodies, transforming their quiet rural life into a technicolor nightmare.”

The cast also includes Joely Richardson, Madeleine Arthur, Brendan Meyer, Julian Hilliard, Elliot Knight with Q’Orianka Kilcher and Tommy Chong.

RLJE Films will be releasing the film on January 24, 2020.

Check out the previously released trailer right here.

The post Vibrant ‘Color Out of Space’ Poster is a Trip! appeared first on Bloody Disgusting!.

The duo teased their early plans in a chat with Coming Soon this week, telling the site that they’re working with Richard Stanley to “build out a Lovecraft universe.”

Coming Soon adds that SpectreVision plans on adapting Lovecraft’s The Dunwich Horror, and that if there’s enough interest, they’d like to make “at least three” Lovecraft films.

“Lovecraft is possibly the most adapted horror author ever,” Noah told the site. “But there’s really never been a totally faithful adaptation of any of his works.”

Head over to Coming Soon to read the full chat with Wood and Noah.

The post SpectreVision Looking to Make More H.P. Lovecraft Films, Including ‘The Dunwich Horror’ appeared first on Bloody Disgusting!.

Need we say more? Check out the trailer for your new favorite movie below!

In Color Out of Space, written by Richard Stanley and Scarlett Amaris:

After a meteorite lands in the front yard of their farm, Nathan Gardner (Cage) and his family find themselves battling a mutant extraterrestrial organism as it infects their minds and bodies, transforming their quiet rural life into a technicolor nightmare.

The cast also includes Joely Richardson, Madeleine Arthur, Brendan Meyer, Julian Hilliard, Elliot Knight with Q’Orianka Kilcher and Tommy Chong.

RLJE Films will be releasing the film on January 24, 2020.

The post [Trailer] Nicolas Cage Enters the Wild World of H.P. Lovecraft in Richard Stanley’s ‘Color Out of Space’ appeared first on Bloody Disgusting!.

The New England estate is gorgeous and remote, an hour’s drive from the nearest hospital (an important fact). It and the palatial house in which the Gardners live is a family inheritance from Nathan’s father. This is a development that Nathan is struggling to adjust to; he never intended to become a farmer like his old man. Stanley’s screenplay makes it clear that the decision to move to the country has not been without controversy: Theresa’s attic-situated home office is plagued by a bad internet connection and Lavinia opens the film performing a spell to ensure her mother continues to recover from cancer, as well as for her own personal escape.

These introductory scenes are brief, but they provide backstory on the family and insight into the day-to-day dynamics of life on the farm (alpaca milk anyone?). Ordinarily, this would all be essential information to understand how the family – or who – will prevail the threat to come, but perhaps because Color Out of Space is an adaptation of an H.P. Lovecraft short story, very little character information winds up being important.

When the meteorite strikes, it arrives late at night in a neon-purple/fuchsia saturated glow that permeates the homestead. Only Jack is truly awake and paying attention and he bears the brunt of the colorful impact, temporarily screaming and going into a non-responsive stupor. This reaction would seemingly indicate that Jack is the most affected, but this is merely another misdirect. Shortly afterward, the landscape of the farm – and yes, all of its residents, animals and people included – begin to change. Strange flowers start to grow where there were none, a large multi-eyed praying mantis/dragonfly crawls out of the well, and the alpacas…well, let’s just say that this isn’t going to be PETA’s banner film of the year.

Initially, all of these events feel appropriately odd and there is a steady narrative escalation. When Theresa goes into a trance and suffers a bad accident while preparing dinner, Color Out of Space still feels on track, particularly as Lavinia experiences vomit-inducing migraines as a result of the persistent aural feedback and Jack “talks” to a new friend in the well. Alas, these are the last few notes of clarity: from this point on, as the family is increasingly manipulated by the sounds, the frequencies and, yes, the titular colors of the meteorite, Stanley loses control of the film.

The film’s issues are twofold: the script and the acting (by way of direction). For nearly the entire second half of the film, characters behave irrationally. They are prone to sudden, violent mood swings or they react to horrifying events as though they are removed from the situation. Initially, each family member appears to have their own type of reaction to the otherworldly influence: Nathan becomes uncontrollably angry, Lavinia experiences headaches, Jack sits outside all day, laughing at nothing, etc.

But then the reactions begin to bleed together, so Theresa also becomes uncontrollably angry at times (but then not others), and Nathan experiences hallucinations through the TV screen, just like Benny (he also randomly disappears for a long stretch, something no one seems to care about).

The rules of what is happening on the farm are ill-defined, and the world-building is poorly executed. At times it seems that the infection is in the water, which has turned slightly viscous. At others, it simply seems as though the family need only walk or drive away from the farm to escape its colorful impact. One character, Ward Phillips (Elliot Knight), a visiting graduate student studying the water table who catches Lavinia’s eye, has no trouble coming or going.

Nothing is consistent, so as the film progresses, it devolves into a series of repetitive scenes of the family making stupid, seemingly out of character decisions without any indication of what is motivating them. The obvious, easy response is that the family is going mad with brief moments of lucidity that allows them to act like their old selves. That may be a possibility, but it is inherently unsatisfying to watch a film where things sometimes make sense and other times don’t.

And then there are the performances. This is a Nicolas Cage film and Nathan does go crazy, so Color Out of Space frequently veers into high camp territory when he is onscreen (example: when the car won’t start, Nathan calls it a “cock sucker” and punches the ceiling for approximately fifteen seconds). The issue with casting Cage (now? Always?) is that audiences are primed to laugh at every line of dialogue or reaction, so even when Cage is having a heartfelt moment with a grievously injured Theresa late in the film, it inspires laughter…and not in a way that benefits the film.

Then there is the fact that everyone is seemingly acting in a different film, as though instructed by Stanley to match their performance to their individual storyline. Lavinia is in a coming of age YA text about amateur witchcraft (which comes to nothing) and first crushes (which comes to next to nothing). Theresa is in a workplace drama about a harried mother with a bad router that is “hemorrhaging clients” (who could care?). Jack and Benny receive something less than arcs, while Ward – seemingly the outsider with the vital information who will save the day – literally disappears for a full act, only to return in time for the climax.

Visually the film looks great, particularly the FX heavy finale when the color goes into overdrive and the environment becomes unsustainable for human life. By this time, however, not even the film’s proclivity for odd and unusual imagery is enough to overlook the meandering plot and the gratingly out of synch performances. Color Out of Space feels painfully long and, even more so than Mom & Dad, it loses more than it gains from Nic Cage’s unintentionally campy performance. The result is a film that feels like a torturous slog.

The post [TIFF Review] ‘Color Out of Space’ is a Narrative Slog With Yet Another Campy Cage Performance appeared first on Bloody Disgusting!.

Nicolas Cage and Joely Richardson star in the film in which they play a “family whose recent retreat to rural life is quickly disrupted by a meteorite that crashes in their front yard.

“The Gardners’ peaceful escape quickly becomes a hallucinatory prison, as an extraterrestrial organism contaminates the farmstead, infecting everything and everyone it can.”

From the mind of H.P. Lovecraft, TIFF describes the film as a cosmic nightmare. You can see shades of this 1927 story in Stephen King’s short story “Weeds”, which would be adapted into Creepshow.

It also stars Madeleine Arthur, Brendan Meyer, Julian Hilliard, Elliot Knight, Q’orianka Kilcher, and even Tommy Chong.

The post RLJE Acquires Richard Stanley’s ‘The Color Out of Space’ Ahead of TIFF World Premiere! appeared first on Bloody Disgusting!.

The Canadian saxophonist tweeted today, “I cannot wait for you all to see this madness.”

Cage and Joely Richardson star in the film in which they play a “family whose recent retreat to rural life is quickly disrupted by a meteorite that crashes in their front yard.”

“The Gardners’ peaceful escape quickly becomes a hallucinatory prison, as an extraterrestrial organism contaminates the farmstead, infecting everything and everyone it can.”

The post ‘Hereditary’ Composer Colin Stetson Is Scoring Richard Stanley’s Lovecraft Film ‘Color Out of Space’ appeared first on Bloody Disgusting!.

Nicolas Cage and Joely Richardson star in the film in which they play a “family whose recent retreat to rural life is quickly disrupted by a meteorite that crashes in their front yard.

“The Gardners’ peaceful escape quickly becomes a hallucinatory prison, as an extraterrestrial organism contaminates the farmstead, infecting everything and everyone it can.”

We have a pair of new images that show the Gardners’ son in peril and another of the nightmarish results of the alien infection.

From the mind of H.P. Lovecraft, TIFF describes the film as a cosmic nightmare. You can see shades of this 1927 story in Stephen King’s short story “Weeds”, which would be adapted into Creepshow.

It also stars Madeleine Arthur, Brendan Meyer, Julian Hilliard, Elliot Knight, Q’orianka Kilcher, and even Tommy Chong.

The post Nightmarish ‘Color Out of Space’ Imagery Right Out of the Purple Haze appeared first on Bloody Disgusting!.

With this morning’s announcement came a brand new still of stars Nicolas Cage and Joely Richardson in the film in which they play a “family whose recent retreat to rural life is quickly disrupted by a meteorite that crashes in their front yard.

“The Gardners’ peaceful escape quickly becomes a hallucinatory prison, as an extraterrestrial organism contaminates the farmstead, infecting everything and everyone it can.”

From the mind of H.P. Lovecraft, TIFF describes the film as a cosmic nightmare. You can see shades of this 1927 story in Stephen King’s short story “Weeds”, which would be adapted into Creepshow.

The post Here’s Nicolas Cage in Richard Stanley’s ‘Color Out of Space’ appeared first on Bloody Disgusting!.

Midnight Madness includes new genre filmmakers with remarkable debuts, including Galder Gaztelu-Urrutia’s dystopian sci-fi film The Platform; Rose Glass’s unnerving psychological thriller Saint Maud, starring Morfydd Clark (Love & Friendship) and Jennifer Ehle (Zero Dark Thirty); Andrew Patterson’s paranormal period piece The Vast of Night, which won the audience award for Best Narrative Feature at Slamdance and features breakout performances by Jake Horowitz and Sierra McCormick; and Keith Thomas’s supernatural horror film The Vigil.

One of the highlights from this year’s selection is Richard Stanley’s hotly-anticipated H.P. Lovecraft adaptation Color Out of Space, which stars Nicolas Cage and signals the director’s return to the Midnight Madness lineup after 29 years.

Also screening is Joko Anwar’s Gundala, based on the Indonesian superhero comic books by Harya “Hasmi” Suraminata and Takashi Miike’s Japanese action-comedy First Love. The programme will close with the World Premiere of the international version of Isaac Nabwana’s gonzo action flick Crazy World, a celebration of the Ugandan film movement Wakaliwood. Previously announced Canadian titles in the programme include Jeff Barnaby’s Blood Quantum and Matthew Rankin’s The Twentieth Century.

“This year’s selections challenge the traditional parameters of genre and shock cinema, but — most excitingly — half of the lineup’s wicked provocations are courtesy of filmmakers making their feature-film debut,” said Peter Kuplowsky, Lead Programmer for Midnight Madness.

“Along from Blood Quantum, horror fans will no doubt gravitate to the Richard Stanley’s return to the section with Color Out of Space – and with good reason, as Nicholas Cage is joining him for this psychedelic cosmic horror freakout, but definitely take a chance on the new voices,” he tells Bloody Disgusting. The Platform begins like Cube, and which proceeds like Snowpiercer towards a gore-filled climax; Saint Maude is unnerving psychological horror, reminiscent of Raw in its slow-burn, major pay-off trajectory; The Vigil is THE movie to see if your seeking SCARES – kind of like The Autopsy of Jane Doe meets Viy and steeped in Jewish demonology. Also, Satan Slave‘s director JOKO ANWAR may have directed a superhero martial arts epic (Gundala), but he actually uniquely soaks it in a palpable horror atmosphere.”

Here’s a full breakdown of the Midnight Madness program.

*Midnight Madness Opening Film*

Blood Quantum | Jeff Barnaby | Canada | World Premiere
Cast: Elle-Máijá Tailfeathers, Kawenna’Here Devery Jacobs, Michael Greyeyes, Brandon Oakes, William Belleau, Gary Farmer, Forrest Goodluck, Kiowa Gordon, Olivia Scriven, Stonehorse Lone Goeman.

“Jeff Barnaby’s astutely-titled second feature is equal parts horror and pointed cultural critique. Zombies are devouring the world, yet an isolated Mi’gmaq community is immune to the plague. Do they offer refuge to the denizens outside their reserve or not?”

Color Out of Space | Richard Stanley | USA | World Premiere
Cast: Nicolas Cage, Joely Richardson, Madeleine Arthur, Brendan Meyer, Julian Hilliard, Elliot Knight, Q’orianka Kilcher, Tommy Chong

“From the mind of H.P. Lovecraft, Color Out of Space is a cosmic nightmare about Nathan Gardner (Nicolas Cage) and his family, whose recent retreat to rural life is quickly disrupted by a meteorite that crashes in their front yard. The Gardners’ peaceful escape quickly becomes a hallucinatory prison, as an extraterrestrial organism contaminates the farmstead, infecting everything and everyone it can.”

*Midnight Madness Closing Film*
Crazy World | Isaac Nabwana | Uganda | World Premiere

“In the latest from Uganda’s gonzo action auteur Isaac Nabwana, a gang of child-snatching mobsters make a fatal mistake when they kidnap the Waka Stars, a team of pint-sized kung-fu masters who soon turn their cunning wits and deadly skills upon their captors.”

First Love (Hatsukoi) | Takashi Miike | Japan/United Kingdom | North American Premiere
Cast: Masataka Kubota, Nao Omori, Shota Sometani, Sakurako Konishi, Becky

“A doomed boxer and a haunted drug addict find themselves inadvertently caught in the crosshairs of two warring gangs, in the latest from Midnight Madness provocateur Takashi Miike (Ichi the Killer, Audition).”

Gundala | Joko Anwar | Indonesia | International Premiere
Cast: Abimana Aryasatya, Bront Palarae, Muzakki Ramdhan, Tara Basro

“Sancaka has been living in the streets since both parents left him. Going through a tough life, Sancaka grows up survives by minding his own business and shelter his own safe place. When the city comes to its worst state and injustice looms throughout the country, Sancaka finds himself at an intersection, to remain in his comfort zone or arise as a hero to defend the oppressed.”

The Platform (El Hoyo) | Galder Gaztelu-Urrutia | Spain | World Premiere
Cast: Iván Massagué, Antonia San Juan, Zorion Eguileor, Emilio Buale, Alexandra Masangkay

“In a future dystopia, prisoners housed in vertically stacked cells watch hungrily as food descends from above; feeding the upper tiers but leaving those below ravenous and radicalized; in Galder Gaztelu-Urrutia’s profound parable about the socio-political potency of genre cinema.”

Saint Maud Rose Glass | United Kingdom | World Premiere
Cast: Morfydd Clark, Jennifer Ehle

“A mysterious young nurse develops a toxic, dangerous obsession with her patient as she becomes convinced that she can save her from damnation. Tony and BAFTA Award-winner Jennifer Ehle and rising star Morfydd Clark come together in this electrifying psychological horror from director and Screen Star of Tomorrow, Rose Glass. Religiously devout nurse Maud (Morfydd Clark) arrives at the grand home of her new patient Amanda (Jennifer Ehle), who remains a pleasure-seeking diva with extravagant taste despite being frail from illness. Amanda is intrigued by this serious young woman, and enjoys talking to someone so deliciously innocent. Maud, however, is not all that she seems. She is tormented by a bloody secret from her past, and by visions which she believes come directly from God. As Amanda begins to taunt Maud more and more with her hedonistic and unpredictable behaviour, Maud becomes convinced that she is there to serve a divine purpose. In a frenzy of ecstasy, madness and passion, Maud’s religious zeal becomes deadly to anyone who stands in her way.”

The Twentieth Century | Matthew Rankin | Canada | World Premiere
Cast: Daniel Beirne, Sarianne Cormier, Mikhaïl Ahooja, Catherine St-Laurent, Sean Cullen

“Winnipeg’s Matthew Rankin (The Tesla World Light) doubles down on his signature mode of gonzo history films with this bizarro biopic of William Lyon Mackenzie King, which reimagines the former Canadian Prime Minister’s early life as a series of abject humiliations, both professional and sexual.”

The Vast of Night | Andrew Patterson | USA | Canadian Premiere
Cast: Sierra McCormick, Jake Horowitz, Gail Cronauer, Bruce Davis

“Set at the dawn of the space-race over the course of one night in 1950s New Mexico, a young switchboard operator and a radio DJ uncover a strange frequency that could change their lives, their small town and the future forever.”

The Vigil | Keith Thomas | USA | World Premiere
Cast: Adam Margules, Dave Davis, Menashe Lustig, Malky Goldman, Lynn Cohen, Fred Melamed

“Set over the course of a single evening in Brooklyn’s Hassidic “Boro” Park neighborhood, The Vigil follows Yakov, a former Hassid, as he accepts a position as a shomer, hired to “sit the vigil” and watch over the body of a deceased community member. Having lost his faith, Yakov isn’t eager to go back to the insular religious community he only recently fled. But when Reb Shulem, a rabbi and confidante, approaches Yakov after a support group meeting and offers to pay Yakov to be the shomer for a recently deceased Holocaust survivor, he reluctantly accepts the job. Shortly after arriving at the dilapidated house, Yakov realizes that something is very, very wrong. This will not be a quiet vigil. Steeped in ancient Jewish lore, The Vigil is a visceral and terrifying supernatural horror film set in a world audiences have never before experienced.”

The post [TIFF ’19] Richard Stanley’s ‘Color Out of Space’ Premiering at Midnight Madness! appeared first on Bloody Disgusting!.

The film is to be directed by Richard Stanley (pictured below right; Hardware, Dust Devil) from his own screenplay in which Cage plays Nathan Gardner, an affluent New Yorker and family man who has taken up residence on his father’s old farm homestead.

“They are busy adapting to their new life when a meteorite crashes into their front yard. The mysterious aerolite seems to melt into the earth, infecting both the land and the properties of space-time with a strange, otherworldly color.  To their horror, the Gardner family discover that this alien force is gradually mutating every life form that it touches…including them.”

You can see shades of this 1927 story in Stephen King’s short story “Weeds”, which would be adapted into Creepshow.

The film will also star Joely Richardson (“Nip/Tuck”, Red Sparrow), Tommy Chong (Up in Smoke), Elliot Knight (DC’s “Titans”), Julian Hilliard (“The Haunting of Hill House”) and Q’Orianka Kilcher (“The Alienist”).

Production on The Colour Out of Space is currently set for February in Portugal.

The post Nicolas Cage to Topline Richard Stanley’s ‘Colour Out of Space’! appeared first on Bloody Disgusting!.

Based on a minor short story from the acclaimed comic series 2000 AD, Hardware was largely dismissed as a Terminator knock-off when it was first released back in 1990, but has since grown in popularity since rampaging onto home video (not to mention the internet). Much like 2000 AD itself, Richard Stanley‘s film masterfully disguises a poignant exploration of philosophical and social issues in a lovably schlocky and ultra-violent (not to mention ultra-entertaining) package, with a wicked sense of humor for good measure.

The original 7-page-long story, appropriately titled Shok!, was a simple tale of woman versus machine set against a familiar Mega-City backdrop. While Hardware is a somewhat faithful (though completely unauthorized) adaptation in that the main plot is still about a killer robot terrorizing an artist in her futuristic apartment, Stanley uses this as a jumping-off point to tell his own story about a dystopic future where life might not be worth living anymore.

The film expands on the characters and setup, giving us a better glimpse at this rundown, overpopulated world filled with radioactive deserts, terrifying scavengers and malicious government conspiracies as we follow Moses Baxter (Dylan McDermott) on his quest to find a suitable Christmas present for his metalworking artist girlfriend Jill (Stacey Travis). Unfortunately, Mo’s idea of gifting a pile of dilapidated cybernetic parts has disastrous consequences when the pieces begin to reassemble themselves into a self-repairing murderous robot.

Though the film doesn’t stray far from Jill’s cruddy apartment, Hardware somehow manages to make the world of 2000 AD come alive in a way rivaled only by Pete Travis’s Dredd 22 years later. Featuring a kick-ass soundtrack and cameos from the late great Lemmy as a ferry driver and even Iggy Pop as the memorable voice of W.A.R. Radio, it’s amazing just how detailed this cyberpunk dystopia feels, despite the low budget.

Of course, the killer robot itself, here referred to as the M.A.R.K. 13, is also a huge part of why the film works. Every second it’s onscreen is a feast for the eyes, with wonderfully suspenseful chase sequences, top-notch effects and what is without a doubt one of the best killer robot designs I’ve ever seen. Incorporating nightmarish elements like spider-like venom injectors under the skullish head, not to mention its creepy multi-armed stance borrowed from the death goddess Kali, help to make this one hell of a memorable baddie. The creature’s horrific nature is only worsened once you realize that characters refer to it as a cyborg instead of android, hinting at an even more sinister backstory.

In a world filled with bland CG monsters and uninteresting backgrounds, it’s refreshing to see a film’s memorable set and character designs contribute to the story’s themes, especially considering the limited resources that the filmmakers had to work with here. The movie is peppered with haunting imagery, religious symbolism and even classical art references that make it stand out from your usual slasher flick. All this attention to detail only enhances the subtle social commentary that permeates the movie without making the script feel preachy, allowing it to focus on the more entertaining aspects of the story.

In another break from tradition, even the added robot fodder characters are interesting and well-developed, which makes their gruesome deaths all the more impactful. It’s truly amazing just how much tension the film manages to squeeze out of a single location without ever becoming boring, though by the end of the flick, Jill’s apartment looks more like a robotic abattoir than a futuristic home.

While I love Hardware to death, even I have to admit that it’s nowhere near a perfect movie. The awkward pacing definitely isn’t for everyone, and things get a little bit too psychedelic in a few sequences. Personally, I find the engrossing atmosphere and quirky characters interesting enough to be able to overlook these flaws, and the soundtrack is awesome enough to make even a paint-watching marathon seem entertaining, but I get that not everyone feels this way.

Even so, I can’t quite condone Stanley’s treatment of the source material in the making of this film. I may consider Hardware an improvement over the comic-book story that spawned it, but that doesn’t excuse swiping another writer’s story with no intent of crediting their work. Fortunately, this unlicensed adaptation became official after a lawsuit forced the filmmakers into crediting 2000 AD, though it’s still hard to imagine why Stanley thought that no one would notice the similarities just because of a few altered names.

Despite its initial reputation as a bootleg Terminator, I’m glad to see more and more fans popping up online to share their love for this amazing movie. I honestly can’t think of any other Sci-fi/Horror films so utterly devoted to telling a meaningful story without compromising the sleazy fun in the process, which is why I think it’s a shame that we haven’t seen many Hardware-inspired Cyber-Slashers since then.

In any case, M.A.R.K. 13 is sure to live on as one of the best slasher villains of all time, but also a haunting reminder of humanity’s tendency to put collective progress ahead of individual human lives. This may be a grim and brutally honest vision of the future, but I’d recommend it to anyone looking for a fun and insightful ride through a disturbingly plausible dystopia.

The post [Retrospective] No Flesh Shall Be Spared – Remembering ‘Hardware’ appeared first on Bloody Disgusting!.

Stanley’s film is a noir thriller set in a near-future, post-truth environment.

“Malware’s inception came about as a result of the alarm felt by many over the role technology is playing in bringing about this strange new ‘dark age’ of populist sentiment,” says Stanley. “Without giving too much away, I felt inspired by the sinister nature of the dark web and it’s invisible hand’s effect on modern society. I think now more than ever, subversive visual storytelling is poised for a comeback, and Malware is definitely that.”

Murray called the film a “near-futurist retelling of ‘Dante’s Inferno’ [that] is not only timely, but it also has all the earmarks of a cult standout among the current barrage of socially conscious thrillers.”

Watch for casting news as it comes in.

The post ‘Hardware’ Director Richard Stanley’s Next is the Neo-noir ‘Malware’ appeared first on Bloody Disgusting!.

But all these years later, Stanley hasn’t given up hope. He still wants to bring HIS version of The Island of Dr. Moreau to the screen; and as he explained in a chat with Birth.Movies.Death., the pre-production process has already began!

“At this stage, I can’t say exactly by who, and how long it will take, but the project does live again, largely thanks to [Lost Soul director David Gregory],” Stanley told the site. “We’re currently scripting and designing the thing. It’s going to be an all-new screenplay and an all-new cast of beast-people; the original creatures are copyrighted by Warner Bros. I wasn’t particularly happy with them anyway. The final designs of the creatures in the Frankenheimer version were disappointing, and I think there’s huge room for improvement.”

He continued, “I’m hoping it will metamorphose into three feature films or six television hours. I’m actually pushing it toward the latter. I would prefer it to be on TV rather than as a theatrical movie or movies, because a) we would have less interference from the studio, and b) we could have an R-level product. I believe that going for the multiplex, it would have its teeth pulled and its nails cut again, and going to television, we could be pretty unrestrained in the way we approach the material.”

Stanley’s “definitive Moreau,” he also explained to the site, will put the beast-people at the forefront rather than the human characters.

The post Richard Stanley Plans to Finally Bring His ‘The Island of Dr. Moreau’ to Life appeared first on Bloody Disgusting!.

The first 2500 units include a strictly limited bonus DVD of Stanley’s previous documentaries (The White Darkness, The Secret Glory, and Voice of the Moon), complete with audio commentaries and brand new introductions. A very limited number of copies signed by Richard Stanley will also be available from Severin Films and DiabolikDVD directly.

For Stanley, the ultimate real-life horror may be just outside his door: Hidden deep within the French Pyrenees is an area known as ‘The Zone’, where a shocking convergence of ancient occult legacies may have formed a portal to other dimensions. Stanley explores this shadowland of unexplained phenomena via chilling history, disturbing interviews and unnerving footage of his own supernatural transmutation. Severin Films presents The Director’s Cut of this award-winning documentary – featuring cinematography by Karim Hussein (We Are Still Here) and an original score by Simon Boswell (Santa Sangre) – now on disc for the first time ever.

Special Features include deleted scenes, a making-of featurette, and the trailer.

The post Richard Stanley’s Doc ‘The Otherworld’ Explores the Occult appeared first on Bloody Disgusting!.

Next up for the genre maven in Replace, directed by first-time filmmaker Norbert Keil, a horror-thriller starring Rebecca Forsythe (We Are Your Friends) as a young woman who is afflicted with a strange disease. When she starts to age rapidly, she discovers that she can replace her own skin with the flesh of others to maintain her beauty.

Bloody Disgusting has an exclusive look at the official one-sheet for the body horror indie that will surely get under your skin.

In addition to Forsythe and Crampton, Replace stars Lucie Aron and Sean Knopp, while the script was written by Keil and, get this, Richard Stanley, the director of Hardware and Dust Devil!

Click here for the first trailer and stills for the indie.

The post ‘Replace’ Poster Picks at the Skin (Exclusive) appeared first on Bloody Disgusting!.

On Working with Nicolas Cage in The Trust.

Some oily information about The Greasy Strangler.

Psychedelic sexual werewolfing causing Bad Vibes & making Color Out of Space.

The post ‘Cooties’ Caught and SpectreVision Secrets Spilled During UK Premiere appeared first on Bloody Disgusting!.

Indie-horror company SpectreVision is producing the film and co-founder Daniel Noah, in an official statement, explained, “H.P. Lovecraft is the undisputed father of literary horror, and yet, bafflingly, there has yet to be a cinematic treatment that captures the dark beauty of the man’s oeuvre. Richard Stanley’s note perfect adaptation of Color Out of Space represents an epiphany for me — as it no doubt will be for legions of Lovecraft devotees around the world.”

Stanley himself stated, “There needs to be a scary Lovecraft movie. I want to make a bad trip film and ‘The Colour…’ definitely has what it takes to be a very, very bad trip indeed.”

Stanley has directed documentaries and short films since 1992’s Dust Devil but, as stated previously, this will be his first return to feature length films.

The post Richard Stanley Returns to Adapt H.P. Lovecraft Story appeared first on Bloody Disgusting!.

[Related Post] Review: Lost Soul Is a Fascinating Trip Back to Richard Stanley’s Island of Dr. Moreau

The Special ‘House Of Pain’ Edition of Lost Soul will also contain a DVD of the long thought lost 1921 German version of Moreau The Island of the Lost with English subtitles, plus more interview featurettes. A third disc will contain a brand new audiobook recording of H.G. Wells’ “The Island of Dr. Moreau” read by Richard Stanley.

In 1995, visionary writer/director Richard Stanley (Hardware, Dust Devil) got the green light for his dream project: An epic adaptation of H.G. Wells’ “The Island Of Doctor Moreau” starring Marlon Brando and Val Kilmer. But only days into production, an unprecedented storm of natural disasters, monstrous egos and disturbing imagery – along with chaos, insanity and witchcraft – would trigger perhaps the most infamous behind-the-scenes catastrophe in modern movie history. Now director/producer David Gregory (The Theatre Bizarre, Plague Town) reveals the untold story behind “one of the all-time greatest cinematic train wrecks” (Variety) in this “wonderfully weird and gripping” (Entertainment Weekly) documentary featuring never-before-seen footage, startling new interviews with actors Fairuza Balk, Marco Hofschneider and Rob Morrow, studio executives, crew members and Stanley himself.

The post Must See ‘Lost Soul’ Doc Dated For Home Video! appeared first on Bloody Disgusting!.

Hardware and Dust Devil‘s Richard Stanley attended the Belgian Premiere of Lost Soul (review), the documentary about his doomed attempt at making The Island of Dr. Moreau for New Line Cinema back in 1994/95.

During the post screening Q&A he divulged some interesting information on future projects.

The Island of Dr. Moreau: The reception of the doc has put The Island of Dr. Moreau back in pre-production. In two or three years the whole thing will happen again, he said. Since January this year he has completed a new draft of the movie and has also been approached by Humanoids, a French comic company, to adapt the screenplay into a three book graphic novel! This will be hitting shelves next year.

Stanley is now more optimistic in bringing his vision to the screen citing Guardians of the Galaxy the Apes movies as paving the way for dogs with machine guns.

A “R” or “X” rating might be unlikely to attain, but at least the graphic novel will be unrated.

Hardware 2: The script was written the year after Hardware and is something he would like to revisit as advances toward drone soldiers are very timely in the real world. Projects such as DARPA developing robotic dogs and other creatures seem to have caught his attention, and he foresees these beast patrolling hostile zones. Hardware, along with his other film Dust Devil, currently belong to Disney after they took control of the Miramax catalogue. Working with the mouse seems unlikely so a non-direct sequel might be the only option available.

The Colour Out Of Space: Stanley is also set to make the old ones terrifying again for a younger generation. First announced at Fantasia Festival’s Frontiere’s market in 2013 was H.P. Lovecraft’s The Colour Out Of Space, which will be made by Elijah Wood’s SpectreVision. He wants to take the source material and make it scary again, not cute and funny as most translations to screen. He has had talks with Bruce Spaulding Fuller who might be doing the main creatures using a combination of physical and visual effects. Shooting is set to go ahead at the beginning of next year.

The Gardner family move to a remote country locale to leave the hustle of the 21st century. All is well until a meteorite crashes into their front yard. Rapidly the curious qualities of this mysterious visitor from the stars starts to infect the properties of space and time around them. Overnight the water turns brackish containing an oily rainbow sheen. The crops ripen early and new forms of flora sprout from nowhere. Most disturbingly the members of the Gardner family are changing too! Whatever is contaminating their farm is mercilessly transforming them into the living manifestation of their darkest fears.

The post Richard Stanley Developing New ‘The Island of Dr. Moreau’ Adaptation! (BIFFF) appeared first on Bloody Disgusting!.

At this stage, it looks very likely. It’s too early for me to name the company involved, but I was actually put under contract in January to write a new draft of The Island of Dr. Moreau, which is already completed and delivered. The project has come back to life, which I think is a side effect of David (Gregory)’s work.

Stanley goes on to talk about his thoughts on Frankenheimer’s finished film, which he says he’s never watched from beginning to end. But the main thing to take away from the interview is that Stanley is one of the most fascinating filmmakers alive and that he needs to get behind the camera more. The fact that he’s been put under contract to draft his Moreau once again? This is exciting as hell.

Be on the look out for Lost Soul: The Doomed Journey of Richard Stanley’s Island of Dr. Moreau, which screens across the U.S. in February and March courtesy of Severin Films. Put it on your “most anticipated” list immediately or go back to the house of pain!

The post Richard Stanley Vows to Return to ‘Island of Dr. Moreau’ appeared first on Bloody Disgusting!.

The best news? Richard Stanley, the subject of the documentary, will be making rare US appearances at Los Angeles, San Francisco and Phoenix dates along with Director David Gregory!

Lost Soul was considered one of the best films of 2014 by both Patrick Cooper‘s and myself.

“The filming of the ill-fated 1996 version of H. G. Welles’ THE ISLAND OF DR. MOREAU is the stuff of legend. For the first time since he was unceremoniously escorted off his longtime dream project, Richard (HARDWARE, DUST DEVIL) Stanley reveals in detail his spectacular original vision and how it was all ripped apart at the seams. Cast members including Fairuza Balk, Marco Hofschneider and Rob Morrow, executives and producers Robert Shaye, Edward R. Pressman and Tim Zinnemann, concept artist Graham Humphreys, members of the Stan Winston Makeup Effects team as well as a host of cast and crew members recall the stories first hand of colossal egos run amok, a production way out of control, and how the original filmmaker was banished from the set but wouldn’t let go. Directed by David Gregory (PLAGUE TOWN, THEATRE BIZARRE, THE GODFATHERS OF MONDO), this is the sensational story of what could have been a science fiction masterpiece which became a huge creative and financial disaster; the story of the outsider artist versus Hollywood machine.”

Theatrical engagements have been booked by David Szulkin.

2/7 and 2/11 San Francisco, CA, Roxie (SF Indie Fest) Richard Stanley and David Gregory Q&A (2/7 only) Tickets available here
2/13 Philadelphia, PA, PhilaMOCA Tickets available here
2/25 Austin, TX, Alamo Drafthouse Ritz
2/27 – 3/5 Los Angeles, CA, Cinefamily, Richard Stanley and David Gregory Q&A
2/27 and 2/28 Brooklyn, NY, Nitehawk Cinema Tickets available here
3/1 Winchester, VA, Alamo Drafthouse Winchester
3/6 and 3/7 Boston, MA, Coolidge Corner Tickets available here
3/6 – 3/8 Portland, OR, Hollywood Theater Tickets available here
3/6 – 3/12 Houston, TX, Alamo Drafthouse Vintage Park
3/6 – 3/12 Lubbock, TX, Alamo Drafthouse
3/8 Yonkers, NY, Alamo Drafthouse Yonkers
3/9 and 3/10 Minneapolis, MN, Trylon Microcinema
3/18 Ashburn, TX Alamo Drafthouse Loudon
3/26 and 3/28 Gainesville, FL, The Wooly
3/29 Austin, TX, Austin Film Society at The Marchesa
3/30 Phoenix, AZ, Harkins 101 Scottsdale, Richard Stanley and David Gregory Q&A

More locations will be announced soon.

The post Must-See Doc ‘Lost Soul’ Gets Trailer, Theatrical Dates! appeared first on Bloody Disgusting!.

I saw a ton of awesome movies at these festivals and many of them found well-deserved distribution. And while I saw a ton of unreleased stuff, there’s still LOADS of worthy films I’ve yet to see. Isn’t that what makes being a horror fan so exciting? There’s always more work to seek out.

Here’s a look at 10 festival flicks that rocked my world, that I can’t wait for everyone else to check out!

10. TIME LAPSE

This clever little chamber play takes typical roommate tension and elevates it into a reality-bending thriller, complete with time paradoxes and enough twists and turns to confuse the most advanced GPS. Driven by a great, young cast, this bad boy is one fun flick that vibes like a 90 minute Twilight Zone episode, with some bursts of the macabre and violence along the way. Time Lapse is a rock solid piece of entertainment.

9. PRESERVATION

Preservation is one of those films you go into expecting the expected. A stalk and slash film in the woods in which an innocent girls faces off against masked assailants – seen it before. But with Denham’s new film, he manages to appropriate tropes from the survival genre and deliver his own bloody beast. It’s a wholly satisfying  and chilling thriller that says something about society without shoving its message in our face. A violent and beautiful film, Preservation proves Denham is one to watch.

8. THAT GUY DICK MILLER

That Guy Dick Miller does a remarkable job spotlighting one of film’s great character actors. And it’s about time. Director Elijah Drenner (American Grindhouse) gathers an impressive line up of filmmakers, family, friends, and actors (even Corey Feldman) who talk about Miller’s career and personal life. After 90 minutes of listening to them, it’s tough not to argue that Dick Miller is the man.

7. BLOODY KNUCKLES

Bloody Knuckles is the outrageous debut feature film from writer/director Matt O’Mahoney. Consider it Idle Hands for the indie horror crowd, who like their violence bold and bloody and their humor vulgar. It’s an assured debut with a remarkably talented cast (despite their inexperience). Though rough around the edges, Bloody Knuckles is definitely one of the crowd pleasers coming out of Fantasia.

6. BLACK MOUNTAIN SIDE

Black Mountain Side is the debut feature from Calgary native Nick Szostakiwskyj. While it’s sure to draw (much deserved) comparisons to The Thing, this Canadian paranoid horror flick is a beast all its own. It’s a psycho-thriller that taps into Native mythology, archaic archaeology, and even the traditional parlor mystery to establish a strong feeling of existential anxiety that practically drips off the screen, leaving a mess all over your lap.

5. THE MAN IN THE ORANGE JACKET

On the surface it’s a simple tale of violent justice in the slasher vein, but it quickly evolves into a haunting nightmare of paranoia and domestic terror. It’s like High Tension sifted through Lars Von Trier’s filter. If that comparison doesn’t have you excited, might want to check that pulse. Also, it’s apparently the first horror film from Latvia! Welcome to the party, Latvia!

4. LOST SOUL: THE DOOMED JOURNEY OF RICHARD STANLEY’S ‘ISLAND OF DR. MOREAU’

Lost Soul is a severely engaging and entertaining documentary that provides loads of insight about the studio system and its biblical clashes with artists. It also reinforces a lot of garbage we already know about them. I could listen to Stanley talk for hours – the man is deeply enthralling, well-spoken, and has a brilliant artistic mind. The fact that he still hasn’t made a feature film (he has done docs and anthology segments) since the Moreau incident is genuinely depressing.

3. BLOOD PUNCH

Darkly comedic with a seriously warped set of sensibilities, Blood Punch takes us down the road to hell, which here is paved with blood and meth (with some peyote as a stiff chaser). It’s fun as hell and smart enough to pull all the right moves without rubbing its twists in your face. It’s like a supernatural film noir on meth, with heaps of dark humor and a madcap edge that cuts deep. And as its name suggests, Blood Punch is a very, very bloody affair.

2. FAULTS

If Elmore Leonard had written a story about cults, it might resemble Riley Stearns’ debut comedy-thriller Faults. Well, the first half at least. What begins as a hilarious tale concerning a cult expert attempting to “deprogram” a young woman quickly shifts into a contemplative look at faith, exploitation, and skepticism in the face of witnessing the impossible. Don’t sweat the heavy stuff though. Even when Faults gets serious, it manages to maintain its comedic tone. Driven with strong performances and Stearns’ propulsive direction, Faults is a darkly fascinating and biting tale that marks the arrival of a gifted filmmaker.

1. THE EDITOR

I can’t get enough of this movie.

Over the past few years, the Canadian collective known as Astron-6 has churned out a couple films that became certified cult classics: Father’s Day and Manborg. For their latest, The Editor, writers-directors-stars Adam Brooks and Matthew Kennedy have raised their own bar with a giallo homage that’s easily their best work to date.

The Editor nails the classic giallo tone – infused with gruesome murders, the occult, and, of course, plenty of sex – while also crafting a brilliant comedy that could stand as an entry into the very genre it’s homaging. The familiar themes of madness, paranoia, and sexual obsession are all there. Scene after scene, bit after bit are filled with details harkening back to the ’60s and 70s. From the bold music cues to the stylish fluorescent lighting, The Editor is a riotous feast for diehard giallo fans and laymen alike.

And simply put, The Editor is just a hilarious movie.

The post [BEST & WORST ’14 ] Patrick Cooper’s Top 10 Festival Favorites! appeared first on Bloody Disgusting!.

After his cult hits Hardware and Dust Devil, the South African-born Stanley set about making his dream project: an adaptation of HG Wells’ 1896 book The Island of Dr. Moreau. He’d been fascinated by the book since he was a child and as he watched each subsequent film adaptation (1932, 1959, 1972, 1977), Stanley knew none of them got it right. Thanks to the buzz surrounding his indie efforts, he was able to get the backing of New Line with Marlon Brando locked down to play the titular doctor. There was only one problem, New Line was chasing Roman Polanski to direct.

In order to take back the reins, Stanley resorted to witchcraft. This dependence on sorcery (performed by a renowned British warlock, naturally) is just one of the fascinating avenues Lost Soul takes us down. Clashing egos, horrendous weather, actors fearing for their lives, New Line getting jitters, Stanley very nearly losing his mind – all of these snafus snowballed until finally Stanley was booted from the film. Not only that, he was contractually obligated to leave Australia or New Line didn’t have to pay him a dime. You can’t just brush off a son of a bitch who uses witchcraft and expect him to go quietly into the night though. How Stanley took their restraining order is…well, you’ll see.

The studio brought in Frankenheimer (Ronin) to finish the film and from the get-go, the director made it very clear he didn’t give two shits about “artistic vision.” He was there to do a job, art be damned. Once Frankenheimer steps in, Lost Soul begins to spin its wheels a little bit. Cast and crew express their dislike of him ad naseum. At least there are plenty of Brando anecdotes to go around! The tediousness of the Franenheimer bits are cut up nicely with tales of Brando’s legendary contempt for his profession. At this point in his career (he was just coming off of the colossal fuck up Don Juan DeMarco*), Brando really didn’t give a damn about bringing any sort of “craft” to his performances. This apathetic approach to acting makes for some hilarious stories though, and Lost Soul has plenty of yarns about the big man.

The movie that came out of this debacle, John Frankenheimer’s The Island of Dr. Moreau (1996), was universally panned and still considered by some to be one of the worst films ever made. There’s no doubt the movie’s an absolute mess, but personally I like a lot of things about it. Brando’s mini-me? C’mon, that little sucker’s awesome and that was all Brando’s idea. There’s a lot of brilliant and crazy moments in the film and I think it’s ripe for reassessment. Hopefully this doc will lead to just that.

Lost Soul is a severely engaging and entertaining documentary that provides loads of insight about the studio system and its biblical clashes with artists. It also reinforces a lot of garbage we already know about them. I could listen to Stanley talk for hours – the man is deeply enthralling, well-spoken, and has a brilliant artistic mind. The fact that he still hasn’t made a feature film (he has done docs and anthology segments) since the Moreau incident is genuinely depressing. Hopefully this doc brings a spark to him and shows him how much fans want him back behind the camera! Rally up the coven! Draw the blood of a virgin! Do whatever you have to do, just get directing again!

*though Brando’s gig right after Dr. Moreau is a doozie: The Brave, the only film directed by Johnny Depp. In it, Depp plays a Native American who Brando hires for a snuff film. Seriously, check this movie out if you can. It’s bonkers.

The post [Review] ‘Lost Soul’ Is a Fascinating Trip Back to Richard Stanley’s ‘Island of Dr. Moreau’ appeared first on Bloody Disgusting!.

Last night, director Marian Dora wrapped “Mors in Tabula”, in which “A middle-aged woman suffers from incurable cancer. In it, a surgeon offers her the possiblility of an operation. The operation is the patients ultima ratima /last chance. But he has only his own desires in mind.” Check out the first still inside.

Michael Todd Schneider, Ryan Nicholson, Uwe Boll, Andrey Iskanov, Marian Dora, Yoshihiro Nishimura, Sergio Stivaletti, Richard Stanley all direct a portion of the anthology.

“Deep within the underbelly of Paris, there is a club which is the home of a secret, wicked society. At first it resembles an ordinary fetish or goth nightclub, but hidden within the cavernous building are many hidden rooms. One of which is known as “The Room of Souls,” a private gathering place of the world’s richest and most evil people. Their host is the elegant yet frightening Madame Sabatier. For their amusement, each member takes a turn and spins a true tale of their depravity: A good wife learns that her husband goes out at night to abduct and murder young women; A botched suicide attempt leads to a drug induced dream; A girl is believed to be possessed by a demon and her overly religious parents enlist the help of a corrupt reverend who has his own sinister plans; We are invited inside the deranged mind of a respected surgeon as he takes us on a guided tour of life, death, and everything in between; A young street prostitute crosses paths with a charismatic flesh trader and is forced to take an unspeakable journey of sex, violence, and murder; A nun is abducted off the streets of Rome and held captive for over a year turning her into a feral, murderous creature to be unleashed on society; A chance encounter on a fateful bus ride for an unsuspecting girl who dreams of riches and fame is her undoing; A man picks up a woman in a nightclub and soon finds himself at the mercy of a cult of women who believe consumption of their sacrifice will bring them to their highest form of female dominance; An unflinching look into darkest Africa where human life is traded for fortune and the most unspeakable atrocities are committed. It truly is a profane world, and this is The Profane Exhibit. There are no boundaries.“

The post Check Out The Latest ‘The Profane Exhibit’ Still With Surgical Precision appeared first on Bloody Disgusting!.

“‘The Profane Exhibit’ is an extreme international horror anthology film that was conceived, written, and produced by David Bond and Manda Manuel. Legendary horror writer Ray Garton wrote the wraparound segment, and Scott Swan (Showtime’s “Masters of Horror”) wrote the screenplay. Jeremy Kasten, director of such films as the recent Wizard of Gore remake, serves as the film’s editor.”

They just completed shooting on Deodato’s “Bridge”, pictured below, along with Vigalondo’s “Sins of our Fathers”.

The post ‘The Profane Exhibit’ Shares NSFW Bloody Baby Image, Announces ‘Cannibal Holocaust’ Director appeared first on Bloody Disgusting!.

Director Richard Stanley (Hardware, The Theater Bizarre) has now signed onto the upcoming anthology film The Profane Exhibit. He joins Tokyo Gore Police and Helldriver director Yoshihiro Nishimura, Michael Todd Schneider, Marian Dora, Ryan Nicholson and Andrey Iskanov.

Per the press release, “Richard Stanley joins The Profane Exhibit with a segment entitled “Coltan”, which is an unflinching look into darkest Africa, where human life is traded for fortune and the most unspeakable atrocities are committed. In addition, Stanley’s segment will be scored by award-winning composer Simon Boswell.

Also joining producers David Bond and Manda Manuel’s The Profane Exhibit is horror novelist Ray Garton, who is creating the novella that will serve as the wraparound story in the film.”

Hit the jump to take another look at the film’s synopsis and poster! “Deep within the underbelly of Paris there is a club which is the home of a secret, wicked society. At first it resembles an ordinary fetish or Goth nightclub, but inside the cavernous building are many hidden rooms, one of which is known as “The Room of Souls,” a private gathering place of the world’s richest and most evil people. Their host is the elegant yet frightening Madame Sabatier. For their amusement each member takes a turn and spins a true tale of depravity:

A good wife learns that her husband goes out at night to abduct and murder young women. A botched suicide attempt leads to a drug-induced dream. A girl is believed to be possessed by a demon, and her overly religious parents enlist the help of a corrupt reverend who has his own sinister plans. We are invited inside the deranged mind of a respected surgeon as he takes us on a guided tour of life, death, and everything in between. A young street prostitute crosses paths with a charismatic flesh trader and is forced to take an unspeakable journey of sex, violence, and murder. A nun is abducted off the streets of Rome and held captive for over a year, turning her into a feral, murderous creature to be unleashed on society. A chance encounter on a fateful bus ride for an unsuspecting girl who dreams of riches and fame is her undoing. A man picks up a woman in a nightclub and soon finds himself at the mercy of a cult of women who believe consumption of their sacrifice will bring them to their highest form of female dominance It truly is a profane world, and this is THE PROFANE EXHIBIT. There are no boundaries.”

Follow the film’s progress on The Profane Exhibit Facebook page.

The post ‘The Profane Exhibit’ Adds Richard Stanley To Its Gallery appeared first on Bloody Disgusting!.

Thank the gods of (the original) Clash of the Titans, as Cerda is attached to direct I Am Legion, an English-language vampire movie set during WWII (no, not connected with the Will Smith CGI-massacre). It will be the first project of a 4-picture deal between Gallic comicbook publisher Les Humanoides Associes and Paris-based Full House.

Even more insane is that Cerda will be directing from a screenplay by mother effin’ Richard Stanley, director of Hardware (as seen in last week’s “Office”)!

Revamping a 2006-07 comicbook series, “Legion” pits British Special Ops commandos and Romanian resistance fighters against Nazis, who use a 12-year-old vampire girl to spawn an army of evil.

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