I liked the film, having caught it at SXSW, but I’m hoping they take this chance to tweak some of the elements that didn’t quite work (they had literally just finished that version of the film hours before the SXSW deadline).

Starring Emma Greenwell, Brendan McCarthy, Joe Egender, Cameron Richardson and Roger Aaron Brown, the film begins on the trail of her missing sister, Charlotte enlists the help of Wayne, an ex-Marine and alcoholic, to infiltrate the Church of One Accord – a community of snake-handlers who risk their lives seeking salvation in the Holy Ghost. It World Premiered at the SXSW Film Festival in Austin, Texas.

Click here for my review.

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The latter film, Grow Up, Tony Phillips, is the 4th directorial effort from genre favorite Emily Hagins (My Sucky Teen Romance). While it’s by no stretch of the imagination a horror film – it is a sweet and poignant look at Halloween and what it means to embrace that holiday in an “age appropriate” manner. In that regard it’s almost a (funny) dramatization of a character that might have appeared in An American Scream. If you’re a fan of Hagins’ earlier work, I’d recommend checking it out regardless of genre – it’s definitely a more polished iteration of that aesthetic.

AJ Bowen plays “Pete” in the film, and the role couldn’t possibly be more different from what he achieves in You’re Next. I caught up with Bowen after the fest wound down to talk about what it was like to have two films there and get his thoughts the delicate nature of moving in and out (and back into) the horror genre. I also tried to scoop him on Ti West’s upcoming Eli Roth produced The Sacrament – but he did an expertly friendly job of shutting me down on that one.

Head inside for the interview.

It was interesting to catch both Grow Up, Tony Phillips and You’re Next at the fest because they were made during two different periods of your life and career.

Yeah. It was a great problem to have to figure out how to be present for both those movies at the same festival. There were also several movies that it didn’t work out for me to be in, and a few of those were at SXSW this year as well. So this year in particular was a personal experience for me because I wanted to catch up with all of these great movies and also be there for You’re Next and Tony Phillips.

It was important for me to be down there for Emily [writer/director Hagins]. When I got down there I told her, “this is great. But just so you know, when you don’t have a genre angle to your movie the criticism is going to be different and it’s going to be harder to make a sale right off the bat.” And she was actually very zen and looking forward to that part of the process. I’ve never heard a filmmaker tell me before that they were looking forward to criticism. So that was really cool with me to be involved with.

It’s interesting to track her career and her growth. At this point it’s not about her age for me so much as it is the fact that people talk about her age. She’s a couple of years older now and you wonder what it would be like to be in that position – do you start self defining as “young” and grade your own work on a handicap?

Right. I can’t imagine trying to go through that – forming your voice while putting something incredibly personal out there every year or two while you’re changing. I don’t think I would have been able to do that.

What was your reaction to the script when you first got it, and how was it executing this with her?

I’ve known Emily and all of those guys down in Austin for several years. Most of the movies I’ve done have played in Austin or at Fantastic Fest. So I wound up getting to know that community really well. And right after the Fantastic Fest where You’re Next played a year and a half ago, I got a call from [producer] Paul Gandersman saying, “Emily’s thinking about writing a script. We’d love to write a part for you.” I got on the phone with Emily and she told be the basic idea, and I accepted. And that was a full year before I got involved with the movie.

So having already known her, I kind of had an idea of how she would work. There are so many “A type” personalities in filmmaking where you think everyone’s fighting but it’s really just talking stuff out… there’s a lot of strong personalities. Emily has a different approach to it. She’s very soft spoken but she knows very clearly what she wants and has no problem informing people when that’s not what she’s getting.

One of the questions that came up during the Q&A at the premiere was, “a lot of the dialogue seemed improvised.” And I was the one who answered that question and the answer was, “I didn’t want to improvise.” I know the term “mumblecore” is so dead at this point, but I’ve been in what other people would define as that world for a few years at this point. And you can get improvisatory and figure out the beats and switch up the dialogue, and that’s great as an elemental tool when you’re preparing to shoot the movie and you want to find new ideas on set – but often times it can just come across as being unprepared and unprofessional. So I like using it as an option, but I don’t like the process of not learning lines and saying, “oh it’ll come to me!” So I avoided doing that for a couple of weeks on the shoot. But then we got to the scenes where Emily would ask me, “well what would someone your age say here?” And I’m into striking dialogue if I can. It’s such a visual medium that I think it’s better if we can elude dialogue and show what we’re saying instead of telling it. So injecting subtext into scenes is sort of my MO and that’s what we did.

Out of any movie I’ve worked on, the final product was the closest to the script out of anything I’ve ever made. I don’t mean that as an insult to anything else, it just is what it is. It’s also nice to be at the fest and have people mistake me doing something comedic for having range [laughs]. A lot of people don’t know that before I started doing scary movies I was pretty much in the world of comedy. It’s not really very different, you’re playing an emotional beat out.

I’m also very aware that when I do something non-horror that people may feel like I’m jumping ship on it. I understand because I grew up on it and it’s my favorite genre, but it’s not why I got into storytelling. I wanted to tell a lot of different stories, so when her script came along I was getting tired of genre work because after a while it just gets exhausting to do the same thing. No matter how good the scripts are, it’s not as creatively fulfilling after a while. But Emily’s script still has that vibe of Halloween and that aesthetic. So even though it’s wildly divergent from what I was making the day before I shot that movie, it’s something people can watch with their kids around Halloween. They don’t have to watch Martyrs [laughs].

You mention “jumping ship.” The horror audience is sort of proprietary like that, I remember telling a few readers when I met them that The Descendants and Young Adult were some of my favorite movies of 2011 and they were upset.

Yeah, I’ve thought about that a lot. On the one hand, the horror community is incredibly supportive and there’s a loyalty there that you don’t find in other parts of the film world. But I think that goes both ways, the don’t want to feel betrayed. It’s funny you mention those other movies because those were my favorite movies that came out that year too. So you don’t want to betray that sense of trust but, at the same time, it can be a bit reductive. None of us that watch movies just watch one particular kind of movie. And I know so many actors that started in genre film, and so many of them are full of sh*t. So with horror it’s certainly a bummer when you watch people faking it in order to go and do other things.

So I don’t want there to be the confusion of, “oh, this guys’s to good for horror now.” I love horror. But, to be honest, I’ve spent eight years making them so if you have a problem with me doing that [something else for a bit], f*ck you.

It can be healthy even. “Let me out for a bit so I can bring something back.”

Yeah and also all these movies don’t just have to be all violence. There can be something else to them. One of my favorite movies is Something Wicked This Way Comes because it’s spooky. Why do we have to reduce what we enjoy to something so specific? So yeah, it’s a bummer but at the end of the day this is my life and I’m the one who has to pay my bills, so I’m going to do it in the way that’s inspiring to me.

This was my 3rd time seeing You’re Next, and I’m sort of surprised the shine hasn’t worn of yet. In fact, it may be getting better for me and your character is a big part of that.

For me, the most personal relationship I’ve had while working on a movie is with Simon [Barrett, the film’s writer and one of its’ producers]. Someone came up to me after the SXSW premiere and asked, “how does it feel for Simon and Adam [Wingard] to be sh*tting on A Horrible Way To Die.” And that’s not what I got out of that conversation at all. They were just saying that sometimes that movie is a bummer and they wanted to make a movie that didn’t bum people out. It was a new experience for all of us, trying to make a movie that didn’t alienate the audience.

In terms of my character, and why I mention Simon specifically, is that I really feel I understand Simon’s tone and intent as a writer. So when you’ve got Adam [Wingard; director] there keeping us on the rails, Simon and I are very collaborative and I wouldn’t want to do anything that portrays that trust. So I decided I had to play it sincerely. For me, the character is 1000 percent committed to Sharni’s character and we just took it from there.

It was an interesting dynamic for me as a performer, because when we were doing improv I had to lose every argument. I would have to be emasculated and lose every argument to Joe [Swanberg]. I had to be the black sheep, so in that regard it was a bummer to shoot. Everyone in that movie is so godd*mn talented. I’ve been on the Swanberg bandwagon for years, so it was awesome to watch him shine. But, for me as an actor, I was having to portray this pathos which hopefully comes across the 2nd or 3rd time you watch it.

I think the family is one of the reasons the movie kind of sings to me. It feels like an authentic unit, as dysfunctional as it is.

Yeah, it was awesome because half the people we worked with on that movie we hadn’t worked with before, and it’s great when you find someone who can be part of the tribe. Everyone did a great job on that film and one of the reasons I know this is because people don’t notice how amazing some of them are. It’s unfair that nobody is talking about Wendy [Glenn] and Nicholas [Tucci]. It took us two days to shoot that dinner scene and Nick and Wendy were amazing to me. And you can’t show everything we shot obviously because the movie has to move forward, but she’s playing a vegan and the conversation turns to her shoes and whether her shoes were vegan or not. And when they started talking about that, I lost my sh*t every time. Whenever they started on that Joe would start smiling and when I saw that I couldn’t help it.

Sometimes when I get bummed out by the rigors of being an indie actor, I remember that I got to hang out with my friends at that table and I got paid to be there. My hope is that when people see the movie they’ll see how all the parts of it work together. Getting to work with Rob [Moran] and seeing his approach to the material and seeing him develop a relationship with Barbara [Crampton], I was really struck by that the second time I saw it. That was fascinating to me. And I’m glad everyone laughed at the family photo!

From Eli Roth we already know that The Sacrament takes a found-footage approach to a Jonestown type scenario. Can you add anything to that?

I can neither confirm or deny anything about it. But I’m very excited. I’ve been fortunate in the past couple of years to work on movies that I’m more excited about than not. There are a couple that are out now that I’m not really into, and I’m not going to do those anymore. I’ll be a farmer instead, life’s too short.

The post [SXSW ’13 Interview] AJ Bowen On ‘You’re Next’, ‘Grow Up, Tony Phillips’ And Not “Faking It” Through Horror appeared first on Bloody Disgusting!.

Battling the disgusting creature are Greg Grunberg (“Heroes”, “Alias”) and Lombardo Boyar (“The Bernie Mac Show”), who star as Alex, an exterminator, and Jose, his security guard sidekick, respectively. The heroes team up with an elite military unit that includes genre vets Clare Kramer (The Gravedancers) and Ray Wise (X-Men: First Class, “Twin Peaks”).

The day after Spider‘s premiere screening at the Alamo Ritz I sat down with Mendez and Boyar along with producers Patrick Ewald and Shaked Berenson for a quick chat. We talked about Mendez’s initial reaction to the script, Boyar’s chemistry with Grunberg – and the potential CIA shakedown that weighed on the producers’ minds.

Head inside to check it out!

Director Mike Mendez on tackling a big monster movie, “My first reaction when I received the script in my inbox, which was originally called ‘Dino Spider’ was like ‘oh no!’ But [producers] Patrick Ewing and Shaked Berenson assured me they wanted to do something different. They wanted me to play with it and have fun with it and ultimately make a better monster movie than what we’ve been seeing recently.” One of the film’s biggest successes comes from its’ buddy comedy vibe. Mendez explains, “I think that’s largely a testament to Greg [Grunberg] and Lombardo [Boyar]. It’s just so enjoyable to hang out with our protagonists and that’s a credit to our screenwriter Greg Gieras, he wrote great monster movie through the point of view of a bumbling exterminator and his security guard sidekick.”

Boyar elaborates on his rapport with Grunberg, “There was a lot of improvisation. It was fun! Mike really let us play, if I had ideas we could try them out. And Greg was great too, he’s sort of my unofficial manager getting me into everything he does. We just let it rip. It was a blast!”

Per Ewald, the CG effects arrangement was unlike anything he’d experienced. “Ice Animations is the digital effects company that did all this and they’re the real unsung heroes here. But it was interesting because they are based in Pakistan! And the whole thing was done remotely. We had a huge shot list for the budget so they were sending us shots via an FTP and we were having conversations by Skype. And we were very paranoid because we’re having conversations about destroying buildings in downtown LA and using their blueprints – and these conversations were with people in Pakistan! We were sure the CIA was listening!”

Shaked Berenson adds, “The biggest challenge was finding the right tone. It was low budget but we didn’t want to make it a piece of shit. We really wanted to focus on the characters and we upped the presence of Lombardo’s character.”

The post [SXSW ’13] A Quick Chat With The Minds Behind ‘Big Ass Spider’! appeared first on Bloody Disgusting!.

“Kiss of the Damned is one seriously fun, sexy, stupid and gory good time,” said Dickson. “It reminds me of the 80’s every bit as much as House Of The Devil did, but where that film evoked nostalgia by painstakingly recreating the aesthetics of that decade, Kiss Of The Damned succeeds simply by being one of those movies at heart.”

He continues, “If you’re looking for a stylishly empty, sexy and bloody film – you could do a lot worse.”

Click here to read his review in its entirety.

The post [SXSW ’13 Review] Evan Says ‘Kiss of the Damned’ Is A “Fun, Sexy, Stupid and Gory Good Time”! appeared first on Bloody Disgusting!.

Ken Marino stars in the Duplass Bros.-produced pic as a man who has a demon living in his colon that attacks those around him when he’s anxious. Gillian Jacobs, Patrick Warburton, Mary Kay Place, Stephen Root, and Peter Stormare co-star.

“The film centers on a man (Marino) with intense stomach trouble who horror that he actually has a demon living inside his intestines. When he gives it permission to come out during a therapy session, the man names it Milo and tries to live a life in which he, not his demon, is in charge.”

Magnet is targeting a release later this year.

The post [SXSW ’13] Magnet Releasing Has A Sinking Feeling In Their Gut Named ‘Milo’ appeared first on Bloody Disgusting!.

The second block, however, is where the beefy center was located — the Midnight Shorts — at 9:00pm. Go figure? SXSW Shorts Programmer Claudette Godfrey appropriately set the tone with beer in hand and F-bombs on her lips, despite the early hour. What followed was a mixed-leaning-towards-solid bag of sex, guns, and shrubs.

The best of the batch included the Austin-centric Hell No, which posited the question, “What if the characters in a horror film actually made the right choices?” Director Joe Nicolosi evokes the best of horror cliches and simply says, “No more stupid choices.” The result is a bloody good riot.

On a more serious tip is Child Eater, directed by Erlingur Thoroddsen and starring Cait Bliss. A modern-day take on The Boogeyman about a demented character who eats the eyes of children. It’s moody, humorous, and not afraid to put kids in harm’s way. Bliss should easily make the leap from short film lead to feature lead any day now.

Director/screenwriter Caleb Johnson’s Root also stars a phenomenal lead actress in Kara Durrett. Her character has a dangerous liaison that leads to arboricultural transmitted disease that must be extracted. “Wince” is too polite a word to describe the emotion coursing through the crowd during the bathtub scene.

Finally, the big Midnight Shorts Audience favorite winner was The Apocalypse. I caught it at Sundance and thought it was funny. The premise is simple — everyone who thinks causes their heads to explode. The special effects were good, but the second time around, this short did not cut it for me. The introduction of the girl in a towel and the airhead paramedic actually ruined the ending for me. Definitely, a one trick pony of a short. Judge for yourself.

Corey Mitchell writes best-selling true crime books, watches and writes about horror movies, and listens to and writes about heavy metal. He is also the co-founder and director of the Housecore Horror Film Festival and co-author of Philip Anselmo’s upcoming autobiography.

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Directed by genre fav Mike Mendez, and starring Greg Grunberg, Lombardo Boyar, Clare Kramer, Ray Wise, Lin Shaye and Patrick Bauchau, the comedy begins when a giant alien spider escapes from a military lab and rampages across the city of Los Angeles.

Dickson calls Spider!, “A film that’s simultaneously humble and ambitious,” further adding, “It’s a movie that sets out to elevate the terrain usually staked out for Asylum type productions and build something more enjoyable on it. In that regard, the film succeeds.”

And if it weren’t already obvious, “Big Ass Spider! will be a nice movie for that night when you want to crack open a few beers and hang with some friends.”

Click here for the full review.

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In the horror party starring Rhys Wakefield, Logan Miller, Ashley Hinshaw and Natalie Hall, three college friends go to the biggest party of the year, each looking for something different: love, sex and a simple human connection. When a supernatural phenomenon disrupts the party, it lights a fuse on what will become the strangest night anyone has ever seen.

“Plus One demands that you pay attention if you want to keep up, something you’re not usually asked to do in sci-fi horror movies soaked in booze and sexuality,” says Dickson. “If you do, you’ll find that the film has a lot on its mind. It’s an inspired take on what happens when we choose to view the world through a fearful lens rather than an accepting one.”

As for the style, well, it’s got a lot going on, too: “It sets up a unique Project X via Can’t Hardly Wait universe and melds it into an Invasion Of The Body Snatchers shaped mold.”

It sounds amazing, no? Click here for the entire review.

The post [SXSW ’13 Review] Evan Calls ‘Plus One’ A Weird, Violent and Original Surprise! appeared first on Bloody Disgusting!.

After being critically smashed for The Violent Kind, it sounds like Altieri is charming audiences once again.

“I was really digging this tale, steeped in the world of Appalachian snake-handling churches, as a sort of Martha Marcy May Marlene meets The Vanishing hybrid. It shows a remarkable restraint and the aesthetic is authentic enough to make you feel like you’re actually in this world,” said Dickson before bringing the hammer down. “Unfortunately, a series of questionable decisions towards the end of the film diminished some of my goodwill.”

Click here for the entire review.

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Bloody Disgusting now has an exclusive video interview with Zombie. In it, the musician-turned-director talks how much he thinks audiences might vomit when watching some of its more disgusting scenes. The video was produced by Dailymotion as part of their SXSW Interview Series, “Profound Minutiae” which has them interviewing top celebrity filmmakers from the festival.

“From the singular mind of horror maestro Rob Zombie comes a chilling plunge into a nightmare world where evil runs in the blood. The Lords of Salem tells the tale of Heidi (Sheri Moon Zombie), a radio station DJ living in Salem, Massachusetts, who receives a strange wooden box containing a record, a “gift from the Lords.” Heidi listens, and the bizarre sounds within the grooves immediately trigger flashbacks of the town’s violent past. Is Heidi going mad, or are the “Lords of Salem” returning for revenge on modern-day Salem?”

Here’s my review out of TIFF, as well as Mike’s more positive take. The Lords Of Salem is in limited theaters (New York, Los Angeles, Boston, San Francisco, Chicago, Philadelphia, DC, Miami, Dallas, Houston, Detroit).

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The horror party stars Rhys Wakefield, Logan Miller, Ashley Hinshaw and Natalie Hall.

In it, “Three college friends go to the biggest party of the year, each looking for something different: love, sex and a simple human connection. When a supernatural phenomenon disrupts the party, it lights a fuse on what will become the strangest night anyone has ever seen. As the three friends struggle to find what they’re looking for, the party quickly descends into a chaos that challenges if they can stay friends or if they can even stay alive.“

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In the film directed by Adam Wingard and written by Simon Barrett, (A Horrible Way to Die, V/H/S,V/H/S/2), “One of the smartest and most terrifying films in years, the film reinvents the genre by putting a fresh twist on home-invasion horror. When a gang of masked, ax-wielding murderers descend upon the Davison family reunion, the hapless victims seem trapped…until an unlikely guest of the family proves to be the most talented killer of all.”

Sharni Vinson, Nick Tucci, Wendy Glenn, AJ Bowen, Joe Swanberg, Margaret Laney, Amy Seimetz, Ti West, Calvin Reeder, Larry Fessenden, Kate Lyn Sheil, Barbara Crampton and Rob Moran all star.

You’re Next hits theaters on theaters August 23, 2013. Become a fan on Facebook and head inside for the interview!

Your character is soft and light on the outside but tough on the inside, what’s the trick for capturing that and internalizing her backstory? “At the end of the day Erin is just a very happy-go-lucky girl, she’s sweet and innocent. You see that very much in the opening scene with her. She’s young and she’s having a great time. And, as for her history, it is quite the revelation that that’s how she’s been brought up. I feel that this is the first time she’s had to use those skills, and she’s surprising even herself.”

From what I understand it was a difficult shoot with a lot of nights, combining that with the physicality of your role – were there any nights that were particularly brutal? “[Laughs] I’m not normal. It’s really hard for me to answer this one from a sound mind, I love this job so much more when it combines physicality with the acting. This was the first role where I feel like I really achieved so much and a lot of that was due to the fact that the schedule was huge and we shot a lot of the movie between 7PM and 7AM six nights a week. And the one night you have off a week you have to stay up and stay on schedule to keep your body clock correct. I just revel in being awake. I’m not a big sleeper, I love to be moving. For me the hours weren’t difficult, it was something I enjoyed. I’d love to play Erin for the rest of my life.”

What’s it like working with [director] Adam Wingard? I don’t think I’ve spoken to someone about the actor side of that relationship. “It was a new experience. Totally new. This was the first independent movie that I’d done, and it worked differently than a studio movie. Adam’s style of direction was so different from anyone I’ve ever worked with. He’s in there, in the action, sweating with the camera on his shoulder. And that initial dinner table scene, there was so much coverage. He loves to get all this footage. He loved to get right in there. And with the action stuff he would tell us, “just keep going. Keep moving. If you hit me, don’t worry about it because I can’t tell you where I’m going to end up. But just keep playing the scene.” There was this moment, on the first day of filming, where he was shooting this very simple moment of Barbara Crampton washing dishes in the sink. And all he did we dolly out. And he held it for so long. Initially I wondered what he was doing, but as he kept going it got scarier and scarier and scarier. The suspense was holding. It was in that moment where I turned to Simon [Barrett; writer] and just said, “Adam Wingard is a genius.” He’s changing this generation of horror movies right now. ”

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David [Rhys Wakefield] has just irrevocably damaged his relationship with his girlfriend Jill [Chronicle‘s Ashley Hinshaw] on the eve of the year’s biggest college party. They’re both still going – but not together. Jill brings a new suitor while David teams up with the impressively horny Teddy [Logan Miller] as his wingman. The party itself is an utterly debauched spectacle with enough drugs, sex, dancing and copious nudity to make Todd Phillips (or Roger Avary) proud. It’s a fun chunk of film that is choreographed exceedingly well (this pays off even more when certain beats start repeating themselves). Not long after they get there, things begin to go awry – the result of a meteor crash that has cloned everyone in the vicinity and placed them in the same space but not at the same time (everyone’s second version is about 30 minutes behind their primary self).

If that sounds confusing, it is. But as Plus One progresses and the two divergent timelines grow closer together, it becomes apparent that there’s a cataclysmic event waiting in the wings if any of the partygoers run into the secondary versions of themselves (or vice versa). Of course, there’s no set rule that one version of any person has to destroy the other – the danger comes from society’s inherent expectation that anything that defies explanation must be dangerous. For David, this is an opportunity to re-do a botched apology he made to Jill earlier in the evening. For Suzanne McCloskey’s (in the Lauren Ambrose role) wonderfully sweet and assertive character, it’s a chance to get to know herself better. For almost everyone else, it means terror and reactionary violence and there’s a protracted scene featuring two identical mobs that takes quite a brutal turn.

While I never found myself particularly liking the character of David, most of the leads turn in good work and the film (shot by The Master DP Mihai Malaimare Jr.) never falters on visual aesthetic. Plus One also pretty much demands that you pay attention if you want to keep up, something you’re not usually asked to do in sci-fi horror movies soaked in booze and sexuality. If you do, you’ll find that the film has a lot on its mind. It’s an inspired take on what happens when we choose to view the world through a fearful lens rather than an accepting one. It also has interesting things to say about being in love with the idea of somebody rather than the actual person.

You may or may not like it, but Plus One certainly isn’t a waste of your time. Go with an open mind and you might just have a lot of fun with it.

The post [BD Review] ‘Plus One’ Is A Weird, Violent And Original Surprise appeared first on Bloody Disgusting!.

Starring Zombieland and The Call‘s Abigail Breslin, as well as Stephen McHattie, Peter Outerbridge, Michelle Nolden and David Hewlett, Haunter premiered last night at the SXSW Film Festival in Austin, Texas. In it, the ghost of a teenager who died years ago reaches out to the land of the living in order to save someone from suffering her same fate.

Evan Dickson attended the World Premiere and had mixed feelings.

“It’s an interesting concept, The Others meets Groundhog Day. Some truly special stuff comes out of this early on as Natali and screenwriter Brian King nicely develop their world.”

Even with a cool concept, the film’s direction is where it falters: “I just wish it hadn’t gone in the direction it did,” Dickson states. “It starts with the makings of a modest miracle, but eventually uses up exactly as much goodwill as it earns.”

Click here for the entire review.

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The post [SXSW ’13 Review] Review of IFC’s Newly Acquired ‘Haunter’ appeared first on Bloody Disgusting!.

The odds seemed against Milo after the Sundance Film Festival flop Hell Baby, but thankfully Dickson has some great news:

“Milo has laughs, ideas, gore and heart to spare and it never fails to entertain,” says Dickson. “Better than you thought it would be – this Ghoulies meets Knocked Up approach works surprisingly well.”

Read the review in its entirety by clicking here.

The post [SXSW ’13 Review] Gory ‘Milo’ A Cross Between ‘Ghoulies’ and ‘Knocked Up’ appeared first on Bloody Disgusting!.

In the new rebirth, “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 woods, which possess the youngsters in succession until only one is left intact to fight for survival.” Directed by Fede Alvarez, the R-rated remake stars Jane Levy, Shiloh Fernandez, Lou Taylor Pucci, Elizabeth Blackmore and Jessica Lucas.

Check out my review here! Head inside for the interview! MILD SPOILERS INSIDE!!

You take quite a beating in this, possibly more than any of the other characters. What was it like to just add on wound after wound after wound?

It’s hard to even remember, because we did it over a three month period and we did it fairly chronologically. They wanted to keep the wounds in continuity. They didn’t want to have a lot of blood on us in one scene and then less in the next one. So they more or less shot in sequence, which was great. It was good for us as actors too because we could start with the drama and then go into the beatings. And we took beatings every single day.

The movie is intense and gory, but it never feels like it’s out to punish the audience. What do you think the balancing act there is?

I think it’s the sincerity of the whole thing. When people wink at their stuff, and you see them wink, it takes on a totally different tone. Which is fine. But what I loved about Fede’s idea is that he wanted to put people in this world and not let them out until the movie was over. There’s no wink, there’s no comedy. Even my character reading the book, of course he’s going to read it because he’s curious and who believes in demons? It’s crazy! You can see that happening and you can be in their shoes.

I feel like there’s a little bit of comedy in the film, but it mainly stems from an identifiable place. I think one of my favorite lines is –

“It’s not a science book!” Yeah!

How did you guys stay “on” during the three months of shooting?

Personally I’ve learned from the ten or so years I’ve spent doing this that I need to take care of myself. If you don’t stretch or do yoga or something… it’s the “your body is your instrument” type of deal. In the beginning we had this yoga trainer who was teaching us movement and how to move like a deadite. And that was all Fede’s idea. We spent a lot of time rolling around on the floor so every single day I stretched an hour or more just to be healthy about the whole experience. But it was super difficult, there’s no way around that.We just had to work our ass off.

Had you seen the originals when they asked you to read the script?

Oh yeah, I’m a huge huge fan from when I was a kid. I showed them to my best friend Jackie in New Jersey. One day, when I was 15 years old I was sick and staying home from school. And Jackie came over and I was like, “we’re going to watch all three Evil Dead movies because you need to see this, this is the most awesome sh*t you’ve ever seen.” And then we watched the original and I explained the backstory that it was supposed to be serious, etc… and that they turned it into a comedy with the sequel. It’s such a great story.

So it must have been pretty surreal to work with Bruce [Campbell], Rob [Tapert] and Sam [Raimi] on this?

It was a surreal dream. Thank God I’m not asking myself to wake up. I’m so blessed to be a part of this, this is the world I appreciate.

The post [SXSW ’13] 5 Questions With Lou Taylor Pucci From ‘Evil Dead’! appeared first on Bloody Disgusting!.

“When a giant alien spider escapes from a military lab and rampages across the city of Los Angeles, it is up to one clever exterminator and his security guard sidekick to kill the creature before the entire city is destroyed.”

Battling the disgusting creature are Greg Grunberg (“Heroes”, “Alias”) and Lombardo Boyar (“The Bernie Mac Show”), who star as Alex, an exterminator, and Jose, his security guard sidekick, respectively. The heroes team up with an elite military unit that includes genre vets Clare Kramer (The Gravedancers) and Ray Wise (X-Men: First Class, “Twin Peaks”).

The post [SXSW ’13] Face-Melting First Clip From ‘Big Ass Spider!’ appeared first on Bloody Disgusting!.

Milo is the story of Ken [Ken Marino], an affable pushover with a history of slight erectile disfunction and persistent 90 minute bowel movements. His wife, Sarah [a great but slightly underutilized Gillian Jacobs], is beautiful and patient and craves a child. But Ken too often finds himself at the mercy of his own weaknesses when it comes overcoming the stress he associates with standing up for himself (in situations both hostile and loving).

It’s worth summarizing Ken’s emotional difficulties because, admirably, the film maintains an almost laser-sharp focus on them when it could have been content to just coast on the more juvenile surface aspects of its concept. That’s not to say Milo isn’t juvenile, it is – and gloriously so – but for every bloody joke or splash of toilet humor, there’s a reasonably well thought out connection to the obstacles that Ken needs to overcome in order to be master of his domain. Not only does this concern his dealings with his comically evil boss [Patrick Warburton], but (more interestingly) it also means he needs to tweak the dynamics of his relationship with Sarah – who is nothing if not patient and understanding. Sarah loves Ken enough to start a family with him, a responsibility he doesn’t quite feel equipped for in light of his tenuous employment situation and family history.

But family comes to Ken anyway in the form of the ass demon Milo (originally misdiagnosed as a colon polyp). Milo essentially functions as Ken’s Gremlin version of Tyler Durden – a violent extension of his id that will stop at nothing to do the job Ken himself cannot do and violently dispatch any source of stress in gory fashion. Problem is, stress doesn’t only come from negative developments, it comes from positive ones as well, and Ken needs to learn how to cope with those in order to keep them from being destroyed.

I fear I may be describing Milo as if it’s some sort of dramatic chamber piece. It’s not. As most comedies of this scope go, it’s charmingly slipshod and throws more jokes at the wall than it can handle. Still, most of them stick. I found myself laughing with alarming regularity and anticipating the replay value I’d find even in some of the more minor exchanges. Milo operates on the small visual scale of a Mike Judge comedy but trades in the absurdist personal satire of a David Wain film and, as a result, it often doesn’t find its optimal bearing between the two aesthetics. But those are good problems to have.

Milo has laughs, ideas, gore and heart to spare and it never fails to entertain. Better than you thought it would be – this Ghoulies meets Knocked Up approach works surprisingly well.

The post [BD Review] ‘Milo’ Is A Surprisingly Funny ‘Ghoulies’ Update appeared first on Bloody Disgusting!.

Starring Pat Healy, Sara Paxton, David Koechner, Ethan Embry and Amanda Fuller, the Trent Haaga and David Chirchirillo penned screenplay tells the story of a new father facing eviction who is reunited with a high school friend when a wealthy couple challenges them to the ultimate game of dare, testing the limits of physical pain and morality in exchange for cash.

“It’s the rare slow burn that maintains interest by gradually increasing speed rather than simply leaping from 0 to 60 in the final 10 minutes,” says Dickson. “A great horror satire that would incidentally make a great stage play, this is a 100% can’t miss film for any viewer that wants to be sickened, surprised and impressed.”

You’ll find the review in its entirety by clicking here.

The post [SXSW ’13 Review] ‘Cheap Thrills’ A Steady Climb In Intensity appeared first on Bloody Disgusting!.

In the film “Teenage Lisa (Breslin) and her family died in 1986 under sinister circumstances but remain trapped in their house, unable to move on. Lisa must reach out from beyond the grave to help her present-day, living counterpart, Olivia, avoid the same fate Lisa and her family suffered.”

Directed by Natali from a screenplay written by Brian King (Cypher, Night Train), the film is produced by Steven Hoban (Splice, Ryan, Ginger Snaps trilogy) and co-produced by Mark Smith (388 Arletta Avenue, The Spine).

Head inside for the interview!

For the first part of the movie you’re portraying variations of the same day, what’s the trick to keeping it engaging?

I’ve done this kind of thing before because it’s very much born out of low budget filmmaking. I’ve done a few films that were very much just on one set with a few characters. And the trick is, I believe, to find variations on a theme. Which is interesting to me because blocking a movie is always about establishing space and time, so if you’re in one setting it actually gives you more freedom to do interesting things cinematically.

One of the things I really liked about the script was how Brian [King; screenwriter] was able to narratively reconfigure the days so when one aspect is different, it creates an unsettling effect. There’s one scene where the father, who is a perfect 1980’s dad, all of the sudden starts smoking. And there’s something deeply unsettling about that, which I liked.

The house isn’t a typical “haunted house” like you see in so many films. How did you go about finding it?

There’s a little bit of John Hughes DNA in here because it’s an upper middle class family. And we decided very early on that we wanted a Georgian house, we didn’t want a gothic house with arched doorways and angled lines, we wanted everything to be square and symmetrical. It flies a little bit in the face of convention. The problem is that there are very few Georgian houses in Toronto, we scoured everything within a 100 mile radius and only found one house that suited our purposes. So we were allowed to use that as an exterior and we completely reconfigured what the interior would be. It was a very specific thing that we wanted and struggled to get.

How did you establish that familial chemistry between the leads?

In prepping the film, I stole a trick from Francis Coppola, which is to bring the actors who portray the family together and have them make a meal. They made mac and cheese together for a day and stayed a day together, and I think that had a real impact actually.

Lisa [Abigail Breslin] is almost positioned as a rebellious teen, so the audience is primed to not believe her for the first bit of the film. “Maybe she’s railing against the conformity of suburbia and is acting out.”

In Brian’s script I loved how her character evolved because she is sort of a bitchy, irritable teenager who – from the parents’ prospective – could just be acting out. But she knows she’s telling the truth. Which in a way is a metaphor for adolescence because she knows what’s “really going on” and her parents don’t have a clue. And her character sort of evolves into a younger and more innocent person as the film goes on, which makes her endearing.

The third act of this film also differs visually from a lot of haunted house movies. You opted for a bright, colorful and kinetic aesthetic. What was the impetus behind that?

As much as it’s a haunted house story, it’s also a time travel story. It traverses these different strata of time in the house, and I wanted to distinguish each time period with its own look. I thought it would be interesting if the present day, which we see towards the end of the film, felt more like the future. Which it almost is anyway, I feel like we’re in a science fiction reality. So I actually lit it a little bit like a sci-fi movie.

The post [SXSW ’13] 5 Questions With ‘Haunter’ Director Vincenzo Natali! appeared first on Bloody Disgusting!.

Forget Jim Carrey and Steve Carrell parading down the red carpet at the Paramount Theater in lovely downtown Austin promoting their little magician flick. For the 1,200 or so blood-thirsty ravenous horror fans circling the entire city block, it was all about the Evil Dead last night.

When word first leaked out that the remake of the The Evil Dead was indeed going to happen, the internet exploded. Disgust, disdain, and dastardly dismemberment were the order of the day. The main question on everyone’s split bifurcated tongues was simply, “Why?” Why the fuck would you mess with a classic horror film that has meant so much to so many and truly helped usher in a new era of ultra-intense gore and insanely creative shoestring budget filmmaking? For many, like me, it was akin to cinematic treason.

Now let’s be honest here. Most of you never saw the original The Evil Dead on a big screen during its initial theatrical run way back in 1981. Some of you, like me, may have been lucky enough to catch the brilliant 1987 remake Evil Dead II: Dead By Dawn on the big screen during a very, very limited run (Alameda Theater in Houston, Texas with about seven other brave fanatics in the audience!). The less said about ED III: Army of Darkness, the better. At least for this article.

In reality, most of you were privy to the hellish wonders of the Necronomicon via one of the many versions on VHS or DVD and in the safety and comfort of your own home. While still awesome, not the same thing as sitting in a crowded theater with a bunch of strangers who have all purposefully chosen to spend their hard-earned money to have the shit scared out of them.

It’s obvious my reticence at the announcement of the ED remake was palpable. That is, until the unholy triumvirate of director Sam Raimi, producer Rob Tapert, and human punching bag and star Bruce Campbell’s names were attached (detached?) to this updated rebirth.

Now I am not one to dismiss horror remakes out of hand. Classics such as John Carpenter’s The Thing and David Cronenberg’s The Fly being the two most obvious and successful examples of remakes done right. More recently, I actually enjoyed The Last House on the Left remake (until the microwave scene at least) and I Spit on Your Grave. So, I approached the world premiere of ED with an open mind.

My open-mindedness was expanded even further after I was able to ask several of the key participants in the new version about the pressure of re-making a true genre classic. It’s one thing to remake a reviled lesser film such as I Spit on Your Grave (though I am a big “fan” of the original), than it is to tackle a monster like ED. I wanted to make sure that the new blood valued the original as much as I still do, and that they were aware that there are, obviously, going to be a shit-ton of skeptics out there. Naturally, everyone involved sang the praises of the original, while stressing that theirs was a new entity altogether. So far, so good. Then, a quick chat with Rob Tapert drove the point home that he, Campbell, and Raimi simply felt that the time was right to unlock ED upon a new generation of horror fans.

Red carpet done, time to mosey on in and grab a seat inside the Paramount. The house was packed. Bruce Campbell was in attendance, as were Rob Tapert, new director Fede Alvarez, and the five lead actors, Shiloh Fernandez, Jane Levy, Lou Taylor Pucci, Jessica Lucas, and Elizabeth Blackmore. SXSW Senior Programmer Jerod Neee came out, giddy as hell, and said picking ED was a no-brainer. The crowd was pumped, the excitement was tangible, and then…

…we get a period piece prologue that held no tension whatsoever for me. The reveal was obvious and the much-ballyhooed claim that “this is all practical effects!! No CGI!!” is absolute bullshit. I guess they made that widely reported claim before they tacked on this wholly unnecessary intro.

Sadly, my enthusiasm was immediately dampened. Of course, the audience was lapping it up and cheering. That’s part of the fun of attending film festivals — hanging with other film lovers and cheering on the films you are all witnessing together. Being a hardcore horror fan is soooo much different though. We are enthusiastic, pumped, ready to accept anything as long as it is well-written, earnest, and most important of all, scary!

The next 45 minutes did not fare much better. So concerned about differentiating itself from the original film, the ED remake spends far too much time establishing a fairly interesting reason for the presence of five seemingly smart young adults in a cabin in the woods. The way this is achieved is by turning Mia (Levy) into a drug addict who is trying to kick, and her friends are determined to not let her leave until she makes it through the initial withdrawals. A fairly creative way to keep everyone intact and isolated.

As such, the first act only serves to show that actresses Levy, Lucas, and Blackmore, and to a lesser extent, Fernandez, aren’t quite up to snuff. Most important is Levy’s task of playing a convincing hard-core drug addict who is agonizing while going through the most painful experience OF her life. She doesn’t pull it off and opts for the stereotypical junkie tics and not much else.

The lone exception, however, is Lou Taylor Pucci. He is cynical, bitter, and dismissive, and also the funniest character in the film. The tortures he endures in the final third of the movie bring to mind Bruce Campbell’s days as Ash, but to the nth degree.

It’s this amped up attitude throughout the final third of the film that almost saved it for me. As with the first two EDs, the remake pumps up the gore to absurd levels and is truly the main calling card for this version. While the make-up jobs are stellar, I had difficulty getting over the Regan-esque demonic voices and the Samara-like wet hair. Also, so much of the film is shoot way too dark making it extremely difficult to fully appreciate the make-up. Frankly, not being able to see it at times made things less scary.

Ah, scary. The big stickler for any hard-core horror fanatic. We’ve seen so many horror films that we know all the beats, all the tricks, and are seldom, if ever, scared any more. In lieu of good scares, I seek out films that fill me with a sense of dread. Unfortunately, ED does neither. I actually only jumped one time during the entire film after a car crash scene. Otherwise, it’s the same old loud noise scares and jump scares, just like the ones that have ruined so many mainstream horror films during the last 15 years or so.

On the plus side, the effects were pretty sweet. They’re not scary, at all. But I can absolutely appreciate the artistry on display.

Does the new ED appease old school ED fans like me? They try to by incorporating several iconic images from the first two original films such as Raimi’s always-present Oldsmobile, the skeleton necklace, and the chainsaw, amongst several others. But they almost feel a bit too forced. If you’re going to go out to the world and boldly assert that you are Frankensteining your own creation, then do it all the way.

When I watch a horror film, I want to be transported for 90 minutes into an ethereal hellscape that makes me appreciate my life even more. With the remake of Evil Dead, I mainly sat in my seat and simply thought, “Why?”

That question was answered during a lengthy, late-night Q&A by none other than Mr. Bruce Campbell his own bad self. He said that during the filming of the original that he, Raimi, and Tapert could not afford to buy a pack of gum between them at the end of the day. I appreciated his honesty. He also added that the old fans need to move on and unlock hell’s door for a new generation. “Besides,” he added, “you can dust off your DVD any time you like and watch the original.”

Seeing this remake makes me want to do just that.

(Read Evan Dickson’s Evil Dead review by clicking here.)

Corey Mitchell writes best-selling true crime books, watches and writes about horror movies, and listens to and writes about heavy metal. He is also the co-founder and director of the Housecore Horror Film Festival and co-author of Philip Anselmo’s upcoming autobiography.

The post [SXSW ’13] Corey Mitchell’s Day 1: The World Premiere of ‘Evil Dead’! appeared first on Bloody Disgusting!.

In the new rebirth, “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 woods, which possess the youngsters in succession until only one is left intact to fight for survival.” Directed by Fede Alvarez, the R-rated remake stars Jane Levy, Shiloh Fernandez, Lou Taylor Pucci, Elizabeth Blackmore and Jessica Lucas.

Check out my review here! Head inside for the Evil Dead 2 update along with the dates for 29 city pre-release screening tour where you can see the movie early! MILD SPOILERS INSIDE!!

Last night you sort of announced a sequel, what can you share about that?

Fede and I are writing that now. We are in a very preliminary phase of that project, but yes we’re working on it. And it’s not gonna be a remake of the second Evil Dead. It’s going to directly follow this one and is going to be a whole different story.

So you don’t see the tone changing like it changed between the 1981 film and the 1987 film?

I think it’s going to be more like the second half of this film. It’s going to be more over the top. The escalation is going to continue.

Are we going to see Mia [Jane Levy] in it?

Oh we’re definitely going to see Mia!

So Jane Levy can look forward to more punishment then?

Oh yes! A lot more!

Be sure to turn in later in the week for the full interview. In the meantime, here are the dates for that 29 city tour. More details to follow!

Boulder, CO – 3/11/13
Eugene, OR – 3/12/13
Portland, OR – 3/12/13
Seattle, WA – 3/12/13
Berkeley, CA – 3/14/13
La Jolla, CA – 3/14/13
Palo Alta, CA – 3/14/13
Sacramento, CA – 3/14/13
San Francisco, CA – 3/14/13
Kansas City, MO – 3/19/13
Cleveland, OH – 3/20/13
Gainesville, FL – 3/21/13
Las Vegas, NV – 3/21/13
Orlando, FL – 3/21/13
Washington, DC – 3/21/13
College Station, TX – 3/25/13
Pittsburgh, PA – 3/26/13
Fairfax, VA – 3/27/13
St. Louis, MO – 3/27/13
Cincinnati, OH – 3/28/13
Columbus, OH – 3/28/13
Greensboro, NC – 3/28/13
Hampton, VA – 3/28/13
Honolulu, HI – 3/28/13
Miami, FL – 3/28/13
Minneapolis, MN -3/28/13
New York, NY – 3/28/13
Tallahassee, FL – 3/28/13
Tempe, AZ – 3/28/13
Washington, DC – 3/28/13

The post [SXSW ’13 Exclusive] Writer Rodo Sayagues On The Potential Sequel To ‘Evil Dead’! Also, Find Out Where You Can See The Movie Early! appeared first on Bloody Disgusting!.

“It’s even gorier than you’re expecting. I seriously don’t have a clue as to how they wrangled an “R” rating here. Blood, pus, bone fragments, limbs and brains are flung around with playful abundance and the result is both punishing and exhilarating… This film doesn’t condemn its audience, it exalts it – and as a result it’s able to achieve a sustained symphony of carnage that energizes rather than exhausts.”

Directed by Fede Alvarez, the R-rated remake stars Jane Levy, Shiloh Fernandez, Lou Taylor Pucci, Elizabeth Blackmore and Jessica Lucas.

Check out the entire review here!

The post [SXSW ’13 Review] ‘Evil Dead’ Is Amazingly Gory And Fun! appeared first on Bloody Disgusting!.

While the TriStar and FilmDistrict remake doesn’t hit theaters until April 5, director Fede Alvarez revealed to a sold out SXSW crowd that he’s already begun writing a sequel to his Evil Dead, starring Jane Levy, Shiloh Fernandez, Lou Taylor Pucci, Elizabeth Blackmore and Jessica Lucas.

The film just World Premiered at the film festival in Austin, Texas, as we’ve been retweeting all of the reactions as they come in. Negative reactions? Don’t see any, yet.

So, with Fede penning an Evil Dead sequel, and Raimi working on Evil Dead 4 with his brother Ivan, could these worlds end up colliding? That thought just blew my mind.

The post Breaking: Fede Alvarez Begins Work On ‘Evil Dead’ Sequel! appeared first on Bloody Disgusting!.

Acquired by Magnet Releasing out of Sundance as S-VHS, V/H/S/2 will be arriving on VOD platforms June 6 with a theatrical rollout set for July 12. Horror in the summer? Sure, why not? Magnolia says they’re opening in more theaters than last year, so keep a look out for updates this summer. Until then, check out this hideous still from Gareth Evans and Timo Tjahjanto’s segment, which is literally going to blow people’s ind this weekend at the SXSW film Festival.

In the film directed by Simon Barrett, Adam Wingard, Gareth Evans, Eduardo Sanchez, Gregg Hale, Jason Eisener and Timo Tjahjanto, “Searching for a missing student, two private investigators break into his abandoned house, which contains another collection of mysterious VHS tapes. In viewing the horrific contents of each cassette, they realize there may be terrifying motives behind the student’s disappearance.”

What was your favorite segment in V/H/S? Which director has you most excited for V/H/S/2?

The post [SXSW ’13] Magnet Gives Birth To ‘V/H/S/2’ Release Dates! appeared first on Bloody Disgusting!.

Directed by Adam Wingard and Simon Barrett, the duo best known for A Horrible Way to Die, V/H/S and the forthcoming S-VHS (V/H/S/2), “One of the smartest and most terrifying films in years, the film reinvents the genre by putting a fresh twist on home-invasion horror. When a gang of masked, ax-wielding murderers descend upon the Davison family reunion, the hapless victims seem trapped…until an unlikely guest of the family proves to be the most talented killer of all.”

Sharni Vinson, Nick Tucci, Wendy Glenn, AJ Bowen, Joe Swanberg, Margaret Laney, Amy Seimetz, Ti West, Calvin Reeder, Larry Fessenden, Kate Lyn Sheil, Barbara Crampton and Rob Moran all star.

Become a fan on Facebook.

The post [SXSW ’13] Grab An Axe And Prepare For ‘You’re Next’ appeared first on Bloody Disgusting!.

Penned by Altieri, as well as Kevin Artigue, Joe Egender, and Phil Flores, “On the trail of her missing sister, Charlotte enlists the help of Wayne, an ex-Marine and alcoholic, to infiltrate the Church of One Accord – a community of snake-handlers who risk their lives seeking salvation in the Holy Ghost.”

Emma Greenwell, Brendan McCarthy, Joe Egender, Cameron Richardson, Roger Aaron Brown all star in the film set to premiere at next week’s SXSW Film Festival in Austin, Texas.

The Butcher Brothers directed The Hamiltons, its sequel The Thompsons, as well as April Fool’s Day and The Violent Kind.

The post [SXSW ’13] Festival Poster For The Butcher Brothers’ ‘Holy Ghost People’ appeared first on Bloody Disgusting!.

Penned by Trent Haaga and David Chirchirillo, “Recently fired and facing eviction, the married father of a newborn has his life turned upside down when he meets a wealthy couple who offer a path to financial security…but at a price.”

The Innkeepers‘ Pat Healy and Sara Paxton star alongside Ethan Embry, David Koechner and Amanda Fuller.

Poster courtesy of Indiewire.

The post [SXSW ’13] ‘Cheap Thrills’ Poster Promises The Night of Your Life appeared first on Bloody Disgusting!.

EW premiered the festival trailer for Youssef Delara and Victor Teran’s Snap, starring Jake Hoffman, Nikki Reed (Twilight, Thirteen), Thomas Dekker (A Nightmare on Elm Street), Scott Bakula, and Jason Priestley.

“Jim is a painfully shy, socially awkward music savant whose inner demons get stirred up when he develops an obsession with Wendy, a young clinical social worker, who is drawn to Jim by her naïve desire to save people. His fixation grows more menacing after she rejects his romantic advances and Wendy is forced to seek out the counsel of her mentor, Kevin. Together they attempt to unravel the secrets of Jim’s inner torment before it spirals out of control. A raw psychological thriller set in the underground world of dubstep DJ scene, SNAP takes us on a dark and terrifying journey into the depths of the psychopathic mind as it threatens to explode into horrific violence.“

The post [SXSW ’13] Dubstep Will Drive You Mad In ‘Snap’ Trailer Premiere! appeared first on Bloody Disgusting!.

Anyways, this morning we’ve landed a second (and third) still from the horror party that stars Rhys Wakefield, Logan Miller, Ashley Hinshaw and Natalie Hall.

In it, “Three college friends go to the biggest party of the year, each looking for something different: love, sex and a simple human connection. When a supernatural phenomenon disrupts the party, it lights a fuse on what will become the strangest night anyone has ever seen. As the three friends struggle to find what they’re looking for, the party quickly descends into a chaos that challenges if they can stay friends or if they can even stay alive.“

The post [SXSW ’13] New Look At ‘Last House’ Director Dennis Iliadis’ ‘Plus One’ Party! appeared first on Bloody Disgusting!.

In the film, “A man discovers that his chronic stomach problems are due to the fact that he has a demon baby living in his colon.”

Ken Marino plays said man, alongside Peter Stormare, Gillian Jacobs, Stephen Root and Patrick Warburton. Check out the festival one-sheet, which is pretty crappy (lame pun intended), courtesy of The Hollywood Reporter.

The post [SXSW ’13] Festival Poster For ‘Milo’ Worthy Of Being Flushed appeared first on Bloody Disgusting!.

In the film, “Duncan’s (Ken Marino) life is a real pain in the ass. Tormented by an unreasonable boss (Patrick Warburton), a nagging mother (Mary Kay Place), a deadbeat dad (Stephen Root), and a sweet yet pressuring wife (Gillian Jacobs), his mounting stress starts to trigger an insufferable gastrointestinal reaction. Out of ideas and at the end of his rope, Duncan seeks the help of a hypnotherapist (Peter Stormare), who helps him discover the root of his unusual stomach pain: a pintsized demon living in his intestine that, triggered by excessive anxiety, forces its way out and slaughters the people who have angered him. Out of fear that his intestinal gremlin may target its wrath on the wrong person, Duncan attempts to befriend it, naming it Milo and indulging it to keep its seemingly insatiable appetite at bay.”

Ken Marino plays said man, and we’ve scored the film’s first ever image that displays Marino losing his mind over “something.” Peter Stormare, Gillian Jacobs and Stephen Root also star.

Head inside for a better look!

For more head to AICN!

The post [SXSW ’13] Patrick Warburton Doesn’t Like What He Sees In This ‘Milo’ Pic! appeared first on Bloody Disgusting!.

Penned by Altieri, as well as Kevin Artigue, Joe Egender, and Phil Flores, “On the trail of her missing sister, Charlotte enlists the help of Wayne, an ex-Marine and alcoholic, to infiltrate the Church of One Accord – a community of snake-handlers who risk their lives seeking salvation in the Holy Ghost.”

Emma Greenwell, Brendan McCarthy, Joe Egender, Cameron Richardson, Roger Aaron Brown all star in the film set to premiere at next week’s SXSW Film Festival in Austin, Texas.

The Butcher Brothers directed The Hamiltons, its sequel The Thompsons, as well as April Fool’s Day and The Violent Kind.

The post [SXSW ’13] Trailer, First Images From The Butcher Brothers’ ‘Holy Ghost People’ appeared first on Bloody Disgusting!.

In the film, “Beautiful vampire Djuna tries to resist the advances of human screenwriter Paolo, but eventually gives in to their passion. When her sister Mimi comes to visit, Djuna’s love story is threatened, and the whole vampire community becomes endangered…” Joséphine de la Baume, Milo Ventimiglia, Roxane Mesquida, Anna Mouglalis, Michael Rapaport, Riley Keough and Ching Valdes-Aran star.

Kiss Of The Damned will be available on iTunes/On Demand March 28, 2013, and in theaters May 3, 2013. The VERY NSFW trailer can be found inside!

The post [SXSW ’13] NSFW Trailer For ‘Kiss Of The Damned’ Does The Blood, Sex And Vampires Thang appeared first on Bloody Disgusting!.

Anyways, this morning we finally got our mitts on the first official still from the horror party that stars Rhys Wakefield, Logan Miller, Ashley Hinshaw and Natalie Hall.

In it, “Three college friends go to the biggest party of the year, each looking for something different: love, sex and a simple human connection. When a supernatural phenomenon disrupts the party, it lights a fuse on what will become the strangest night anyone has ever seen. As the three friends struggle to find what they’re looking for, the party quickly descends into a chaos that challenges if they can stay friends or if they can even stay alive.“

The post [SXSW ’13] Your First Look At ‘Last House’ Director Dennis Iliadis’ ‘Plus One’ Party! appeared first on Bloody Disgusting!.

In the film, “Beautiful vampire Djuna tries to resist the advances of human screenwriter Paolo, but eventually gives in to their passion. When her sister Mimi comes to visit, Djuna’s love story is threatened, and the whole vampire community becomes endangered…” Joséphine de la Baume, Milo Ventimiglia, Roxane Mesquida, Anna Mouglalis, Michael Rapaport, Riley Keough and Ching Valdes-Aran star.

Kiss Of The Damned will be available on iTunes/On Demand March 28, 2013, and in theaters May 3, 2013. Head inside to check it out!

The post [SXSW ’13] Heated ‘Kiss Of The Damned’ Clip Ends With Some Bite! appeared first on Bloody Disgusting!.

In the film, “Beautiful vampire Djuna tries to resist the advances of human screenwriter Paolo, but eventually gives in to their passion. When her sister Mimi comes to visit, Djuna’s love story is threatened, and the whole vampire community becomes endangered…” Joséphine de la Baume, Milo Ventimiglia, Roxane Mesquida, Anna Mouglalis, Michael Rapaport, Riley Keough and Ching Valdes-Aran star.

Kiss Of The Damned will be available on iTunes/On Demand March 28, 2013, and in theaters May 3, 2013. Head inside to check it out!

The post [SXSW ’13] Cool Illustrated Poster For Vampire Flick ‘Kiss Of The Damned’ appeared first on Bloody Disgusting!.

In the film, “A man discovers that his chronic stomach problems are due to the fact that he has a demon baby living in his colon.”

Ken Marino plays said man, and we’ve scored the film’s first ever image that displays Marino losing his mind over “something.” Peter Stormare, Gillian Jacobs, Stephen Root and Patrick Warburton also star.

The post [SXSW ’13] Ken Marino Loses it Over His Inner-Demon ‘Milo’ appeared first on Bloody Disgusting!.

First up is the world premiere of the Duplass Brothers’ Milo, directed by Jacob Vaughan. In the comedy starring Ken Marino, Gillian Jacobs, Peter Stormare, Stephen Root and Mary Kay Place, “A man discovers that his chronic stomach problems are due to the fact that he has a demon baby living in his colon.” Check out the EFM sales poster inside.

We’ve also added your first ever look at Youssef Delara and Victor Teran’s Snap, starring Jake Hoffman, Nikki Reed, Thomas Dekker (A Nightmare on Elm Street), Scott Bakula, and Jason Priestley. The film is “A stylish psychological thriller set against the underground dub step DJ scene that takes the audience on a dark and terrifying journey into the depths of the psychopathic mind as it threatens to explode into horrific violence.”

Take a look at Jake Hoffman and Thomas Dekker in the film below.

Photo credit: Courtesy of Cima Productions

The post [SXSW ’13] First Look At ‘Snap’; Demon Comedy ‘Milo’ To Premiere appeared first on Bloody Disgusting!.