While the problem when the streamer launched was the limited content, the problem has now grown to being that, there’s so much content, it’s hard to know what to watch. Earlier this year, Widow’s Bay debuted and week after week it won over audiences with its blend of humor and horror, as it eventually went on to win Best Comedy Series at the Emmy Awards. Around the time of its debut, the thriller murder-mystery Maximum Pleasure Guaranteed also premiered, which went somewhat overlooked.

It may have taken many more months following its season finale compared to Widow’s Bay, but Apple TV has confirmed that Maximum Pleasure Guaranteed will return for a Season 2.

“We are delighted to continue the story of MPG and deeply grateful to Apple and our incredible cast and crew. This is all pretty amazing for a show whose title came from a spam email,” said creator and showrunner David J. Rosen in a statement.

The series might not have impacted pop culture in quite the same way as Widow’s Bay, but it definitely attracted plenty of praise. Season 1 currently sits at 93% positive reviews on aggregator site Rotten Tomatoes, and while he’s not an official critic, Stephen King also threw his support behind the show.

On social media, King first shared, “Some goofy plot holes, but very entertaining. Copy-editors are an unused fictional resource. Who’s a better detective than a good copy-editor?” Just a week later, likely because of a new episode, he then said, “Widow’s Bay is good. Maximum Pleasure Guaranteed is even better. It’s like Hitchcock came back to do it one more time. And Tatiana Maslany is so good. The play of emotions on her face is pretty incredible. She goes from comic to terror in an instant.”

Maximum Pleasure Guaranteed follows newly divorced mom Paula (Maslany) as she falls down a dangerous rabbit hole of blackmail, murder and youth soccer. Convinced she witnessed a crime — while simultaneously struggling through a custody battle and an identity crisis — Paula begins her own investigation, one that could unravel a greater conspiracy while also holding the keys to rebuilding her family and sense of self.

The series also stars Jake Johnson, Murray Bartlett, Dolly De Leon, Brandon Flynn, Jessy Hodges, Jon Michael Hill, Charlie Hall, Kiarra Hamagami Goldberg, and Nola Wallace.

Stay tuned for details on Season 2 of Maximum Pleasure Guaranteed.

Are you glad to see the series renewed? Let us know in the comments below!

The post Apple TV Renews Thrilling Murder Mystery ‘Maximum Pleasure Guaranteed’ for Season 2 appeared first on Bloody Disgusting!.

Ginger Snaps first emerged some years after what many deem to be the peak of Canadian horror: the 1970s and ‘80s. Or as cinephiles like to call it, the “tax shelter era”. Yet unlike a lot of the movies produced back then (and even now), this cult classic isn’t vague about its story’s location. Rather than passing off the Great White North as the U.S., Ginger Snaps was squarely set in Canada. The fictional suburb of Bailey Downs is indeed an amalgam of multiple places, but nonetheless, it is 100% Canadian.

In an editorial titled “What Canadian Horror Tells Us about Our Deepest Fears”, journalist Harrison Mooney related deep-seated Canadian anxieties to Canadian horror cinema. Although Ginger Snaps wasn’t one of the mentioned titles, Mooney’s notion that Canadian horrors feed on homegrown fears is still applicable. Ginger Snaps is a movie that very much deals with “the loss of control” and “the violent outsider”, as well as the Canadian land itself. That last point—“colonialism has traumatized even the settlers”—is most apparent in the prequel, Ginger Snaps Back: The Beginning; however, it can also pertain to the trilogy’s other entries.

Before reaching that period prequel, and after first getting to know the two Fitzgerald sisters, the Ginger Snaps trilogy touches down in an urban locale (really Edmonton). Ginger Snaps 2: Unleashed vaguely picks up where the original movie left off, with Brigitte (Emily Perkins) going things alone after losing Ginger (Katharine Isabelle). The cozy-turned-creepy atmosphere of Bailey Downs has also been swapped out with a comprehensively bleaker one as Brigitte endures more than just another harsh Canadian winter.

As with any other sequel intent on not repeating things, Ginger Snaps 2 chronicles a different struggle for its main character. The affliction remains the same as before, but the fight to stave it off is unique to Brigitte Fitzgerald. The movie fully understands that no two werewolves should ever be the same. And ensuring that distinct transformation was a newcomer named Megan Martin. What the screenwriter lacked in sheer experience, she made up for in wild ideas.

After passing the directorial reins to Brett Sullivan, the first movie’s editor, Fawcett stayed on as a producer. Walton’s characters were left in capable hands with Martin, who more than delivered on that potential for familial grief entwined with detachment issues. Naturally, one might worry that Ginger’s demise dampens the possibility of a good story; she is the namesake, after all. On the contrary, Sullivan and Martin found a clever, if not familiar, way to keep Ginger around, all without sacrificing character development for the sequel’s actual protagonist.

While Ginger Snaps is one of many movies that enthusiastically dispels the myth of safety in the suburbs, Ginger Snaps 2 leans into the idea of cities being crime-ridden and dangerous. Of course, the threat lurking around every corner here is not that forward, but an otherwise harmless librarian (Brendan Fletcher) who was hoping to score Brigitte’s number. No, it’s that mysterious werewolf who has taken a liking to the main character—and then continues to stalk her throughout the story. 

As if the literal beast on her tail wasn’t an ample enough reminder of her own looming fate, Brigitte is also being viciously haunted by her past. That come-and-go-as-she-pleases specter of Ginger, a manifestation born from grief, unresolved trauma, and monkshood abuse, fluctuates between comforting and cruel. She can either soothe little sis during her syringe sessions, or she can sardonically read her as no one else can. 

While it is certainly Isabelle playing the ghost, that depiction is less Ginger and really more Brigitte. This damning evidence of the Fitzgerald girls’ codependency problem—not even death can put an immediate stop to it—shows how Brigitte can only be honest with herself by filtering her thoughts through a likeness of Ginger. Ultimately, though, there is a breakthrough moment for Brigitte; it’s one where she can stop living in her sister’s shadow and, at least for a few minutes, relinquish her overwhelming survivor’s guilt.

Werewolf stories are often psychological by nature. Scarcely ever do humans seem to willingly give in to that bone-breaking transformation—that complete lack of self-control. This internal conflict has been there since the beginning of the genre, and movies like Ginger Snaps 2 run away with the concept. So while setting the sequel inside a rehab center feels a little on the nose, that location offers a potent playground for the characters. It’s also one most befitting of gritty, post-Y2K horror.

With its emphasis on psychology, the sequel is constantly studying its characters and how they tick. Brigitte obviously gets the most extensive analysis; on top of Ginger’s intermittent commentary, the Happier Times staff gives its latest in-patient a clinical, and sometimes amusing, evaluation. In addition to Brigitte’s review are these less spoken assessments of the supporting characters. These particular deuteragonists, such as that deceptively clean-cut orderly (Eric Johnson) who trades drugs for sex, are key components in the movie’s overall sense of weirdness.

Of all those offbeat side characters who make Ginger Snaps 2 an unusual, not to mention worthwhile, viewing, Tatiana Maslany’s Ghost is the most influential. Almost always doing or saying something that provokes unease, Ghost is fascinating enough to warrant her own movie. It would be hard to convince anyone this petite, blonde, and twisted teen is lovable, yet that growing instability of hers becomes a surprising source of entertainment in the sequel. So, yes, this movie absolutely found someone more frightening than a werewolf, and her name is Ghost.

Without getting caught up in any arguments about which of the first two movies is better, Ginger Snaps 2 is an impressive follow-up. Fully doing its own thing and not trying to catch lightning in a bottle twice, the second movie is tailor-made for cinephiles who crave bold and very strange sequels.

The post ‘Ginger Snaps 2: Unleashed’ is the Rare Horror Sequel That Refused to Repeat Itself appeared first on Bloody Disgusting!.

Keeper will be available on all digital platforms to rent or own starting December 9, 2025, with the Blu-ray, DVD, and 4K Combo Pack arriving January 20, 2026. 

The home entertainment release includes an exclusive Feature Commentary with Osgood Perkins!

The film follows a couple as they escape for a romantic anniversary weekend at a secluded cabin. When Malcolm suddenly returns to the city, Liz finds herself isolated and in the presence of an unspeakable evil that unveils the cabin’s horrifying secrets.

Tatiana Maslany (The Monkey, “Orphan Black”) and Rossif Sutherland (Possessor) star. Nick Lepard (Dangerous Animals) wrote the screenplay for the R-rated horror movie.

I wrote in my review, “It’s sparse and quiet by design, but that’s also par for the course in a Perkins film. If you’re on the filmmaker’s unique, unhurried wavelength, Keeper makes for one engaging and original grim fairy tale that bides its time getting under your skin as romance curdles into one fucked up nightmare.”

Filmmaker James Wan calls Keeper, “a terrifying, ghostly descent into madness,” while Guillermo del Toro praises it as “horror origami that skillfully folds into itself.”

See what secrets lurk in the house when Keeper heads home tomorrow on Digital, followed by a physical release next month.

The post Watch Osgood Perkins’ Folk Horror Movie ‘Keeper’ at Home Starting Tomorrow appeared first on Bloody Disgusting!.

A couple – Liz (Tatiana Maslany) and Malcolm (Rossif Sutherland) in this case – embarking on a romantic getaway in the woods always spells bad news in horror, and Keeper refreshingly skips the ambiguity of whether or not Liz is walking into a trap set by a seemingly mild-mannered lover. It also telecasts straight away that these lovebirds, setting out to celebrate their one-year anniversary at Malcolm’s family cabin, aren’t compatible at all. Liz is a confident artist from the city, the opposite of Malcolm, a quiet but warm doctor accustomed to living out in the woods.

That the couple’s introduction comes after an opening montage filled with women being courted, romanced, then brutally dispatched also signals a Bluebeard predicament in store for Liz. The question Keeper poses isn’t whether Malcolm ultimately means Liz harm, but why and how, and the mystical wooded setting unfurls deeply bizarre and eerie answers.

Maslany, who wowed for her carefree spirit in The Monkey, turns in an even more impressive and gripping performance here. Liz is instantly relatable as a woman who’s tamped down parts of herself to match a lover she’s head over heels for, but one who’s perceptive and unafraid to speak her mind, either. She’s completely out of her comfort zone, both in terrain and romantically, and watching Liz struggle to navigate the line between appeasing her lover and upholding her boundaries makes it easy to understand why she lets early red flags slide past her, even though she’s internally registering them. Obvious signs like being fed a slice of chocolate cake, despite not liking it, or that Malcolm noticeably doesn’t partake despite insisting it’s great, coil the tension tighter, but Keeper‘s magic is that nothing is quite as straightforward as it seems. 

Perkins keeps you on the hook with this approach as you find yourself scrutinizing every red flag moment, like Malcolm waking the night after feeding Liz the cake and eerily scouring the ceiling as if expecting something to be there. His behavior isn’t in line with a killer’s, raising intrigue as Perkins begins escalating the surrealism and nightmare imagery, signaling something truly messed up and supernatural inhabits the cabin. The director’s signature use of background scares prevails in the early half, but Perkins builds this bizarre pressure cooker until it explodes in an inspired and satisfying finale, one owned by a primitively fierce Maslany and some inspired creature designs.

Like the turbulent brook bubbling alongside Malcolm’s family cabin, and Perkins’ films in general, Keeper is a film meant to wash over you and carry you along its wholly original and dreamy current. It’s deeply intimate and confined, allowing for heavier introspection of each detail in relation to the overarching mystery behind what exactly Malcolm has planned. It’s sparse and quiet by design, but that’s also par for the course in a Perkins film. If you’re on the filmmaker’s unique, unhurried wavelength, Keeper makes for one engaging and original grim fairy tale that bides its time getting under your skin as romance curdles into one fucked up nightmare.

Keeper is now playing in theaters.

The post ‘Keeper’ Review – Romance Curdles in Osgood Perkins’ Haunting Folk Horror Movie appeared first on Bloody Disgusting!.

Watch for a startling scare below, as Maslany’s character encounters a rather haunting flirt for a brief moment.

Hell awaits when Keeper opens in theaters on November 14 from Neon.

Rossif Sutherland (Possessor) also stars.

It follows a couple as they escape for a romantic anniversary weekend at a secluded cabin. When Malcolm (Sutherland) suddenly returns to the city, Liz (Maslany) finds herself isolated and in the presence of an unspeakable evil that unveils the cabin’s horrifying secrets.

Nick Lepard (Dangerous Animals) wrote the script, which has been shrouded in secrecy. For the extremely curious, though, our own John Squires watched 30 minutes from the upcoming film and reports back on startling, almost fairy-tale-like imagery in store.

Keeper is rated “R” for some violent content/gore, language, and some sexual references.

The film marks the Perkins’ third collaboration with Neon in two years, following Longlegs and The Monkey. His fourth, The Young People, sees the filmmaker reteaming with Keeper star Maslany. 

Look for Keeper, Perkins’ latest descent into madness, next week in theaters.

Or, see it early as part of the Horrors of Osgood Perkins Triple Feature on November 13.

The post A Flirtatious Visitor Terrifies Tatiana Maslany in ‘Keeper’ Exclusive Clip appeared first on Bloody Disgusting!.

The preview boasts praise from horror luminaries like Guillermo del Toro, James Wan, Bong Joon Ho, Fede Alvarez, Damien Leone, Hideo Kojima, and Bloody Disgusting’s own John Squires, who calls it “a deeply unnerving nightmare.”

Hell awaits when the film opens in theaters on November 14 from Neon.

The latest dark trip from director Osgood Perkins (Longlegs, The Monkey) is written by Nick Lepard (Dangerous Animals).

It follows a couple as they escape for a romantic anniversary weekend at a secluded cabin. When Malcolm suddenly returns to the city, Liz finds herself isolated and in the presence of an unspeakable evil that unveils the cabin’s horrifying secrets.

Tatiana Maslany (“Orphan Black”) and Rossif Sutherland (Possessor) star.

Keeper is rated “R” for some violent content/gore, language, and some sexual references.

Perkins is already in production on his next film, The Young People, for a 2026 release.

The post ‘Keeper’ Final Trailer – Hell Awaits in Osgood Perkins’ Unnerving Nightmare appeared first on Bloody Disgusting!.

Production is underway on The Young People from NEON and director Osgood Perkins, and Deadline reports that Tatiana Maslany (Keeper) will reunite with Perkins on the film.

Brendan Hines, Cush Jumbo, Heather Graham, Johnny Knoxville, Lexi Minetree, and Lily Collias have also joined the cast, which includes the previously announced Lola Tung (The Summer I Turned Pretty) and Nico Parker (“The Last of Us”).

Shooting is taking place in Vancouver for a 2026 theatrical release via NEON.

Plot details are being kept under wraps at this time, but a script image recently shared out by NEON mentions The Old Ones, leading to speculation of a Lovecraftian horror movie.

The Young People will be Perkins’ fourth film with Neon in three years, following Longlegs, The Monkey, and Keeper, which opens in theaters nationwide on November 14.

The post ‘The Young People’ – Tatiana Maslany, Johnny Knoxville & More Join Osgood Perkins Horror Movie appeared first on Bloody Disgusting!.

The Comedy Hour will mark the feature directorial debut of Colby Day, the writer behind the upcoming sci-fi drama In the Blink of an Eye (not to be confused with Blink of an Eye).

The black comedy satire is “set five minutes into the future when modern America is on the brink of collapse. Heidecker will play Jimmy, a late-night talk show host forced to produce his show through famine, fire, and plague. When the network assigns him a robot to be his co-host and help boost ratings, everyone in America loves the robot more than him.”

Maslany will play Priya, a corporate climber and Jimmy’s longtime producer.

It’s a debut feature that feels perfectly suited for its director; Colby Day began his career interning at The Daily Show with Jon Stewart and Late Night with Jimmy Fallon.

Scythia Films’ President Daniel Bekerman is producing the film, along with Halee Bernard & Julian Higgins (God’s Country).

Stay tuned for more as we learn it.

The post ‘The Comedy Hour’ – Tatiana Maslany and Tim Heidecker to Star in Late-Night Dystopian Dark Comedy appeared first on Bloody Disgusting!.

If today’s trailer left you wanting more, get another taste of Keeper in the clip below, courtesy of IGN.

The latest dark trip from director Osgood Perkins opens in theaters on November 14 from Neon.

Tatiana Maslany (“Orphan Black”) and Rossif Sutherland (Possessor) star.

It follows a couple as they escape for a romantic anniversary weekend at a secluded cabin. When Malcolm (Sutherland) suddenly returns to the city, Liz (Maslany) finds herself isolated and in the presence of an unspeakable evil that unveils the cabin’s horrifying secrets.

Nick Lepard (Dangerous Animals) wrote the script, which has been shrouded in secrecy.

Keeper is rated “R” for some violent content/gore, language, and some sexual references.

The film marks Perkins’ third collaboration with Neon in two years, following Longlegs and The Monkey.

The post There Is No Escape in Osgood Perkins’ ‘Keeper’ Clip appeared first on Bloody Disgusting!.

Their quotes are featured in the newest trailer for Keeper, along with some rather bizarre imagery that has us intrigued.

Tatiana Maslany (The Monkey, “Orphan Black”) and Rossif Sutherland (Possessor) will star in Keeper, which is shrouded in secrecy at the present moment. It’s coming to theaters on November 14.

“Keeper follows a couple as they escape for a romantic anniversary weekend at a secluded cabin. When Malcolm (Sutherland) suddenly returns to the city, Liz (Maslany) finds herself isolated and in the presence of an unspeakable evil that unveils the cabin’s horrifying secrets.”

Nick Lepard (Dangerous Animals) wrote the screenplay.

This will be Perkins’ third movie with NEON, in the wake of box office hits Longlegs and The Monkey. Perkins previously directed The Blackcoat’s Daughter, I Am the Pretty Thing That Lives in the House, and the arthouse fairytale adaptation Gretel & Hansel.

Osgood Perkins previously teased that his cabin in the woods horror movie definitely features some kind of entity that’s toying with our main characters. That certainly appears to be the case in the new trailer, though the imagery gives absolutely nothing away. 

Keeper is rated “R” for some violent content/gore, language, and some sexual references.

A romantic weekend, based on this trailer, is about to go extremely off the rails when Keeper releases next month.

The post Creepy New ‘Keeper’ Trailer Features High Praise from Horror Heavy Hitters appeared first on Bloody Disgusting!.

Deadline reports, “Maslany will also produce the pilot that follows a young mother who is unsatisfied with her seemingly perfect suburban life, so she begins an affair with the boogeyman in her son’s closet – a surprisingly sexy man called the Nightbeast.

“But this harmless affair she thought to be a figment of her imagination begins to have unexpected consequences, as her two worlds increasingly begin to collide.”

The project is said to be a “seductive, darkly comedic tale.”

“The Nightbeast” is the brainchild of Leah Rachel (Chambers) and Travis Jackson (Hemlock Grove), with Jamie Babbit (“Russian Doll”) on board as director of the pilot.

The post ‘Nightbeast’ – Tatiana Maslany Has an Affair with a Sexy Boogeyman in Horror-Comedy Pilot appeared first on Bloody Disgusting!.

Deadline reports tonight that Tatiana Maslany (Orphan Black) and Rossif Sutherland (Possessor) will star in Keeper, and NEON has acquired the rights to the project.

Deadline notes, “Neon will distribute in the U.S. and handle international sales rights to the film in Cannes, with Elevation Pictures set to distribute in Canada.”

“Keeper follows a couple as they escape for a romantic anniversary weekend at a secluded cabin. When Malcolm (Sutherland) suddenly returns to the city, Liz (Maslany) finds herself isolated and in the presence of an unspeakable evil that unveils the cabin’s horrifying secrets.”

Perkins will direct from a screenplay written by Nick Lepard.

First up, NEON will release Longlegs in theaters on July 12.

The post ‘Keeper’ – Tatiana Maslany Starring in Next Horror Movie from ‘Longlegs’ Director appeared first on Bloody Disgusting!.

The Monkey is a short horror story that appeared in Skeleton Crew, a 1985 collection that also featured The Mist, The Jaunt, The Raft, Survivor Type, The Reach, and more.

Deadline reports today that filming on The Monkey has wrapped, and the website has revealed the full cast for the upcoming horror movie. Read on for everything you need to know.

Theo James (The White Lotus) stars alongside Tatiana Maslany (She–Hulk: Attorney at Law), Elijah Wood (Maniac), Christian Convery (Sweet Tooth), Colin O’Brien (Wonka), Rohan Campbell (Halloween Ends) and Sarah Levy (Schitt’s Creek).

Osgood Perkins (The Blackcoat’s Daughter, Gretel & Hansel, the upcoming Longlegs) wrote the screenplay for the feature film adaptation and he also directed the upcoming movie.

“In The Monkey, when twin brothers Hal and Bill discover their father’s old monkey toy in the attic, a series of gruesome deaths starts occurring all around them. The brothers decide to throw the monkey away and move on with their lives, growing apart over the years.

“But when the mysterious deaths begin again, the brothers must reunite to find a way to destroy the monkey for good before it takes the lives of everyone close to them.”

James Wan is producing with Atomic Monster partner Michael Clear (M3GAN), and C2 Motion Picture Group’s Jason Cloth (Joker) and Dave Caplan (Babylon).

The post Stephen King, James Wan & Osgood Perkins Horror Movie ‘The Monkey’ Wraps Filming; Meet the Cast appeared first on Bloody Disgusting!.

“I’ve seen this movie. We don’t make it…”

Horror is a popular genre for many reasons, but at the end of the day there is just nothing like the genuine experience of being afraid. Horror films do their best to immerse their audience in terror with no reprieve, yet there are inherent limitations to this storytelling medium. There’s still screen, and therefore safety, between the audience and their fears. Live theater, especially those on Broadway, live and die through their ability to not just keep audiences entertained, but to truly believe in the spectacle before them. Horror on Broadway is therefore a deeply appealing combination, albeit one that’s all-too rare because of the difficulty in its execution.

There’s The Crucible, The Elephant Man, Bug, and even horror-adjacent musical experiences like Sweeney Todd and Jekyll & Hyde, as well as musicals that ambitiously adapt movies like Beetlejuice, Carrie, Young Frankenstein and The Evil Dead. Arguably, none of these are true horror that leave audiences shuddering and gasping instead of humming to the curtain call. They’re spooky, not scary, no matter how much blood gets spilled on the stage. It’s difficult to translate this into the cold sweats and tightened fists that come out of fear. A horror movie’s scares can be pacified or strengthened through its editing and other cinematic tools that would seemingly be impossible to replicate in theater. Grey House isn’t perfect, but it expertly pulls off this tall task as it makes its audience believe and fear this visceral piece of theater. 

Grey House kicks off in a manner that’s all-too familiar and almost painfully self-aware. Max (Tatiana Maslany) and Henry (Paul Sparks), a young couple, hit a deer with their car and find refuge in a nearby cabin wherein they hope that Henry can heal his broken ankle and that they’re able to quickly get back on track with their trip. It’s not long until Henry and Max meet the unconventional occupants of this cabin–and whatever else lurks within its walls–and accept the fact that they’re at the mercy of this freaky “family.”

Led (although that’s putting it loosely) by Laurie Metcalf’s Raleigh, this ornery matriarch herds in the chaos that comes in the form of five children, Marlow (Sophia Anna Caruso), Bernie (Millicent Simmonds), Squirrel (Colby Kipnes), A1656 (Alyssa Emily Marvin) and The Boy (Eamon Patrick O’Connell). All of the adults here shine and this claustrophobic story provides plenty of opportunities for tense showdowns to take place between every combination of Metcalf, Maslany, and Sparks. That being said, it’s the children that are the real stars in Grey House. The group collectively function like a haunted Greek chorus that inexplicably shifts into sporadic songs and telekinetic displays of sisterhood. Each of these children contribute a different vibe to Grey House’s atmosphere and at their best there are shades of Ils, The Orphanage, or even Children of the Corn. Marlow in particular feels like if Wednesday Addams or Lydia Deetz spent a year abroad in Twin Peaks’ Black Lodge. 

Grey House is a play that assumes that its audience is savvy towards the various tropes that define horror and leans into them with gleeful intensity. There are strong jump scares and moments when the stage descends into complete darkness, but these almost feel like a test run for the more aggressive and psychological horrors that sneak up on the audience and push them to question what they’re seeing. These raw attacks that get under the audience’s skin are more important than logic here. The audience is increasingly on edge and unable to let themselves relax over the anomalies that begin to crack the nature of reality.

Scott Pask’s impeccable set design actively intensifies several of Grey House’s scares. At first glance, this is just a run of the mill cabin, but it begins to feel like a living, breathing entity that transforms along with the characters. It’s simultaneously cozy and carnivorous. There are glimpses of the aforementioned Bug once Grey House dips its toe into more paranoid material. However, the closest analogue here–both thematically and in terms of horror–are the works of David Lynch. Grey House prefers not to spoon feed its audience and its story is very much about the confrontation of past demons and how they can manifest into actual people, not unlike Lost Highway. Grey House is one big psychogenic fugue state where Max and Henry accept life’s uncertainties and make peace with this chaos. 

If nothing else, there’s a moment that makes the audience feel like they’re in the train car during Laura Palmer’s murder in Twin Peaks, which is really as frightening and psychically traumatic as it gets. Not everything in Grey House works, and like most fugue states there are moments of repetition to better solidify the work’s themes, but this grandiose nightmare moment makes the experience worth it. Much like Pask’s set design, Natasha Katz’s lighting design and Tom Gibbons’ sound design are the other secret weapons to this production. Sonic dissonance blasts and rattles the audience. Directed by Joe Mantello and written by Levi Holloway, it should be incredibly interesting to see what this creative team tackles next and whether it’s an evolution of these ideas or something completely contrary.

Grey House tells a story that’s intentionally cryptic and symbolically dense. This may leave some audiences unsatisfied, but it fosters a natural need to discuss and dissect what’s been seen the moment that audiences funnel out of the theater. This is what the very best horror stories trigger and The Grey House is almost as much fun to deconstruct post-mortem as it is to get lost in its free-roaming darkness throughout its hour-and-forty-minutes runtime. Grey House still lacks the gravitas and scope of some of the best horror movies, but it’s far and away the scariest thing that’s currently on Broadway and guaranteed to please and scare horror and theater fans alike.

‘Grey House’ is currently in production at Broadway’s Lyceum Theatre.

The post [Review] “Grey House” Brings a Genuinely Terrifying Cabin in the Woods Tale to Broadway appeared first on Bloody Disgusting!.

The upcoming genre movie “takes place in a real American town where wifi, cell service and all other radio transmissions are heavily forbidden.”

“The film follows infant sleep-trainer Sloan (Brown), who realizes that the parents of the child she’s caring for are much more than the clueless yuppies they seem to be.”

Aaron Horwitz (The Cleansing Hour) wrote the script.

Josh Ruben said in a statement, “In a marketplace where original, horror-thrillers slay at the box office, we need no further proof that audiences want to have fun at the movies again. That’s the magic word. Fun. Horror is the bulletproof genre, and ‘Green Bank’ has the full package — it’s smart, scary and wickedly funny.”

“Protagonist Pictures is launching international sales on the film, which will be shopped to buyers at this month’s European Film Market at the Berlin Film Festival,” Variety notes.

The post ‘Green Bank’ – Jasmin Savoy Brown and Tatiana Maslany Starring in Josh Ruben’s Next Horror Movie appeared first on Bloody Disgusting!.

“In “Orphan” Maslany plays a street-wise orphan who witnesses the suicide of a woman whom she learns is her clone. Soon she and other clones realize an assassin is killing them off one by one.”

“Orphan Black” is co-created by writer Graeme Manson (Cube, “Flashpoint”) and director John Fawcett (Ginger Snaps, “Spartacus”). Kevin Hanchard, Michael Mando, Elizabeth Saunders, Maria Doyle Kennedy, and Ron Lea also star. The pilot airs March 30th.

Head inside for the new spot featurette!

The post [TV] From The Director Of “Ginger Snaps”, A New TV Spot And Featurette For BBC’s “Orphan Black” appeared first on Bloody Disgusting!.

“In “Orphan” Maslany plays a street-wise orphan who witnesses the suicide of a woman whom she learns is her clone. Soon she and other clones realize an assassin is killing them off one by one.”

“Orphan Black” is co-created by writer Graeme Manson (Cube, “Flashpoint”) and director John Fawcett (Ginger Snaps, “Spartacus”).

Kevin Hanchard, Michael Mando, Elizabeth Saunders, Maria Doyle Kennedy, and Ron Lea also star. The pilot airs March 30th.

The series has been filming the past few months in Toronto.

The post [TV] First Promo For ‘Ginger Snaps’ Director’s “Orphan Black” appeared first on Bloody Disgusting!.