- GOTHIC Vestron Video Collector’s Series Blu-ray Coming This January from Lionsgate
- Catalog From The Beyond: THE INVISIBLE MAN (1933)
- Review: THE KILLING OF A SACRED DEER is a Kafka-esque Nightmare for Millennial America
- AFI Fest 2017 Review: MARLINA THE MURDERER IN FOUR ACTS is a Morbid Feminist Tonic for Violent Masculinity
- Review Round-Up: SWEET VIRGINIA and THE ICE CREAM TRUCK
- December Theatrical Release Announced for New Horror Film INOPERABLE, Starring Danielle Harris
- Waxwork Records’ 2018 Subscription to Include Vinyl Scores of DAWN OF THE DEAD, NIGHT OF THE LIVING DEAD, GET OUT, and More
- Comics Corner: DOOMSDAY CLOCK #1, THE DEMON: HELL IS EARTH #1, MONSTERS UNLEASHED #8, BIG TROUBLE IN LITTLE CHINA: OLD MAN JACK #3 and More
- Daily Dead’s 2017 Holiday Gift Guide – Day 1: Early Sales & Black Friday Finds
- THE WALKING DEAD “Lucille Patrol” Action Figure Box Set Coming from Skybound and McFarlane Toys
Posted: 22 Nov 2017 06:22 PM PST
What if the events that inspired Frankenstein's monster were more horrifying than the monster itself? For the 13th entry in their Vestron Video Collector's Series, Lionsgate is taking viewers to a fateful night with Mary Shelley and her friends with the Blu-ray release of Ken Russell's Gothic this January:
The post GOTHIC Vestron Video Collector’s Series Blu-ray Coming This January from Lionsgate appeared first on Daily Dead.
Posted: 22 Nov 2017 05:37 PM PST
After a little over a year of doing this column, I think you and I have a pretty good thing going. If you've come this far and are still willing to follow my incessant ramblings, I think our relationship can survive a wee confession: hard as I try, I just cannot get into the Universal Monsters movies. Don't get me wrong, I value them for laying the foundations of the horror genre, but when it comes to actually watching them, I just don't find them as engaging as more modern films.
Take, for example, James Whale's iconic Frankenstein. This is a movie that defined gothic horror and created the look for Frankenstein's monster that would be ingrained in our collective consciousness for generations. I'm a huge fan of the film's visual aesthetic and the notion of a sympathetic villain is one that always resonates with me. But when I actually sit down to watch it I find myself looking at the clock within the first ten minutes.
So, when I settled down to check out Whale's other Universal title, 1933's The Invisible Man, I kept my expectations low. After all, if I couldn't get into one of the most famous horror movies in the history of cinema, how would I react to one that often seems treated as an afterthought? As I settled in for my viewing, something fascinating happened. Things started off as they usually do. I enjoyed the nostalgia of the golden age title cards and smiled at the novelty of the outlandish studio sets, but braced myself for the inevitable slip into boredom. But it never came. Instead, I sat intrigued by a movie that, while still very rough around the edges, had me transfixed for its duration.
The premise is as simple as any movie I've covered: laboratory assistant Dr. Jack Griffin (Claude Rains) has concocted a serum that grants him invisibility, but there are two catches. One, he doesn't have a serum to make him visible again. Two, the secret ingredient, monocane, has the pesky side effect of driving a person utterly insane. After attempting to find a cure for about five minutes, Griffin shifts gears and decides he's going to coerce his fellow assistant Dr. Arthur Kemp (William Harrigan) into going on a wild bender of murder and mayhem, all while his estranged love, Flora Cranley (Gloria Stuart), and her father, Dr. Cranley (Henry Travers), try to track him down and find a cure.
In The Invisible Man, Whale's direction is a stark contrast to the singularly gothic and creepy tone he sets in Frankenstein. Rather than wallowing in contemplations of death and the macabre, Whale sets an atmosphere of something closer to frivolity. While Rains' turn as Griffin leans heavily on menace, the townspeople around him seem like they'd be more at home with the residents of The Simpsons' Springfield. They're all over the top, bumbling, and played for laughs. I spent a good part of the first act trying to figure out if I should be ready for chuckles or scares.
As it turns out, both were in the offering, with ample humor serving to distract from some blindsiding dark turns. For every silly line or pratfall, we get a death that is shockingly depicted for a film released in the early 1930s. Many movies of the era relied on the threat or the implication of violence, with much of the action happening off-screen. But The Invisible Man really goes for it, with Griffin killing police officers, sending a man's car flaming down the side of a cliff, and even derailing a train full of passengers.
Leading man Claude Rains is pivotal in making this maelstrom of conflicting tones work for the film as he shifts from mischievous to murderous at the drop of a hat. What's more, he has to do so with his face fully covered in bandages or via voicework in scenes where he's supposed to be invisible. But damned if he doesn't come through with flying colors (or lack of color in this case). Most people point to Robert Englund's Freddy Krueger as the first villain to bring some personality and flair to the villain role, but I wouldn't be surprised if he took notes from Rains' Dr. Griffin, who is obviously having a ball hamming it up with one-liners as he causes all manner of havoc. Whether he's doing something relatively benign like stealing a bike, or something more serious like sending dozens of people to die in a fiery wreck, Rains applies just the right balance of dark humor and outright cruelty to fit the situation.
As great as Rains' performance is, there was still the risk that the illusion could be ruined by shoddy special effects. One of the main reasons I wanted to check out The Invisible Man was to see how they could pull off any kind of convincing visual effects gags. While there were plenty of gags with objects seemingly moving themselves, I was amazed at effects supervisor John Fulton's use of a matte process to provide more complex visual effects. For example, there are scenes where Rains is actually in the shot, but any exposed skin has been deleted from the frame so that it appears that he's just an empty set of clothes.
While this may not seem like any great achievement, it's important to remember that digital alterations wouldn't be possible for another seventy years or so. To pull this off, Whale had to shoot scenes with Rains (who was claustrophobic) wearing a restrictive, black velvet suit against a black velvet background, and then Fulton would overlay those shots into a scene with the appropriate background. Think of it as green screen before green screen, and while it may not match today's standards, the finished product is quite impressive for its time.
The Invisible Man is by no means a flawless movie. Aside from Rains, much of the acting can be downright wince-inducing, and like most movies of its time, subtlety is less likely to be seen than the main character (invisiburn). But like other Universal classics, it serves as a prototype for a myriad of films that would utilize the invisibility trope, from Memoirs of an Invisible Man to Hollow Man to It Follows. But what separates The Invisible Man from the rest of the Universal pack is that it demands your attention for the duration of its runtime, which is no small feat when you can't even see the main character.
Posted: 22 Nov 2017 04:44 PM PST
Art reflects the period in which it is created, and maybe that's why the awards race is full of extremely dark comedies. From Get Out to The Square, angry, amusing and bleak visions are coming to claim their Oscars. In spite of its A-list cast and crew, one film feels a bit too strange to join the awards conversation, yet it manages to be one of the year's most uniquely devastating works. Part body horror, part social satire, all spine-chilling dread, singular auteur Yorgos Lanthimos brings his vision to America for The Killing of a Sacred Deer.
To explain the plot's full introduction would ruin some of the film's surprises; those who haven't seen it and want the pure experience are forewarned. Colin Farrell teams up with Lanthimos for a second round post-Lobster, this time playing a wealthy surgeon who mentors young, impoverished Martin (Barry Keoghan) out of a sense of guilt. When Martin meets his family, including a particularly nuanced Nicole Kidman, they find themselves cursed. As occurrences grow weirder and deadlier, the family must face a horrific choice or fall victim to something beyond their control.
Sacred Deer polarizes to fascinating extremes. Viewers who hadn't seen Dogtooth or The Lobster prior to this film may not have been prepared for Lanthimos' distinct style, the affected vacancy and stillness. The actors display little to no emotion, and the camera moves in tiny increments, while the color scheme adheres strictly to beige, blue, and white. Colin Farrell and Nicole Kidman pull off the deadpan intonations perfectly, yet the true stars are Keoghan and Raffy Cassidy as wayward teenage youth, full of misplaced rage and distant eeriness. Lanthimos commands their world with precise craftsmanship, resulting in a crisp aesthetic underscored by unsettling rumbles of bass and strings. All of this congeals into an atmosphere of fragility and natural unease, which escalates into pure dread by the end.
While it features little of the blood and spectacle of a studio horror film, Sacred Deer frightens in a more unconscious manner. It introduces a nightmare concept and milks it for every drop of morbid, deeply uncomfortable dread. From the first scenes, Lanthimos tells the viewer that this world is far from normal, as Kidman mimics an unconscious patient for Farrell's delight, or Keoghan seduces Cassidy with unreadable intent. The strangeness only escalates from there, until it reaches a point of either confusion or terror, depending on the viewer. The film's anxiety feels closely tied to our country's current state—the privileged paranoia that an outsider will take your safety from you, leaving you at the mercy of senseless, violent nature.
The story's outlook is bleak, in spite of (even because of) the humor. There is no clear cause for this family's strife, just a horrible ultimatum that they must resolve amongst themselves. It appears to suggest that privileged society, no matter how well-intentioned, cannot cope when faced with their own tragedies. When these elements infiltrate American suburbia—a space that is supposed to be sterile and safe—chaos ensues; what else would happen? In this way, Lanthimos's film echoes the social absurdity of Kafka—when presented with impossible obstacles, his characters find themselves unable to hurdle them, because they simply don't make sense.
When a film's style and story both work toward this kind of nihilism, it's inevitable that it will lose some viewers along the way, but for those who stick with it, the effect is profound. By tapping into a modern paranoia through mythically obscure terror, Lanthimos and his phenomenal cast create a horror film that truly feels at home in today's America. Its unusual way of frightening viewers will leave a lingering infection, but in this manner, it forces one to acknowledge their own privilege and wonder if, in this situation, they would truly be able to do better.
Movie Score: 4.5/5
The post Review: THE KILLING OF A SACRED DEER is a Kafka-esque Nightmare for Millennial America appeared first on Daily Dead.
Posted: 22 Nov 2017 03:24 PM PST
Hollywood is in a state of semi-suspended upheaval at the moment. The patriarchal cycle of aggression, shame, and silence has been exposed, at least on the surface. The process has thrown crucial light onto depictions of brutality against women in film, which often seem exploitational or punishing for no reason simply due to the characters' gender. Stories involving these elements are now being told through the lens of female filmmakers, however, and this year has seen a number of powerful trope inversions. Mouly Surya brings us what might be the most singular example of this from Indonesia, in the form of Marlina the Murderer in Four Acts.
As the evocative title suggests, Surya unfolds her film over four distinct stages. The first sets itself up like a quiet Peckinpah film: seven bandits rob widowed Marlina, force her to cook them dinner, and prepare to assault her. Marlina is more resourceful than they expect, however, and she manages to poison some before beheading her attacker. When she attempts to notify the police of the crime in the film's second act, sending her across miles of wilderness with a band of funny, dangerous, and insightful characters, her search for justice becomes a fight to survive.
Surya's third feature embodies the classic western in style as well as narrative. Cinematographer Yunus Pasolang shoots the Indonesian seaside with dusty, vivid texture, while the folky music plucks along with a paced, driven rhythm. Yet the screenplay and cast—led confidently by Egy Fedly—interact with the world in a stilted, sometimes inept, manner. The ultimate effect is a spaghetti western shoved through a meat grinder by the Coen Brothers, though even that falls short of capturing the film's complete aura. Its core is dark and suspenseful, but hilarious at times; even the ghost of Marlina's headless victim earns a few laughs, because Surya displays him so frankly.
The sparse tone that the film adopts can portray some central scenes as slow and purposeless, but the cast is strong enough to lead us through them. Of course, the assault itself is uncomfortable to watch, but Surya's blunt camera displays it without any sense of exploitation. Her blunt portrayal of this fable gives it humor, heart, and realism at once, though the approach is anything but traditional.
Through Surya's guidance, Marlina's story becomes something like an exposé of man's ineptitude and greed, leaving the female characters to fend for themselves. The bandits are bumbling and animalistic—a supporting character's husband believes women can control their time of birth. Even the police are incompetent, playing sloppy ping-pong instead of chasing criminals. Marlina, on the other hand, faces life-threatening trauma with cleverness and strength. The film's ultimate effect is one of triumph—several moments are so glorious that they earned applause at this reviewer's screening. It isn't a perfect work, and the slack sections may frustrate some viewers unforgivably, but such a fierce, exciting vision can't go unnoticed.
With her Coen-esque approach to a classically mythic plot, Surya crafts a unique experience that also serves as catharsis. It portrays a woman's fight in an absurdist and ferocious manner, anchored by sharp style and an ethereal central performance. The story seems to suggest that sometimes revenge is necessary, and resilience can lead to freedom from an oppressive world—if only one keeps their (morbid) sense of humor.
Movie Score: 3.5/5
The post AFI Fest 2017 Review: MARLINA THE MURDERER IN FOUR ACTS is a Morbid Feminist Tonic for Violent Masculinity appeared first on Daily Dead.
Posted: 22 Nov 2017 02:12 PM PST
Before it's time for us to serve up some turkey Stateside, here are my thoughts on two recent indie genre films I've had the pleasure of checking out: Megan Freels Johnston's horror comedy The Ice Cream Truck and Jamie Dagg's crime thriller Sweet Virginia, featuring Jon Bernthal.
The Ice Cream Truck: Akin to an early Tim Burton-esque take on the horrors of suburbia and adulthood, Johnston's The Ice Cream Truck is a slightly absurd yet wholly relatable exploration of the anxieties of modern women, particularly those who don't necessarily fit in with the typical "Bake Sale Moms" out there who always seem to have "it" together, living out their existences happily defined by their roles within their respective households.
In The Ice Cream Truck, we are introduced to Mary (Deanna Russo) who is anything but confident in the woman she has become over the years. She married young, had a few kids, and now feels like she missed out on a whole "fun" phase of her life. As she settles into her family's new home and awaits the arrival of her hubby and progeny from Seattle who will be arriving in a few days, Mary's insecurities hit an all-time high, especially since she feels out of place in her new suburban location and shares very little in common with the neighborhood's Stepford-like residents.
As Mary finds herself getting wrapped up in her own paranoia and awkwardness the more time she spends away from her family, she finds a kindred spirit in Max (John Redlinger), an 18-year-old who seems to dig on older ladies and has his sights set on his new neighbor, regardless of just how wrong a potential hook-up between them would be. And these struggles make for the perfect backdrop for Johnston's weirdly surreal slasher tale, once we realize that Mary's got far more to fear than just her own inability to fit in—there's a murderous ice cream truck driver (Emil Johnsen) running amok, and he's always looking for new victims, including the film's protagonist, who is too busy being caught up in her own personal turmoil to realize the danger around her.
The Ice Cream Truck has some rough edges to it, but I'm always a fan of micro-budgeted indie films that strive to tell good stories, give us engaging characters we want to invest in, and try to do something different—all things that Johnston confidently delivers in her latest directorial effort. Russo offers up a strong performance as a woman who finds herself at the proverbial crossroads in her life, and the more time we spend with her, the more I really enjoyed her work in the film. Ice Cream Truck also features a sweet cameo of sorts from Jeff Daniel Phillips, too, who is a personal favorite of mine, and he's great in the limited screen time he has here.
Overall, Johnston has crafted an engaging and easily relatable dark comedy in The Ice Cream Truck that made for a very enjoyable watch for this writer. Maybe it's because of the age that I'm at these days (read: I'M OLD), or the fact that I rarely feel like I fit in anywhere, but there was a lot about the character of Mary that hit me on numerous levels, and I look forward to whatever Johnston comes up with next.
Movie Score: 3/5
Sweet Virginia: Equal parts small-town drama and crime thriller, Dagg's Sweet Virginia is one of the more unassuming slow-burn suspense films I've seen in 2017, but I mean that in a wholly complimentary way. Featuring a few moments of savage violence and white-knuckle tension, it might be easy to draw some parallels between this and another recent project of Bernthal's, The Punisher series, but I think this one has more in common with early Coen Brothers' films than it does the newly released Netflix series. Sweet Virginia has a story that quietly sneaks up on you and then hits you right in the gut when you're least expecting it, and Dagg's haunting character study is a viewing experience I won't likely soon forget.
The title Sweet Virginia is a reference to the film's main locale, a motel owned by Sam (Bernthal), who has turned in his spurs and saddle from his days as a competitive rodeo rider for a quieter life overseeing the titular property on behalf of his brother. Sam hasn't quite come to terms with life outside of bull riding, but we see him trying to put in a great effort, whether it's with his teenaged employee Maggie (Odessa Young), who he regularly cheers on at her basketball games and offers up fatherly advice, or the newly widowed Bernadette (Rosemarie DeWitt), who is looking for some semblance of happiness and comfort during her time of grief. Sam's quiet existence gets rocked to its very foundation when he crosses paths with Elwood (Christopher Abbott), a customer at the Sweet Virginia, who happens to be staying in town to collect on a contract after killing his target (and unfortunately, Bernadette's husband as well) and just needs his "employer" (the always fantastic Imogen Poots as Lila) to pay up now that he's done his job.
At first, Sam and his new pal seem to hit it off, but as Elwood's erratic behavior begins to spiral out of control, and his patience wears thin as he awaits his payment, well, as the saying goes, "The best laid plans of mice and men often go awry," and it's up to Sam to deal with Elwood before everyone he knows and loves is put squarely in harm's way.
There's a deliberateness to Sweet Virginia that I really admired, where you can tell that Dagg was thoroughly invested as a visual storyteller, as he really allows us to spend time with these characters and gives the film time to breathe and tell this pot-boiler story the right way. I also must tip my hat to screenwriters Paul and Benjamin China as well, because they put a lot into this script, where every single line of dialogue feels like it means something, akin to puzzle pieces locking firmly into place. There is an air of unease that Dagg sets early in Sweet Virginia, where we know there's a lot of pain to befall these characters in the future, and the journey he takes us on to get to the film's ultimate destination is often unsettling, but so damn compelling all the same.
Anchored by an assortment of undeniably great performances from the entire cast (this is easily Bernthal's strongest work to date, and I really hope this opens more doors for him to take on more complex characters in the future), Sweet Virginia might feature a lot of recognizable elements when it comes to films of a similar ilk, but between Dagg's assured direction and the China Brothers' unforgettably gripping tale of deceit, destructiveness, heartbreak, and hope, Sweet Virginia rises above familiarity to create an evocative exploration of desperation that never loses sight of the humanity at the core of its story.
Movie Score: 4/5
The post Review Round-Up: SWEET VIRGINIA and THE ICE CREAM TRUCK appeared first on Daily Dead.
Posted: 22 Nov 2017 01:47 PM PST
Starring Danielle Harris (the Hatchet series, Halloween 4 and 5), the new mind-bending horror film Inoperable will enjoy a theatrical release in early December, and we have the full release details to let you know if it will be coming to a city near you:
The post December Theatrical Release Announced for New Horror Film INOPERABLE, Starring Danielle Harris appeared first on Daily Dead.
Posted: 22 Nov 2017 01:28 PM PST
For years they've given new life to the most memorable sounds and songs of horror cinema, but in 2018, Waxwork Records looks to outdo even their own scary high standards with an upcoming vinyl score release slate that honors George A. Romero and celebrates one of the most exciting new voices in horror.
Waxwork Records announced that their 2018 vinyl releases will include the scores for Night of the Living Dead, Dawn of the Dead, The 'Burbs, Drag Me to Hell, and Get Out. Artwork and specific release details have yet to be revealed, but all five vinyl releases are included in the 2018 Waxwork Records Subscription, which can be purchased for $250 in the US (and $285 internationally) beginning Friday, November 24th. Read on for more details on Waxwork Records' essential and exciting 2018 releases, and keep an eye on their website for more updates.
Posted: 22 Nov 2017 12:44 PM PST
This week on Comics Corner, we have two new comic series from DC to start things off. The first, called Doomsday Clock #1, is from the masterful Geoff Johns, and we also have a look at The Demon: Hell is Earth #1, followed by Monsters Unleashed #8, Moon Girl and Devil Dinosaur #25, the penultimate issue of Angel Season 11 #11, John Carpenter's Big Trouble in Little China Old Man Jack #3, Clue #6, four preview pages from Harvey Kurtzman's Marley's Ghost #1, The Hellblazer #16, Redneck #7, and Rick and Morty Pocket Like You Stole It #5.
Doomsday Clock #1: "DC Comics presents to you a 12-issue maxiseries from the critically acclaimed team of writer Geoff Johns, artist Gary Frank, and colorist Brad Anderson. You are not prepared for what lies ahead within these pages, good readers.
Art by: Gary Frank
To check out the SEVEN preview pages from this new series, go to DC Comics' website.
The Demon: Hell is Earth #1: "Jason Blood and Etrigan: the best of enemies, destined to spend eternity bound together. When a haunting vision leads Jason to Death Valley, a supernatural weapon is unleashed, radically transforming not only the land but also Blood…and the Demon. The worst, though, is yet to come, as hell begins to make its way into our world.
Don't miss the start of this horrifying miniseries, where Etrigan and Blood's relationship will be changed forever!
Art by: Andrew Hennessy, Bradley Walker
To learn more about this series from Andrew Hennessy and Bradley Walker, go to the DC Comics website.
Monsters Unleashed #8: "VENOMVERSE TIE-IN! AND LO, THERE CAME A POISON PART 2! KID KAIJU has no idea what he's capable of and now he's accidentally summoned a POISON FIN FANG FOOM from another dimension. How can Kid Kaiju be a hero if he can't control his powers? Continuing from the bombastic pages of VENOMVERSE, this issue will impact Kid Kaiju, his monsters, and the Marvel Universe in ways you will never see coming.
Written by Cullen Bunn
See more of part two in this saga at Marvel Comics.
Moon Girl and Devil Dinosaur #25: "When THE SILVER SURFER comes to Manhattan with a warning about an ancient cosmic menace on a collision course with Earth, you better listen up! But without the First Family of the Marvel Universe around to answer the call, who's going to step up and solve the impossible? Lunella Lafayette, that's who! Without Devil Dinosaur by her side, Lunella must join forces with some new friends who are missing their pals, too: THE HUMAN TORCH! THE EVER-LOVIN' BLUE-EYED THING! DON'T MISS THE FANTASTIC THREE!
Written by Brandon Montclare
For more information and to catch up on Lunella's adventures, visit Marvel Comics' website here.
Angel Season 11 #11: "As the steam clears from Angel's confrontation with the goddess Illyria, the trio find themselves back in the present where their time-traveling adventure began. Angel, Fred, and Illyria are finally ready to face what waits for them--as long as they all can let go of the past . . .
* The penultimate issue of Angel Season 11!
Writer: Corinna Bechko
To learn more, go to Dark Horse Comics' website.
Big Trouble in Little China: Old Man Jack #3: "Jack and Lo Pan tear through an ocean of fire and madness, where nothing they see can be trusted - and may mean their demise!
CREATORS: (W) John Carpenter, Anthony Burch (A) Jorge Corona (CA) Stéphane Roux
For more information, go to Boom! Studios.
Clue #6: "For six issues, you've watched characters drop, and mysteries mount. Now, at last, every mystery and motivation is revealed. And it all leads up to a conclusion so shocking that we guarantee you won't see it coming!
AVAILABLE: November 2017
For more information, visit IDW Publishing's website.
Harvey Kurtzman's Marley's Ghost #1: "Press Release: "November 8, 2017, New York, NY – ComiXology, Amazon's premier digital comic shopping & reading service, debuts the next comiXology Originals release – Harvey Kurtzman's Marley's Ghost, the graphic novel adaptation of Charles Dickens's beloved classic A Christmas Carol – at a special introductory price of $2.99 on comiXology and free for comiXology Unlimited and Kindle Unlimited subscribers.
Just in time for the holiday season, comiXology is proud to bring readers Harvey Kurtzman's Marley's Ghost (120 pages/color), a gorgeous graphic novel based on Harvey Kurtzman's unfinished work. Harvey Kurtzman's Marley's Ghost will be available for purchase on ComiXology and Kindle as part of the comiXology Originals line of exclusive digital content. Readers can also enjoy this new telling of the classic holiday tale by signing up for a free 30-day trial of comiXology Unlimited or Kindle Unlimited.
In the 1950s, legendary comics creator Harvey Kurtzman had plans to adapt Charles Dickens's classic story A Christmas Carol into what would become known as a graphic novel. However, the project was never brought to fruition and the pages, thumbnails, and notes that Kurtzman had created remained unfinished. Artist Gideon Kendall and writers Josh O'Neill and Shannon Wheeler– under the supervision of the Kurtzman Estate and book packagers Kitchen, Lind & Associates – teamed up to finish Kurtzman's dream project for comiXology. Harvey Kurtzman's Marley's Ghost adapts and expands upon Kurtzman's extensive breakdowns and notes to make his long-lost vision a reality.
"With Harvey Kurtzman's Marley's Ghost, families everywhere can enjoy this retelling of a holiday favorite, while comic aficionados will marvel at this now completed Kurtzman work." said Chip Mosher, comiXology's Head of Content & Senior Director of Communications. "Marley's Ghost is a one-of-a-kind collaboration between some of the greatest creative talents of any time. Once you dive in, you'll be hit by the tour-de-force storytelling of Josh O'Neill and Shannon Wheeler, along with Gideon Kendall's finishes on Kurtzman's roughs that delivers Dickens's A Christmas Carolfor audiences today."
ComiXology Originals offers customers a unique line up of digital titles that are available exclusively for comiXology and Kindle customers.
ComiXology Unlimited offers over 10,000 comics, graphic novels, and manga for just $5.99 a month with a 30-day free trial at comixology.com/unlimited and is available on the comiXology app for Fire Tablet, Android, iOS and on the web at comixology.com
Kindle Unlimited offers over 1 million titles, thousands of audiobooks, and select current issues of popular magazines for just $9.99 a month with a 30-day free trial at amazon.com/kindleunlimited"
The Hellblazer #16: ""The Bardo SCORE" part one! Another one of John's magician friends has died—with a smile on his face and the words "thank you" scrawled in his own blood beside him. He wants to nail the killer and get revenge. But it happened in San Francisco so, above all, he wants to go home before he drinks himself to death in that loathsome city.
Art by: Davide Fabbri
To learn more, visit the DC Comics' website.
Redneck #7: "Story: Donny Cates
"THE EYES UPON YOU" kicks off with the Bowmans lying low from the law with a new member of the family in tow. But there are rules to being a vampire…and when the rules are broken, the family will surely suffer…
What are the Bowmans up to now? To find out, go to Image Comics' website here.
Rick and Morty Pocket Like You Stole It #5: "Morty has made it through the labyrinth and arrived at the Council of Ricks. Now he just has to gain entrance, defeat all the Ricks, and free all the Morties. Should be totally doable for a Morty, or not, who cares, the multiverse is endless and nothing matters -- except for the epic finale of Rick and Morty: Pocket Like You Stole It!
Written by Tini Howard
To learn more, visit the ComiXology website on behalf of Oni Press.
Posted: 22 Nov 2017 11:17 AM PST
Happy start of the holiday season, dear readers! It's time once again for Daily Dead's fifth annual Holiday Gift Guide, where this writer hopes to save you some money as you shop for all the horror lovers in your life (or maybe you're looking to spoil yourself, too, which is totally cool) over the coming weeks. For our first day of the 2017 HGG, we're going to take a look at a ton of Black Friday deals coming this week, and some sites have already begun their sales, so you may be able to get a jump start on those gift lists even now.
And since there are a bunch of sales and deals that have yet to be announced, be sure to check back right here on Daily Dead this Friday for more Black Friday deals and many more gift ideas perfect for genre enthusiasts and the like.
Also, we've once again put together some really cool Holiday Gift Guide prize packs this year, and for your chance to win one, just send an email to firstname.lastname@example.org with "Holiday Gift Guide" in the subject line and be sure to include your full name and mailing address as well for your shot at some free horror-tastic goodies (limited to those who are eighteen years of age or older that live in the United States. Only one entry per household will be accepted). Happy shopping, everyone!
Amazon: As usual, Amazon is running an insane amount of Lightning Deals for Black Friday, and they've already been keeping busy over there with tons of discounts that have gone up this week. It's hard to anticipate all the different deals coming in the next few days, but for those looking for cheap movies and/or video games, the aforementioned links should help you keep tabs on all those Amazon sales in particular. Last year, I saved a ton of money via Amazon, so I really recommend keeping an eye on their Lightning Deals because they are a great way to save some bucks this holiday season.
Target: Target has a few sales of interest this year for Black Friday, particularly when it comes to movies and video games. As for the latter category, look for Resident Evil: Biohazard, and Skyrim both priced at $15 each, Injustice 2 at $25, and The Evil Within 2 for $29.99. When it comes to movies, Target is offering Deadpool and Ghostbusters (2016) Blu-rays for $4 apiece, and for $9 apiece, you can pick up Logan, War for the Planet of the Apes, Wonder Woman, Spider-Man: Homecoming, and Kong: Skull Island. Guardians of the Galaxy Vol. 2 is also going to be available for $15, and for you TV enthusiasts, Target is offering a bunch of series for only $10 on DVD, including the latest seasons of The Walking Dead, Gotham, The Flash, Supernatural, and Arrow. Target opens for Black Friday on Thanksgiving at 6:00pm local time, then closes at 12:00am, and re-opens early on Friday morning at 6:00am once again.
Walmart: Many of Walmart's Black Friday sales are available all day online on Thursday, and then begin in stores at 6:00pm on Thanksgiving night. Movie lovers can pick up Spider-Man: Homecoming and Wonder Woman on DVD for $5 and on Blu-ray for $7, and for those in the market to save some dough on video games, Walmart is offering The Evil Within 2 for $29, Injustice 2 for $19, Skyrim for $19, and then Mortal Kombat X, Just Cause 3, and Deadpool at $12 each. And if your wallet is feeling a little light this month, fear not: both Left 4 Dead 2 and Fallout: New Vegas are going to be on sale for only $9.
Best Buy: Best Buy is also serving up a bunch of Black Friday deals this weekend, similar to many of its retail competitors. Initial sales include Guardians of the Galaxy Vol. 2, Wonder Woman and Spider-Man Homecoming all for $7.99 each on Blu-ray, and they also have a bunch of great tech deals, too, with their doors opening at 5:00pm on Thanksgiving. Friday Doorbuster deals begin at 6:00am and include both The Evil Within 2 and Wolfenstein II for $24.99 apiece, Resident Evil: Biohazard, Injustice 2, Rise of the Tomb Raider: 20 Year Celebration for $19.99 apiece, The Last of Us: Remastered, BioShock: The Collection and DOOM for $14.99 apiece, and if you purchase Star Wars Battlefront II that day, you'll get a free Darth Maul Funko figure.
GameStop: For those of you in the market for some genre games this holiday season, GameStop has The Evil Within 2 and Wolfenstein II for $25 apiece (on both Xbox One and PS4), and they open their doors on Thursday, November 23rd at 4:00pm local time. Their Black Friday ad also says that their deals are available online, but I'm not sure which sales specifically will be available there, so it's worth looking via your computer before heading out of the house this weekend.
Fright Rags: As usual, Fright Rags is doing another amazing Black Friday sale this year, where fans can pick up T-shirts for up to 50% off, box sets for half off regular price, mystery tees are making a return, and there so many other ways to save on their killer selection of items, too. The sale starts Friday at 12:01am EST, so set your clocks accordingly.
Cavitycolors: Oh, man. Cavitycolors is doing the Dark Lord's work during their Cyber Hell sale, which begins on Thursday at 5:00pm EST. For 24 hours, you can enjoy free shipping on your orders (use Promo Code CYBERHELL when checking out), and CC is bringing back a few amazing T-shirt and pin designs for the occasion, offering up huge discounts, and they've even unearthed some "Buy or Die" stock items that fans can get their hands on over the holiday weekend, as well as their special "Happy Horrordays" design shown below (and at the top of this post). If you have a bunch of horror fans on your shopping list this season, you definitely don't want to miss out on Cavitycolors' sale beginning on Thanksgiving night.
Creepy Co.: Another great company fans need to check out over the Thanksgiving weekend is Creepy Co., as they're offering steep discounts (up to 50% off) on their entire collection of products, including pins, patches, tees, sweatshirts, blankets, stickers, and so much more. Creepy Co.'s Monster Sale begins on Thursday at 12:00am CST and will run until Monday at 11:59pm CST.
Sourpuss: I've been a longtime fan of Sourpuss Clothing, albeit the clothing label in their name is a bit misleading, since they have a variety of fun items from apparel to housewares to oddball gift wrap and ornaments, to even items for kids. This week they are offering a 25% discount on your entire order—you just need to enter the code BLACKEST (all caps) when checking out. This discount from Sourpuss is good through November 26th.
Patti Lapel: I fell in love with the pins at Patti Lapel years ago, and their variety of accessories has only gotten even more awesome since then. I don't have specifics on their Black Friday sale—all I know is that you should keep your eyes peeled on the Patti Lapel Instagram account for more details (which I'm guessing will be released by Thursday).
Horrormerch Store: Those fiends at Horrormerch Store are up to it again this year, with their insane Black Friday sales that are primed to save you guys a ton of cash. Starting at 12:01 am EST, you can save 20-60% on everything, get free shipping on orders of $50 or more, get a $20 gift card with every $100 you spend, and you'll even receive a Free Horror Mystery Mini with purchases, too. Horrormerch Store will be releasing their promo codes on Thursday morning, so be sure to keep an eye on their site to see how you can save money and stock up on holiday gifts.
Entertainment Earth: Entertainment Earth has already been doing numerous kick-ass sales each and every day so far this week, and with each new day, their sales reset with no advance details on what you can expect. That being said, I'd suggest checking in daily on their site to see just how you can save some money while getting all your geek-tastic gifts ordered this holiday season.
Mixtape Massacre: If you haven't taken the leap on Mixtape Massacre yet, Black Friday weekend is the perfect time to finally bring this killer game home for the holidays. With the code BLACKFRIDAY, you can save 15% on the purchase of Mixtape Massacre, and there are other sale prices available on other goodies, as well as a special MM Black Friday shirt that'll be for sale, too.
Be sure to check back here for more horror gift guide ideas in the coming days, and happy holidays to our readers from all of us at Daily Dead!
The post Daily Dead’s 2017 Holiday Gift Guide – Day 1: Early Sales & Black Friday Finds appeared first on Daily Dead.
Posted: 22 Nov 2017 10:05 AM PST
After tapping into '80s G.I. Joe-esque nostalgia with their Shiva Force action figures at San Diego Comic-Con, Skybound and McFarlane Toys are returning with their own version of Cobra: the Lucille Patrol.
Featuring the comic book editions of The Governor, Negan, Alpha, and Beta, the Lucille Patrol action figure box set will be available to order in clean and blood-spattered versions beginning 10:01pm EST on Thursday, November 23rd for Skybound Insiders, followed by a wide online release at 12:00am EST on Friday, November 24th.
Each figure comes with accessories unique to their character from Robert Kirkman's comic book series, and subscribers to Skybound's Megabox quarterly subscription will also receive a Dwight Lucille Patrol figure as well.
Specific pricing and shipping details have yet to be revealed, but you can watch the unboxing video below for more information and close-up looks at these figures. Keep an eye on Skybound's website for additional details. Will you be adding them to your shelf this holiday season?
Images from Skybound:
The post THE WALKING DEAD “Lucille Patrol” Action Figure Box Set Coming from Skybound and McFarlane Toys appeared first on Daily Dead.
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