- MASTERS OF HORROR Rewatch: “Incident On and Off a Mountain Road”
- Contest: Win SUPERBEAST on Blu-ray
- Interview: Co-Star Tyler Posey on TRUTH OR DARE and His Excitement for Season 3 of the SCREAM TV Series
- New Images & Complete Release Details for Waxwork Records’ Deluxe Vinyl Score of STEPHEN KING’S IT Miniseries
- Interview: Director Dave Jackson Discusses the Gooey Tanuki and Creature Feature Inspirations Behind His Upcoming Short Film GACHA GACHA
- TV Series Adaptation of Joe Hill’s NOS4A2 to Premiere on AMC in 2019
- Horror Highlights: TWILIGHT HOTEL, TRUTH OR DARE Contest, WHAT THE WATERS LEFT BEHIND, DISEMBODIED Blu-ray
Posted: 10 Apr 2018 03:25 PM PDT
Genre television is in a better place than it has been since the 1980s. Ongoing series like The Walking Dead, American Horror Story, and Stranger Things are among the most popular and successful shows currently in production. Netflix brought back the Black Mirror anthology, while SYFY's Channel Zero continues to build its well-deserved cult fanbase with every new season. Small screen horror is big business these days.
But just a decade or so ago, that wasn't the case. So when Showtime announced its Masters of Horror anthology series, it was a pretty big risk. Still one of the most ambitious television horror projects ever attempted, Masters of Horror was the brainchild of director and producer Mick Garris, who dreamed of a series in which he and his fellow genre filmmakers would have free reign to tell whatever stories they wanted to tell, however they wanted to tell them. The rules were pretty simple: each filmmaker would make a one-hour movie with total creative control so long as they shot up in Canada, keeping a low budget and tight production schedule. They were almost successful, too. Almost. But we'll get to Miike.
The resulting series consists of 26 episodes of fascinating, uneven television. Some of the genre's biggest names—those who can without question be called "Masters of Horror"—did some of their best work in decades. Others felt constrained by the format, while still others never quite found the right material. Some of the best episodes were directed by younger filmmakers with maybe only one or two movies under their belts—hardly "masters," but seemingly on their way based on their contributions. The plug was pulled after two seasons on Showtime, though the show would mutate somewhat and live on for one season on NBC as Fear Itself.
What we're left with is 26 hours of (mostly) un-compromised horror ranging from terrific to frustrating, all of which I plan to revisit and reassess in the coming months. I don't know if my original favorites will hold up, or if I'll find things to like in episodes I once dismissed. What I do know is that we're unlikely to ever see a show like this again, which makes me more than a little excited to go back and rewatch it from beginning to end.
I hope you'll come along with me.
Season One, Episode 1: "Incident On and Off a Mountain Road"
Director: Don Coscarelli
Original air date: October 28th, 2005
If you're Masters of Horror and you want to put your best foot forward, you could do a whole lot worse than leading with a Don Coscarelli adaptation of a Joe R. Lansdale story. "Incident On and Off a Mountain Road" finds Grimm's Bree Turner as Ellen, a woman who gets in a car wreck on a remote wilderness highway, where she is stalked and attacked by a monstrous serial killer known as Moonface (John DeSantis). At the same time, she's flashing back to meeting and marrying her husband, Bruce (Ethan Embry), who gradually grows more and more paranoid as he becomes a survivalist over the course of their relationship, teaching his wife how to fight back at the same time that he turns increasingly dangerous.
My memory of "Incident" was that it's one of the strongest entries in the entirety of Masters of Horror, and this rewatch confirmed that it's a particularly good hour of television. The parallel structure that Coscarelli uses (which I assume has been ported over by the Lansdale story, still unread by me) adds weight to both sides of the story: the dissolution of Ellen's marriage and the subsequent strength it reveals informs her plight with Moonface, a slasher both menacing and iconic enough to have sustained his own feature film, if not a franchise. There's a way to look at the episode's structure and take away that Ellen is only able to fight back against Moonface because of the skills that her husband taught her, but that's only acknowledging the surface. What Coscarelli is really talking about is how facing one horror prepares us for other horrors, and how monsters are everywhere—they just sometimes wear a more familiar face.
Credit to Coscarelli, too, for casting Ethan Embry in such a pivotal role at a time when we weren't seeing Embry all that much. If you grew up in the '90s, Embry was an omnipresent fixture in movies, particularly lightweight comedies. These days, he has successfully reinvented himself as a genre star, giving brilliant performances in everything from Cheap Thrills to The Devil's Candy to Late Phases to this year's Fashionista. His work in "Incident" predicts the more intense dramatic stuff he's doing these days by tapping into a dark side previously unseen in teen comedies that required little more of him than to be sweet and goofy. This Masters of Horror installment changed the way I looked at Ethan Embry in 2005; in 2018, his excellent performance feels much more a piece of his current career.
For as much cool shit as there is in "Incident On and Off a Mountain Road"—and I haven't even mentioned Moonface's predilection for drilling out the eyes of his victims or the appearance of the Tall Man himself, Angus Scrimm, as one of Moonface's prisoners—I can already spot a few of the limitations that would become standard practice for Masters of Horror. The rushed production schedule and low budget are evident not because of the small story, but because of the way that Coscarelli and cinematographer Jon Joffin attempt to disguise it by shooting everything a little too tightly and shaking the camera a little too often. At the same time, there's a shot of Moonface attacking with the moon behind him that, obvious use of green screen aside, is one of the more striking and memorable images in the entirety of Masters of Horror.
Because I'm hardwired to look at these episodes within the larger context of each filmmaker's career—the branding of the show more or less demands it—one of the things I remember most about Masters of Horror is that the majority of the shows don't really represent their respective directors. The Carpenter episodes don't feel like Carpenter, the Argento episodes don't really feel like Argento. That's true of "Incident On and Off a Mountain Road", too. It's an excellent hour of television and a cool variation on the traditional "backwoods slasher" archetype, but it's far less playful and eccentric than Coscarelli's stuff usually is. If anything, it has more in common with his film Survival Quest than with most of his horror output. As a one-off, it's kind of fun—Coscarelli working on a different canvas, experimenting with a tone that's new for him. But when it becomes the norm for Masters of Horror, it winds up giving the show a bit of an identity crisis: why bring all of these masters together if their work isn't recognizable as their own?
It's a question I look forward to working through during this rewatch. For now, "Incident On and Off a Mountain Road" is a standout of the show in my memory and holds up as an excellent piece of horror television. Where it will rank among the rest of the series remains to be seen.
"Incident On and Off a Mountain Road" Score: 4/5
Up next: Stuart Gordon! Lovecraft! Rats with human faces! It's "Dreams in the Witch House"!
The post MASTERS OF HORROR Rewatch: “Incident On and Off a Mountain Road” appeared first on Daily Dead.
Posted: 10 Apr 2018 02:58 PM PDT
In the tradition of H.G. Wells' The Island of Doctor Moreau, the horror film Superbeast showcases eerie experiments that result in frightening hybrids of humans and animals. To celebrate Scream Factory's new Blu-ray release of George Schenck's 1972 movie, we've been provided with three high-def copies to give away to lucky Daily Dead readers!
Prize Details: (3) Winners will receive (1) Blu-ray copy of Superbeast.
How to Enter: We're giving Daily Dead readers multiple chances to enter and win:
Entry Details: The contest will end at 12:01am EST on April 17th. This contest is only open to those who are eighteen years of age or older that live in the United States. Only one entry per entry method, per household will be accepted.
Posted: 10 Apr 2018 02:14 PM PDT
This weekend, Truth or Dare is looking to play a wicked game of survival with audiences everywhere. Directed and co-written by Jeff Wadlow, the story follows a group of twenty-somethings who end up playing the eponymous contest while on spring break in Mexico, only to find out that what should have been a harmless square-off between best buds is really a demonic competition that will challenge all their friendships in unimaginable ways.
Daily Dead recently spoke to one of Truth or Dare's co-stars, Tyler Posey, who is no stranger to the genre world. From his long-running portrayal as Scott McCall on Teen Wolf to his previous appearances in films like Scary Movie 5 and Yoga Hosers, as well as his upcoming role in the third season of Scream: The TV Series, Posey is primed to continue his solid run as an actor working in the realm of horror. During the recent press day for Truth or Dare, we chatted with Posey about his latest theatrical role, and he talked about working alongside his fellow co-stars and how much he enjoyed taking on his character in the film, Lucas. And because this writer couldn't resist asking, Posey also discussed the appeal of coming home to MTV for the newest season of Scream, which he had been a fan of back when the show started in 2015.
I know you're no stranger to the genre world, but I'm curious, what was it about this film that piqued your interest? I must admit when I first heard the title, I was like, "How the heck is this going to work?" But I think you guys really did a fun job with the concept.
Tyler Posey: Well, thank you very much for saying that, that's very cool. I agree, I honestly had the same initial reaction as you did. I was like, "How the hell are they gonna make this a scary, real, believable movie?" But I got the offer, and as soon I heard it was from Blumhouse, I was all on top of it. I'm a huge fan of Blumhouse, Paranormal Activity, and pretty much anything that they've come out with. I've got friends that have worked with them too, in movies like Ouija and Unfriended. I just love their model and how they do things and their movies are executed really, really, really well.
And then I read the script, and saw how cool the script was, and I saw how cool my character was. I really fell in love with Lucas, I thought he was such an interesting guy. He really plays a big part in this movie and I was super excited. Like you said, I love this genre and I just finished with Teen Wolf, so I was missing it in a way. This was a perfect transition from Teen Wolf. The atmosphere was similar—it's high intensity, people were dying around me, and then there was blood, so I was pretty comfortable [laughs].
It felt like there was a really well-established connection between all of these characters in Truth or Dare, and I bought into their relationships. Did Jeff give you guys a lot of time to come together as a group, or was that instantaneous, once you guys got to the set and just started diving into production?
Tyler Posey: It was a little bit of both, honestly. Jeff did come up with the idea to send us all to Mexico for a cast bonding trip for one night, which we did. We went to Mexico for one night, and we filmed the opening title sequence with our own phones. We pretended we were in character, so it was like having a rehearsal. Then, right before we started filming, we did a bunch of rehearsals and got closer as a cast, and then we fell in love with each other, and we'd go out to dinner on the weekends and I would have parties at my house. We really, really, really hit it off and just respected one another a lot. In that short amount of time, it's almost hard to kind of build a relationship with people, but we really did a good job with it.
From your perspective, because you have a little experience with this already because of Teen Wolf, and with this film and probably coming up with the Scream TV series, it seems like there are a lot of folks who turn their noses up at the idea of PG-13 horror or horror directed at teens. As somebody who grew up on the genre, I am glad to see younger folks being given stories they can connect with and enjoy. Is it cool for you to be part of these stories that can help mold audiences into genre fans?
Tyler Posey: Yes, definitely. I think for Teen Wolf and this movie specifically, we put a different spin on this, where you can go watch this movie expecting it to be R, and still be completely satisfied with it having a PG-13 rating. It's not like we're a little kid movie, but we also cater to that audience, too. We have a perfect line of these somewhat adult scenarios, but also through a teen's eyes in a way. That's what helps introduce these kids to this genre. A lot of reasons why movies are rated R sometimes is because they can go over the top and show things that are unnecessary to the story because they want to shock a certain subsection of the audience. But movies like Truth or Dare just show that you can have a PG-13 horror movie and still have it be as impactful as it would be if it had an R rating.
Looking at these experiences and being able to make this film, it sounds like you guys had a total blast with this. What did you take away from your experiences being able to be a part of this film? Whether it was something that had to do with your character, maybe a favorite scene, or just coming together and making this great film with all these fun folks?
Tyler Posey: Something that is really cool about this whole thing, is that it just was this passion project for everybody involved, because Blumhouse's model was that we only get paid so much. It just becomes all about the work and teamwork and trying to create this scary movie while just being completely invested into it, and everyone works harder when you're working under those circumstances. That was something that was really fun to take away from it. It felt like everybody just got together and created a passion project.
I also took away a girlfriend. I'm dating Sophia [Ali], who plays Penelope. That is the wildest life-changing thing that's ever happened to me, in a while at least, so I'm really just grateful and thankful for this whole movie and Blumhouse and Jeff for casting us.
I know we're almost out of time, but the third season of the Scream TV series is coming up later this year. Obviously, there's probably not a lot you can say, which is cool because I don't want anything ruined, but I'm curious what was the draw to that show? I'm guessing because you've been part of the MTV family for so long, that didn't hurt, either.
Tyler Posey: When I watched the first season of Scream, I fell in love the cast. I saw them start their careers on Scream and promote the show and go to Comic-Con, and do all that stuff. Teen Wolf was considered a veteran show at that point, so it was like we were passing the torch in a way. Then when they rebooted the entire thing for season three, and I got a call from one of my friends who was the director of photography on Teen Wolf, and he was also hired to come and do Scream. He called me, and he was like, "Hey, man. There's this role that we would love to have you play. Would you want to come down and play with us?"
I didn't have to read the role or really know anything about the script to immediately be on board because one, I was excited to work with my friend again. Two, it was in Atlanta and that's where we filmed Teen Wolf for the first two seasons, so I was excited to go back there. Three, I'm a huge fan of the Scream movies, and Ghostface is such an iconic character, so I thought it would cool to be in the same show as that universe. That's one of the things about acting that I just love, where you can get these weird and cool experiences that you can put under your belt. For me, being on screen with a classic character like Ghostface is just really cool. I had a really good time. It was a super humbling experience. It was great. I really had a great shoot, and I loved being in Atlanta. I had the greatest time.
The post Interview: Co-Star Tyler Posey on TRUTH OR DARE and His Excitement for Season 3 of the SCREAM TV Series appeared first on Daily Dead.
Posted: 10 Apr 2018 11:09 AM PDT
Following their recent tease of the remastered triple LP release of composer Richard Bellis' creepy score for Stephen King's IT, Waxwork Records has now fully unveiled the vinyl score for the 1990 miniseries, including new artwork (by Matt Ryan Tobin) approved by Stephen King himself:
Images courtesy of Waxwork Records:
Posted: 10 Apr 2018 08:09 AM PDT
As someone with a taste for short filmmaking, I'm always on the prowl to see what sort of unique, exciting short genre works are on the horizon. So when I stumbled upon the crowdfunding campaign for Gacha Gacha, a bizarro movie about a woman discovering a disgusting creature in a capsule toy by the director of the absolutely bonkers Australian slasher movie Cat Sick Blues, my interest was piqued.
Now, with Gacha Gacha's Kickstarter in its final week (full disclosure: I donated nine dollars to the campaign), I reached out to Gacha Gacha director Dave Jackson to talk about collecting, tiny critters, and of course, gooey tanuki.
In your campaign, you mention that Gacha Gacha focuses on "the nightmare of obsession and the short-lived highs of being a collector." What made you want to make a movie about this theme?
Dave Jackson: I think it's something a lot of genre fans experience. It's certainly something I experience. Back in Australia, I had stacks of movies on my shelf that sat there for literally a decade just because I had to have them. It's an addiction and it's something I've tried to ease out of. Moving to Japan has helped because my minuscule apartment and a lack of space simply won't allow it. I'm particularly fascinated in the collecting of things that shouldn't be collectable. In his book Role Model, John Waters talks about collecting books based on movies and how delightful the concept is of collecting something utterly worthless. I'm totally on board with that, and I feel like in Japan there's a collector for everything, which is as delightful as it is terrifying.
You recently moved to Osaka, Japan, where Gacha Gacha takes place. How have your experiences living in Japan informed the film?
Dave Jackson: In every possible way. I wouldn't be making this had I not moved to Osaka. Just watching the mania of collecting, seeing the endless rows of gacha machines, the piles of empty capsules... all these images allowed the idea to form. There's also a focus on the loneliness of Japanese apartment life, which comes from actually living that life in a cramped little place. I love looking at all the enormous apartment buildings. Behind each window there's someone with their own unique existence and obsessions. I'm sure there's a few gacha maniacs that resemble the characters in Gacha Gacha's script.
The gooey monster you've shown off for Gacha Gacha is a grotesque, gooey tanuki. Why did you choose to use this particular mythical beast as the film's monster?
Dave Jackson: The giant testicles probably. They're just so ugly, strange, and iconic (the tanuki itself, not specifically its balls). They're also everywhere in Japan. It's hard to walk down a street without seeing one. When my parents were visiting, they asked me what a tanuki was. I said, "Just wait a moment." And sure enough, we walked past a tanuki statue in no time. They've crept into my subconscious by being constantly in my peripherals. It's also fun to try and make something that's already quite terrifying looking even more horrific.
The tanuki in Gacha Gacha is going to be stop-frame animated. Why is having the tanuki's animation be stop-frame important to you?
I'd like to say it's because I hate CGI and old effects rule and blah blah blah. But really, it's just because I don't know any other way to do it. That said, even if I did, I'd probably still stick with stop-frame. The films I grew up watching were packed full of stop-frame and it just has such a cool look. I respect the hell out of animators, especially those who create feature-length animations with tons of movement within each shot. The amount of work that goes into something like The Nightmare Before Christmas or a Jan Švankmajer film is beyond anything I could ever even begin to comprehend. The animation in Gacha Gacha is not a large part of the film. The creature itself is practically unmoving and there is only one short sequence of animation. I'm looking forward to attempting it, though!
Gacha Gacha is more of a cross-genre film than just strict horror, but it's clearly very horror inspired. What sort of elements are you drawing from the horror genre for Gacha Gacha?
Dave Jackson: I'm definitely drawing from my childhood diet of films that featured tiny, gross monsters. But I think in terms of tone and style, the slow, creeping sense of dread that you see in something like The Shining or Takashi Miike's Gozu is what I'm after. Though the horror isn't necessarily there in a traditional sense, the threat and unease is (hopefully) going to be there, beneath everything.
And finally, what's your favorite tiny-monsters-run-amuck movie?
Dave Jackson: A great question and very easy to answer. While I love pretty much all tiny monster movies from the Critters films to dreggy nonsense like Munchies and Hobgoblins, my absolute favorite—and legitimately one of my favorite movies of all time—is Gremlins 2. I watched both Gremlins films on loop as a kid, but the sequel has stuck with me more than the original. Joe Dante's direction is just so utterly unhinged in Gremlins 2. It's a film that does not care about anything except being as outrageous, loud, and obnoxious as possible. It's also incredibly smart as it tears apart everything in sight, including the original Gremlins. Rick Baker's puppets are phenomenal and a huge step up. I love how Baker gives each heavily featured gremlin a personality. I've watched Gremlins 2 hundreds of times and could easily watch it hundreds more without getting bored. It's a masterpiece of chaos and a film that could never exist outside of a specific, strange pocket of time.
To learn more about Gacha Gacha, visit the short film's official Kickstarter page.
Posted: 10 Apr 2018 07:32 AM PDT
"Christmasland is waiting for you..." After setting up a writers' room to develop a TV series based on Joe Hill's NOS4A2, AMC has officially announced that they're traveling to Christmasland in an adaptation of the supernatural novel that will premiere in 2019, with Hill himself as one of the executive producers:
The post TV Series Adaptation of Joe Hill’s NOS4A2 to Premiere on AMC in 2019 appeared first on Daily Dead.
Posted: 10 Apr 2018 07:09 AM PDT
Topping today's Horror Highlights is news that Square Biz Entertainment will launch a new Kickstarter campaign for the comic book series Twilight Hotel. We also have a contest for Blumhouse's new movie Truth or Dare, a trailer and teaser posters for What the Waters Left Behind, and Blu-ray release details for Disembodied.
Twilight Hotel Four Issue Comic Book Series Kickstarter Campaign: Press Release: "LOS ANGELES, CALIFORNIA – April 1, 2018. "TWILIGHT HOTEL", is a 4-issue horror comic book series, from the production team of Ra X, and Darrell Smith the creators of the award-winning and critically acclaimed indie horror film, "RAGE".
Twilight Hotel is the first offering from their new company Square Biz Entertainment, a publishing and movie production company specializing in horror genre product. Twilight Hotel is the story of a 100-year-old West Florida hotel that has a very sinister secret. Built on land that was once the home of the most notorious plantation in all of North America, where thousands of African slaves and Seminole Indians were murdered in ritualistic ceremonies. It is also home to an ANCIENT EVIL DEITY named... "SHE". With a supernatural ability to attract and influence people, she lures unwitting individuals to the Twilight where they are subjected to many horrible things including, MAN-EATING BED BUGS, PSYCHOTIC GANGSTERS, ZOMBIES, SERIAL KILLERS and worst of all… themselves.
In October of last year, after being joined by artist Michael Aryn, the team launched a successful Kickstarter campaign and produced the series' first issue… receiving an overwhelmingly positive response from the comic book community the team has decided to do it again… except for this time, they will be looking to fund the remaining 3 issues in the series and they are bringing along a "little" help from three BIG talents, Master of the dark art, CHET ZAR, and renowned comic book artists, RYAN & ADAM BROWN. The buzz from the book led to meetings with these artists who liked the book so much, they wanted to contribute to its success.
So, this coming Friday the 13th Square Biz Comics with the help of these major league artist will launch a new Kickstarter campaign to raise the funds necessary to complete the balance of the series.... and, on the same day they'll be at this year's Monsterpalooza where Chet Zar will unveil his Twilight Hotel cover art. If you're in attendance, you won't want to miss it. Also, the team of Ra X and Darrell Smith are in early development on a feature film version of the comic and the funding and completion of the series, brings that one step closer to a reality."
Truth or Dare Contest Details: Truth or Dare Contest: "A harmless game of "Truth or Dare" among friends turns deadly when someone--or something--begins to punish those who tell a lie--or refuse the dare.
Blumhouse's Truth or Dare, starring Lucy Hale (Pretty Little Liars) and Tyler Posey (Teen Wolf) opens in theaters Friday the 13th!
Lucy Hale (Pretty Little Liars) and Tyler Posey (Teen Wolf) lead the cast of Blumhouse's Truth or Dare, a supernatural thriller from Blumhouse Productions (Happy Death Day, Get Out, Split). A harmless game of "Truth or Dare" among friends turns deadly when someone—or something—begins to punish those who tell a lie—or refuse the dare.
Directed by Jeff Wadlow (Kick-Ass 2), the thriller co-stars Violett Beane, Hayden Szeto, Landon Liboiron, Sophia Taylor Ali, and Nolan Gerard Funk. The film was produced by Blumhouse's Jason Blum and executive produced by Wadlow, Chris Roach, Jeanette Volturno, and Couper Samuelson."
Prize Details: (1) Grand Prize Winner will receive (1) Truth or Dare prize pack, including:
Entry Details: The contest will end at 12:01 am EST on April 17th. This contest is only open to those who are eighteen years of age or older that live in the United States or Canada. Only one entry per entry method, per household, will be accepted.
"Truth or Dare Challenge Blog App:
Grab a friend and take the Truth or Dare challenge to see who survives
What the Waters Left Behind Trailer & Teaser Posters: Press Release: "The world premiere of the film was in SITGES on October 11th where the Directors won the "BEST PROMISING DIRECTORS" Award.
Other official selections and awards: "BEST FILM" (Obscura Berlín), "SPECIAL MENTION" (Mórbido, Mexico), "BEST DIRECTION OF PHOTOGRAPHY" (Buenos Aires Rojo Sangre, Argentina), "BEST ACTRESS" (Montevideo Fantástico, Uruguay), BIFFF (Belgium), BIFAN (Korea), ABERTOIR (Wales), NIGHT VISIONS (Finland), MOLINS DE REI (Spain), TELLURIDE (U.S.), MAR DEL PLATA (Argentina), LA HABANA (Cuba), HORRORANT (Greece), BLOOD WINDOW PINAMAR (Argentina), CINE TERROR VALDIVIA (Chile), SANT CUGAT FANTASTIC (Spain).
"WHAT THE WATERS LEFT BEHIND" was acquired for distribution in Japan, Germany, Scandinavia, Taiwan, and Latin America.
Epecuén was one of the most important touristic villages of Argentina. Thousands of people concurred, attracted by the healing properties of its thermal waters. On November 10th 1985, a huge volume of water broke the protecting embankment and the village was submerged under ten meters of salt water. Epecuén disappeared. Thirty years later, the waters receded and the ruins of Epecuén emerged exposing a bleak and deserted landscape. The residents never returned.
The plot revolves around a group of young people that take a trip to the ruins in order to film a documentary about Epecuén. Ignoring the warnings, and after a brief tour, they get stranded in the abandoned village. Contrary to what they thought, they begin to realize that they are really not alone."
Disembodied Blu-ray Release Details: "DISEMBODIED the 90's VHS cult classic is now finally available in HD! Scanned in 2k from the original negatives, this film has been long sought after as a comic, weird, violent, gross-out film that is fun to watch. Directed William Kersten, and starring Anastasia Woolverton (Connie Sproutz), and shot on 16mm cameras. Disembodied is a body-horror film with Connie Sproutz after finding out that she is a genetic experiment with half-human/half-extraterrestrial DNA. She takes refuge in a place that may be the most rundown place in cinema. Disembodied is Basket Case meets Slime City, and fans need to seek this film out. DISEMBODIED will be on Blu-ray and VOD April 10th!
Synopsis: The story of Connie Sproutz, a likeable young woman with the sad problem of a spore-generating deformity on her face which causes difficulties in her day-to-day life such as dissolving into a gelatinous mass anyone who is to be devoured by the neural parasite that inhabits her skull, which is empty due to the fact that she stores her brain in a jar beside her bed."
To learn more about the Disembodied Blu-ray, visit Amazon.
The post Horror Highlights: TWILIGHT HOTEL, TRUTH OR DARE Contest, WHAT THE WATERS LEFT BEHIND, DISEMBODIED Blu-ray appeared first on Daily Dead.
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